George shaw the sly and unseen day book
George Shaw: The Sly and Unseen Day. - AbeBooks:This solo exhibition by British artist George Shaw brings together paintings made over the past 15 years which chart the urban landscape of his childhood home on the Tile Hill Estate in Coventry. Meticulously painted houses, pubs, underpasses and parks become autobiographical notes, frozen in time. George Shaw was born in Coventry, England in As a painter, Shaw is known for his use of Humbrol enamel paint, normally the preserve of young model-makers, and while landscape as his subject, he focuses on the suburban surroundings of his childhood rather than the countryside. His paintings and drawings depict bus stops, phone boxes, pubs and graffiti against a backdrop of semidetached homes, blocks of flats and expanses of grey sky. This view of England is not always flattering, but it offers a detailed study of the changing nature of social housing; these unconsidered or neglected landscapes suddenly elevated by the poignancy of personal memory.
George Shaw: The Sly and Unseen Day, South London Gallery
By Alastair Sooke. But, try as I might, his paintings leave me cold. Eighteen paintings by Shaw are now on show at the South London Gallery, in an edited version of an exhibition called The Sly and Unseen Day that was at the Baltic gallery in Gateshead earlier this year. Each picture presents a different view of the Tile Hill estate in suburban Coventry, where Shaw grew up. Instead, we see drab architectural features, usually front-on: pebble-dashed houses, down-at-heel municipal buildings, locked garage doors, graffiti-splattered walls, decrepit fences and concrete walkways.
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George Shaw: The Sly and Unseen Day.
Opening this week at the South London Gallery is a solo exhibition by Turner Prize nominee George Shaw, with 18 paintings from 15 years of biographical painted studies of Coventry, his childhood home. Sign up to our newsletters for the latest creative news, projects and more delivered straight to your inbox. If you were inclined, you could spend all day shouting ever more overwhelming plastic stats at passersby. For instance every day eight million pieces of plastic wash into the ocean, meaning that there are something like 5. Close to species of marine life are facing extinction due to the increase in plastic pollution; while nearly half of all plastic ever made has been produced since Bobby Fischer sat forward, his hand covering his mouth and his elbow resting on the table in front of him. His eyes firmly fixed down on the chequered surface below, the American leant forward out of his black leather chair and moved his Bishop from E6 to D7.
I n one of his early poems, entitled "I Remember, I Remember", Philip Larkin described a train journey that took him unexpectedly through Coventry, the city in which he was born and where "my childhood was unspent". Larkin evokes that childhood in a litany of lost opportunities and chances not taken, but concludes: "It's not the place's fault… Nothing, like something, happens anywhere. Those lines keep coming to mind as I leaf through scans of George Shaw's paintings of Coventry — or, to be precise, the two square miles of Coventry that constitute the Tile Hill housing estate on which he grew up — on the final leg of my train journey from London to Ilfracombe, where, for reasons that never become entirely clear, Shaw has now settled. Landscape artists once sought the sublime through the rendering of pastoral scenes, but Shaw, in common with many contemporary photographers, as well as English "kitchen sink" painters of an older generation, records the mundane, the quotidian and the overlooked. In doing so, he somehow renders the everyday mysterious. Here is a drab lane of graffitied garages ending in an ominous-looking wood. Here is a redbrick wall rising up flat and imposing before a row of council houses.