By Yasmin Inkersole, second year English
Yasmin Inkersole explores this year's offerings at the iconic Bristol gallery's Open Exhibition
Every year the RWA opens its doors to the general public with a showcase of stunning and thought-provoking artwork, carefully selected from submissions by emerging and established artists.
RWA's renowned Annual Open Exhibition is back for its 166th year! Here are some beautiful photos of the exhibition by @LisaMWhiting pic.twitter.com/F5uhXg37Ta
— RWA Bristol (@RWABristol) October 18, 2018
The colours, shapes and even sounds of the pieces on display are enough to keep you fascinated with every covered wall and filled room. While it would be impossible to describe every piece in the exhibition (and nobody likes spoilers) the sheer range in style and creativity on show can be evidenced with a few honourable mentions…
'More than human' by Simon Hitchens
Simon Hitchens’ sculptures, entitled ‘More than Human’ #5 and #6, are strange and compelling creations crafted from rock, wax and resin. Their uncanny resemblance to not only human skin but animal meat is enough to grant a double-take and a closer examination of the smooth and grainy textures as well as the careful colouring. Is Hitchens’ work a comment on the meat industry? Or perhaps an open question about whether ‘humanity’ should be a more flexible term as, animal or human, we are all flesh after all.
"there is something ominous and sombre about the black paint that seems too dark to be real"
John Whitehall’s stunningly realistic oil painting hangs on the wall like a window into another room, compelling you to go up to it and question the perfect precision of every line. There is something ominous and sombre about the black paint that seems too dark to be real and something lonesome about the abandoned bags and cardboard planes.
'Left Hanging IV' by John Whitehall
The title of the piece, ‘Left Hanging IV’ invites reflection on the war, and its profound impact not only on soldiers and adults, but the children evacuated across the country who had to leave so much behind.
'Drawing Machine Number 4' by Jason Lane
Standing in the middle of the main gallery is certainly the loudest piece in the exhibition: ‘Drawing Machine Number 4’ by Jason Lane. Made out of reclaimed steel, this incredible creation has the appearance of a Frankenstein sewing machine repurposed to spin circles instead of thread. Flicking a switch on the wall sends a drill-like noise vibrating through the gallery as the carefully-positioned pencils draw a perfect, intricate pattern onto the paper.
"hair covering her face, the golden girl seems to barricade herself from peering eyes, but her brightly coloured skin attracts viewers to her like a beacon"
It would not be wrong to describe David Backhouse’s ‘Golden Girl’ as #relatable now that term is well and truly underway. But something about the figure’s drooping shoulders and curled legs is foetus-like, giving the piece an air of vulnerability that seems to contrast its hard resin composure and vibrant gold paint. Hair covering her face, the golden girl seems to barricade herself from peering eyes, but her brightly coloured skin attracts viewers to her like a beacon.
'Golden Girl' by David Backhouse
The few exhibits mentioned here are but a handful of what’s on show at the RWA this year, and certainly pictures alone are not enough to capture some of the amazing detail and colours in these pieces. The exhibition is definitely worth a visit (and it’s free after all!) so get yourselves down to the RWA before the exhibition closes on 25th November for a look at some truly impressive artwork. Ranging from tiny embroidered circles to a huge wire sculpture, and from carved granite to oil paintings, the exhibition is captivating from the moment you step through the door.
Feature image: Epigram / Mark Bishop
Images within article: Epigram / Yasmin Inkersole
Did any pieces catch your eye from this year's exhibition? Let us know in the comments below or on social media.
