We attended this exhibition in November last year and really liked discovering Karla Black’s new body of work. With this exhibition she attempted to emphasise the importance of mark-making in her practice, which combined with colour and light connects her sculptural practice to painting.
Moreover, she concentrated specifically on one of the many sculptural problems that preoccupies her: how to preserve the precious, formal aesthetic decisions she makes, within the precariousness of the informal materials she favours. Many of the works in the exhibition were conceived and realised within the gallery space. As she’s asserted in the past, her sculpture is absolutely non-representational.
“There is no image, no metaphor,” Karla Black said.
In the first room, there were free standing sculptures made of Vaseline mixed with paint, then sealed between glass screens. In addition, we found hanging sculptures in the same materials and in clay, wool and spray paint across the whole show. In the second room, there were floor artworks of a pink fluff material and thin sculptures made of Johnson’s baby oil bottles, crystal glasses and wax.
Karla Black lives and works in Glasgow. She was born in Alexandria, United Kingdom in 1972, and completed an MA in Fine Art at the Glasgow School of Art, Glasgow, in 2004. In 2011, Black’s work represented Scotland at the 54th Venice Biennale, and was the same year nominated for the Turner Prize. Her work has been the subject of solo exhibitions at multiple galleries in the UK and abroad.
Black’s works for this exhibition were fragile and evocative. The plasticity of the materials she used for this exhibition, as well as the pastel and shinny colours she employed on most of these artworks remain in my mind as part of a surreal dream.