Oil on aluminium,
Original size: 180 x 150 cm
G.L. Brierley explores our relationship to the object through the materiality of paint. The theorist Julia Kristeva argues that a child’s attachment to a “transitional object” can happen in the process of separation from the mother, seeing her as both attractive and repulsive. In Brierley’s work paint is left to alchemically react, dripped and thickly smeared in celebration of actual material, a word that is derived from mater or mother. She looks at the wider implications involved in the collection and display of the venerated object.
Solo exhibitions include: Tender Folds, FeldbuschWiesner, Berlin, Germany, 2013; New Paintings, Carslaw St* Lukes, London, 2012; Matersatz, Madder 139, London, 2010; Volta NY, Solo Presentation, (Madder 139 Gallery) New York, 2010; New Works, Natalia Goldin Gallery, Stockholm, Sweden, 2008; The Naughty Puppies, Firstsite Contemporary, Colchester, UK, 2005.
Selected recent group exhibitions include: The Hallucinated World, Haus am Lutzowplatz, Berlin, 2014; Fleursdumal, Lamb & Lion Gallery & Charlie Smith Gallery, London, 2014; The Viewing Room, All Visual Arts gallery, London, 2013; Metamorphosis, All Visual Arts gallery, London, 2012; Everywhere & Nowhere, The Reydan Weiss Collection, Villa Jauss, Bavaria; EU - 27 Artists | 27 Countries, Museum Tongerlohuys, Netherlands; A Piece of Paper, Madder 139 Gallery, London, 2011; Memories of the Future, La Maison Rouge, Paris, France, 2011; John Moores, Walker Gallery, Liverpool, UK, 2010.