David Remfry, 'Untitled' Photo: John Bodkin/DawkinsColour Hung by Stephen Chambers and Stephen Farthing, the Wohl Central Hall offers dramatic views through to other galleries. The spectacular paintings by Gillian Ayres at the far end of Gallery III are visible from here, as are – looking the other way – David Hockney’s panoramic photo-works in Gallery IX. Anselm Kiefer’s monumental painting in Gallery VI also has a forceful impact from this vantage point, but within the Wohl Central Hall itself plenty of work arrests our attention immediately.
The paintings include pieces by Eileen Cooper who, according to Stephen Chambers, ‘seems to be at work in a very domestic space’. Elizabeth Blackadder’s typically sensuous painting appears to enjoy a dialogue with Lisa Milroy’s more sharply defined approach to an interior scene. Chambers believes that Milroy ‘gives presence and affirmation to the humble still-life’. He also points out,with understandable relish, how much ‘I enjoy seeing Milroy’s work with the painting by Antoni Tàpies visible in Gallery VI beyond.’
Further round the room, one wall erupts with the dynamic energy of erotically intertwined dancing couples in paintings by Allen Jones. In terms of subject and style, these could hardly be further removed from Barbara Rae’s nearby exhibit. But they share vitality and
Lisa Milroy RA, 'All That Jazz' Photo: John Bodkin/DawkinsColour strong, uninhibited colour. Dancers reappear in David Remfry’s large pictures,which highlight the role of drawing, along with freely applied colour washes.
Phillip King’s prints look like loosely worked and exuberant paintings. As for Yinka Shonibare’s Crash Willy, it is the most dramatic work on view here. ‘The driver looks as if he has come out worst from a Wacky Races prang,’ says Chambers. ‘While humorous, it avoids whimsy. It is a collision between Lagos and the Garrick Club.’