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Expanded Impermanence | Amelia Bowles and Nadia Guerroui
Sunday Salon 18, Saturation Point, 17 -
A review by Laurence Noga
©Copyright Patrick Morrissey and Clive Hancock All rights reserved.
In this Saturation Point exhibition, featuring Amelia Bowles and Nadia Guerroui, everything has a phenomenological tension. The physics of the earth’s atmosphere – the way it moves, vibrates, and consumes energy – are combined with a more systematic presence. At first glance the works offer a somewhat artificial glare but, like a mirage, the rays of light allow the layers to fuse and mix, causing visual turbulence within the space.
We are aware of the distinctive symmetry and spacing between the works. The two artists clearly have closely aligned areas of interest. The function of colour, for example, is surprising and optically complex. The decisions taken often feel mathematical, but also move towards a natural science orientation, shifting between sharply defined shadow and solarisation.
Amelia Bowles’ ordered constructions contain a Brussels sense of dappled light. My
focus is drawn immediately in between each of the panels, creating a complex optical
illusion. Structures of shadows in differing forms (according to the time of day)
exist transitorially. The format and the quality of colour call to mind the fragility,
and the vertical and horizontal balance, of Agnes Martin’s non-
Amelia Bowles, Daughters of the Evening, 2021, acrylic on cotton panel, 140 x 205 x 11 cm. Image credit: Benjamin Jones.
Decisions about colour and transparency are critical to this exhibition. This feels
palpable in Nadia Guerroui’s densely gessoed luminescent wood panels; the approach
suggests elemental forces at work: superimposed colours and the weightlessness of
the colour field. Trustful Hands, made in 2022, creates a misty, ambient quality
throughout the space, reminiscent of the Canadian artist Dorothea Rockburne’s oil
on paper installations such as The Domain of the Variable (1971-
Nadia Guerroui, Trustful Hands, 2022. Variable dimensions, ambient white light, wood (2 panels of 62 x 120 x 1,8 cm each), gesso, fluorescent pigment and interferent acrylic paint. Image credit Nadia Guerroui.
I noticed a further sense of patina in Bowles’ Untitled 2022 work. Placed calmly
on the floor, it brings to mind Barbara Hepworth’s Sea Form sculptures from the late
1950s. The fossilised surface, like an urchin species glued to the seabed, evokes
a structuralist understanding of nature. The angle and slightly casual placing of
the work suggests that it might be part of the space already. And its small size
and scale, combined with an almost mathematical symmetry, gives the work a certain
mobility. Hepworth’s enduring commitment to carving wood and stone is questioned
here in the lightness of this construction, but there is also a suggested tension
between figure and abstraction: this work confronts the viewer with a degree of near-
Amelia Bowles, Untitled (2022). Acrylic on cotton panels, 68 x 37.5 cm. Image credit: Benjamin Jones.
Catching my peripheral vision, the iridescent quality of Friction in Plain Sight
(2022) (London Skyline) keeps me hooked in, both close up and at a distance. It expresses
a dominant notion of time within a frame, and the double-
Nadia Guerroui, Friction in plain sight (London Skyline), 2022. Variable dimensions, Ambient white light, double tone polyester and magnets. Image credit Nadia Guerroui.
Bowles’ single panel work Mirage (2022) acts as a natural counterpoint in the whole show. It draws our attention to the presence (or absence) of natural light, or slippages of light, something which interests both the artists. But critically, there is an element of paradox between the exhibition’s orderly interior structure and the powerful sense of presence and corporeality. In the end it is the experiencing of it, through our human perception, that lights up our interpretation of this world.
Amelia Bowles, Mirage (2022). Acrylic on cotton panels, 120 x 20 cm. Image credit: Benjamin Jones.
L:Nadia Guerroui Trustful Hands, 2022. Variable dimensions, ambient white light, wood (2 panels of 62 x120 x 1,8 cm each), gesso, fluorescent pigment and interferent acrylic paint. R: Amelia Bowles, Daughters of the evening, 2021, acrylic on cotton panel, 140 x 205 x 11 cm. Image credit: Benjamin Jones.
Amelia Bowles, Mirage (2022)(detail). Acrylic on cotton panels, 120 x 20 cm, Image credit: Benjamin Jones.