Saturday 26th May - Saturday 30th June 2012
show info icon SHOW INFOhide info icon HIDE INFO

FOLD Gallery is pleased to announce the first in their new programme of solo shows. Broken up by conventional group shows and individual solo shows, FOLD intends to punctuate the year with a series of two-person solo shows. These will consist of two separate solo shows that will run simultaneously, presenting two separate bodies of work within the same space. However, there will be no major physical divide within the gallery to set them apart.

The shows will not be coordinated with a view to creating any curatorial links – any association noticed between the two distinct bodies of work will not be contrived. As the programme continues, we may find that the two separate bodies of work present the viewer with a sometimes disparate relationship. At other times there may be distinct commonalities to be found. Unintentionally, themes, aesthetics and theories, may cross over and interact – creating ties between the bodies of work from within the separate shows.

The intention is to present the viewer with a unique opportunity to form their own conclusions regarding the relationships between the separate bodies of work. The hope is that the gallery, rather than intervening, is acting as a catalyst for these events to unfold.



Robertson’s paintings in PARADIES stem from a trip to Jena, Germany, in April 2011.

The project views Jena as a double city existing in two times: the Jena of 2011 and the Jena of 1800 (the literary moment of the birth of Romanticism). In response to the demands of both this temporal gulf and theoretical Romanticism, the work seeks a poetics of interruption.

Multi-panelled works on anodised aluminium combine different logics of painting to disrupt unity in the work. What is on display here is more like collage, revelling in difference, the cut, the turn, slippage and rupture. Alongside are text paintings on polythene. In these smaller works, light-hearted self-contradictory word-plays become elegant abstract paintings.

In Jena, or at least the Jena of the work, which is nothing if not the site and intensity of interruption between polarised modes, the neutral becomes aggressive, Switzerland invades.