Equivocal Form,
Ambiguous Function

at the Velorose Gallery, London

15 November - 21 December 2018

Private view: Thursday 6 December 18.00 - 21.00

The Table Building drawings:

A series of pastel, pencil, charcoal, Conté crayon and ink drawings on watercolour paper.
View more works from this series

The Photo-drawings:

A series of light, pastel and ink drawings on hand printed gelatin silver photographic prints.
View more works from this series

All works in the exhibition are for sale. Please make enquiries to gallery@velorose.com


Velorose, 1B Charterhouse Square, London EC1M 6EE
Monday-Friday 10am-5pm or by appointment

phone: 020 7253 1090
mobile: 07901 553067
website: www.velorose.com

Nearest tube: Barbican (under 2 minute walk - left out of tube, then first left, and the gallery is on the right, two doors along from pub.)

The latent forms which become my images can be seen as the lost frames of a film, the few discovered pages of a missing tome, or depictions of an ever-mutable scene, each suggesting a story which continues beyond its borders.

Marc Atkins brings to all his work a touch which discerns the essential nature of things. Equivocal Form, Ambiguous Function presents a recent body of work (drawings and photo-drawings) that suggests a new point in the artist’s journey, a place which is at once unfamiliar and recognisable; a deceit of stillness and unease, redolent of both the universal and the particular.

Atkins’ works are at once memories and visions; they have consistently conveyed the impression of travel, of movement through the variability of time and the imprecision of space, and in this new collection of drawings and photo-drawings the senses are calmed and disturbed, drawing us in, inducing us to inhabit their erratic temporality and unquiet expanse. Here is the divide between indoors and out, within and without; the works take us to the safety of home, its shelter, comfort and privacy, but also disturbance and unease. Furthermore, they venture to the outside world, with its imposition of multifarious structures of the unfamiliar, washes of sensory confusions, and a translucent system of disquietude.

Ultimately, Atkins brings to this new work a great humanity, a pervading sense of melancholy suffused with an uncanny optimism. Our own inner and outer worlds are full of multiple valencies; few artists capture that layering of meaning, yet Atkins has both the sensitivity and deftness to identify and reveal how something can simultaneously be many things. These artworks are neither ends nor beginnings; they are moments, or lacunae, fluid enticements to which we need repeatedly return.

Adding to these thoughts of the recognisable but novel, all works have been framed by the artist in a show-case; each work becomes a treasure, a world of and in a box. The drawings are framed by the artist with old skirting board from his own residence, and the photo-drawings with reclaimed timber.

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