Romantic ideals, red telephone boxes and bondage masks combine in The Casque, latest exhibition at James Freeman gallery, Upper Street. Claire Partington’s triptych ‘The More We Are Together’ takes Van Eyck's Arnolfini portrait and rebuilds the scenario but the delicate ceramic craftwork almost cloaks the joke at play. The instantly recognizable figures include merchant Giovanni di Nicolao Arnolfini, matter-of-factly holding out hotel keys to two socialites replete with small yappy dogs at their heels.
Her exquisite earthenware figures display an unusual level of detail; painted braiding, transfers of intricate patterns, even tendons are visible on the figure’s hands.
Her other pieces on show, Ursa Major and Ursa Minor, 2014, boast interchangeable heads. They are a jumble of folklore, myth, contemporary fashion, Velasquez paintings and the Goldilocks fairytale. Beneath the man’s starched collar is the Cross of Santiago emblazoned over by a floral Nike tick, possibly commenting on the ubiquitous nature of branding.
Their human heads can be swapped for those of glazed black bears based on 18th century English salt glaze designs found on sugar pots and milk jugs. The historical attention is driven by Partington’s vast experience of handling ceramic collections from her work at the V&A and British Museum.
There’s an eerie moment when gallerist James Freeman adjusts the heads, as we turn away and there’s a sudden rattle. Unfazed, he quips “Don’t worry, she’s just settling herself in”.
Two painters, Paula Kane and Nicolas Freytag, accompany the sculptures. Both are interested in collapsing time and place to create layered fictions that challenge historical clichés. Kane’s Arcadian landscapes take all the tropes expected in idealized rural views, the rolling hills, tricking lakes and winding paths are uncanny in their unnatural patchwork. While Freytag’s work drips with clashing references, La Vivisection ou l'Aube de la Transparence, 2014,includes a Holbein skull, Napoleonic hat, Marie Antoinette-style dress, blue rubber gloves and a bondage mask all contained within a frame on drafting film - the effect is dirty, streaky and semi transparent.
“The idea was to show artists that use historical references to create something very contemporary,” explains James. “Work that reminds us any human achievement is a combination between high aspirations and base desires.”
