Installation View of the Large Weston Room Photo: John Bodkin/DawkinsColourHung by Eileen Cooper, the multitude of images in this gallery reflect her desire to ‘achieve peace and harmony, where very different works can live together, across generations and ranging from representation to 3D prints’. Cooper herself is showing some strongly defined linocuts called Rapture and With Good Grace. They both show a woman taking off her clothes as if in readiness to pose. Cooper’s vision contrasts dramatically with the enormous print by Stephen Walter, a nightmarish map of London in which the city’s streets and buildings are crushed together in a cosmopolitan frenzy.
Even more disturbing are the two prints by Paula Rego. She shows chained, weeping girls and a ghostly woman holding a man’s bearded, decapitated head.
Chris Orr RA, 'Companions in the Canyon' Photo: John Bodkin/DawkinsColourBut Gary Hume asserts a more sensual vision of the world. His Bikini, a co-edition made with the RA Schools, who will receive half of the profits from its sale, concentrates on a pink figure with a solitary black nipple. No sign of a bikini can be glimpsed anywhere. This year also sees a particular focus on artists’ books, which are in display cases in this gallery.
The significant age-range in this room becomes astonishingly clear when we find a screenprint on cloth by Louise Bourgeois, who died recently at the age of 98, hanging next to an etching by the RA Schools student Matthew Coombes. Some exhibits focus with relish on urban life: Chris Orr lets us glimpse couples arguing, dozing and embracing in New York-style skyscrapers. We see them through the windows of their apartments, and Orr calls them Companions in the Canyon (left). Elsewhere, newcomer Mark Randall displays a lino-print showing a skeleton lolling in a rowing boat. Its title sounds ominous: Duchamp Is Dead and All Adrift at Sea.