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Down by the Water
Help Find Nimbus (Winter Light)
View from the Sailor Girl I
The Lion’s Dream
The Domestic
A Painting of Plymouth
When life gives you lemons just say ‘Fuck the lemons,’ and bail
Yesterday’s Reflection
PAGAN/PAGANO (supermodel mermaid angels drowning in rivers of blood)

A New Kitchen Sink

Nick Goss, Nicholas Hatfull, Vicky Wright, Ryan Mosley, Dickon Drury, Gareth Cadwallader, Lucy Stein & Tom Anholt

24 February – 23 March 2017

The so-called Kitchen Sink Painters depicted life under austerity in post-war Britain, and dealt in accumulation: a loyalty to detail (the way a join works in a cheap apartment matters); an aversion to editing (a half-finished bowl of cornflakes shouldn’t be finished or filled); a building-up of paint (work it until it takes on its weight in the world). In the 1954 essay that christened the school, David Sylvester described their work as inventory. Take what’s on the table. That’s our life.

Kitchen Sink painting became thought of as hardcore Social Realism because it depicted broke people with drab lives. This ready politicisation, enough to send the four painters of the school to the Venice Biennale as Britain’s representatives in 1956, pegged the movement to a single narrative of struggle and a moment in time. By the 1960s its perceived parameters had dissolved and it was out of date.

We are reassessing the motives of Kitchen Sink painting and the idea of inventory as an attitude toward looking in times of social transition and uncertainty. It is a position of acceptance and response to one’s surroundings, a liberating form of Stoicism: processing the world by allowing the nature of the world to dictate the things and the way one paints.

A New Kitchen Sink is a group exhibition of British figurative painters who risk propriety in order to reflect the way their world currently feels, and the factors that influence it. At a moment of profound, accelerating dissociation fuelled by technology, these painters admit advertising, architecture, personal history, art history, style, society and social issues into their frames. Frames of reference and frames on the studio wall, it is an openness to accumulation as a path to reality, and inventory alone as a valid form of meaning. A paradox and a proposal: for British Social Realist painting in 2017, the kitchen sink is just the beginning.

Tom Anholt (b. 1987, Bath, UK) graduated from the Chelsea College of Art and Design, London, in 2010.

Gareth Cadwallader (b. 1979, Swindon, UK) studied at the Royal College of Art, London, Slade School of Fine Art, London, and Hunter College, New York.

Dickon Drury (b. 1986, Salisbury, UK) completed a BFA in Fine Art Painting at Falmouth College of Art before graduating with an MFA in Painting from The Slade School of Fine Art, London.

Nick Goss (b. 1981, Bristol, UK) graduated from the Royal Academy Schools, London, in 2009.

Nicholas Hatfull (b. 1984, Tokyo, Japan) graduated from the Royal Academy Schools in 2011 and was the Sainsbury scholar in Painting and Sculpture, British School at Rome, 2011-12.

Ryan Mosley (b. 1980, Chesterfield, UK) completed his MA at the Royal College of Art in 2007.

Lucy Stein (b. 1979, Oxford, UK) studied at the Glasgow School of Art and De Ateliers, Amsterdam.

Vicky Wright (b. 1967, Bolton, UK) completed her MFA at Goldsmiths College, London in 2008.