'Why didn't I take any photographs?' is a question I once more find myself asking after yesterday's visit to A.P.T. Gallery in Deptford for the 2011 Creekside Open. As usual I was too busy chatting, looking at art and people-watching to remember to take any pictures. I am going to make a determined resolution to take more photographs at events I go to in the future: in the meantime, you'll have to make do with this invitation (above) and a few words on the show, since I don't have any photographs to share.
The Creekside Open is an annual open competition for visual artists: what sets it apart from other, similar initiatives is that each year, two separate exhibitions are selected by two different selectors from the same pool of submissions. This year's selectors are Dexter Dalwood and Phylida Barlow: Dalwood's selection opened at A.P.T. Gallery yesterday, and the second exhibition, selected by Barlow, will open in June.
From some 2,700 works submitted, Dalwood has chosen an interesting range of work for his show, including paintings, sculpture and video works, many of which engage with the notion of abstract representation. The gallery pops with lively colour and there's a pleasing feeling of playfulness here too, in work such as Jill Mulleady's scribbly yellow painting, Martyn Cross's vandalised knitting pattern, and Miguel Pacheco's oddly hypnotic video sequence. Other pieces that caught my eye included two works making explicit references to exploring and deconstructing the history of art: an intriguing piece by Jenny Wiener 'mapping' a painting by Cezanne, and Andrew Bracey's delicate paper-cut which transforms an image of a painting in an auction catalogue.