When Beattie talks about his role as a painter, he refers to himself as a ‘sort of symbolist’, one who alludes to but avoids making direct reference to human form in order to express subjective experiences. Within the paintings in the exhibition stacks of blocks topple and slant, wall-like surfaces find odd angles, stairways and ladders that seem to lead nowhere suggest a new order of architecture. These emotive and gestural forms are not created by Beattie for their illustrative or figurative associations, rather these objects reflect a more psychological state where the forms depicted become dematerialized and thus imbued with added symbolic significance. However, these architectural and archetypal forms do serve to define the interior of the paintings, forming cells of space, depth, light and air.Beattie considers his successful works to be those which have an undeniable potency, hover in space and where the paint takes on a molten quality as if it has almost reached melting point. These descriptions serve to highlight a certain elusiveness which Beattie considers to be essential to the making of the paintings. The act of making becomes a journey of thinking and responding, looking and reacting with Beattie being alive and alert to the shifts in not only form but more importantly feeling.
Although the pictorial elements hold significant and undeniable psychological implications, Beattie’s paintings gain further meaning through masterful physicality and the way in which he works and manipulates the painted surface. The paint, applied quickly and fearlessly, is sometimes removed with the hand. The drawn marks within the work sit at the threshold of identification, flirting with recognition but never completely revealing themselves. Resolutely working on one painting at a time, in the studio Beattie creates moments of clarity for himself by looking inwards rather than to the outside world for inspiration. Occupying both mental and physical space, Beattie’s works are about the dynamics of human experience – our emotions, memories and fleeting moments.
Beattie’s work has been featured in numerous exhibitions at prestigious institutions, including solo shows at Tate Britain (London, UK); Royal Academy of Arts (London, UK); Middlesbrough Institute of Modern Art (UK); Jerwood Gallery (Hastings, UK); IKON Gallery (Birmingham, UK); Castlefield Gallery (Manchester, UK); Sadler’s Wells Theatre (London, UK); and Goldsmiths Gallery (London, UK). His works have been included in critical group exhibitions at Barbican Centre (London, UK); Camden Arts Centre (London, UK) as well as the Jerwood Painting Prize 1998 and 2001 at Jerwood Gallery, (London, UK) and Gallery of Modern Art (Glasgow, UK); and John Moores Painting Prize exhibition in 2015, ’16 and ’17 at Walker Art Gallery (Liverpool, UK). Beattie’s work can be found in numerous public and private collections including: Arts Council England; Tate collections; Contemporary Art Society; Deutsche Bank; Government Art Collection; NatWest Group Art; Whitworth Art Gallery, Manchester; Royal Academy Collection; and the Jerwood Collection (all in UK).
Gallery name: Larsen Warner
Address: Sturegatan 28, Stockholm
Opening hours: Tue-Fri 12:00 - 18:00, Sat 12:00 - 16:00
Open: 21.02.2020 - 21.03.2020