‘Alan Gouk: A retrospective, part one 1973-1989’ at Felix & Spear, Ealing, 4th November to 3rd December 2017
At Felix & Spear, fourteen paintings form a notional representation of what might be considered the artist’s first mature stage (Gouk was in his 30s and 40s). The works that might be sub-divided into two or three distinct periods are displayed on two floors with an adjoining stairwell. The arrangement of works takes account of the domestic size and scale and characteristics of the interior architecture of the gallery and the variously sized works have been appropriately placed. The domestic reference is applied positively here – and the visitor might imagine this was a version of Gouk’s living apartment c.1990. The homely and informal suggestion is intended as a positive too – for paintings have to be lived with after all. They have to be seen and experienced in differing ambient lighting situations and times of day; paintings might appear to evolve over time, as do the individual viewers, in their ever changing personal moods and within the various contexts of their lives. (A thought: Do the most interesting and original paintings have this organic quality – as if the ‘imagery’ is in a very slow state of flux and revelation?)
We also see these paintings in hindsight; in the context of nearly three more decades of Gouk’s vigorous commitment to abstract painting that have followed as abstraction has fallen in and out of favour in contemporary circles. Unaffected by medium denying conceptualism; the often announced ‘death of painting’ itself; and the so-called post-modern/multi-media innovations (for the sake of ‘contemporaneity’) that developed from the 1970s onwards – Gouk has continued to explore the endless scope of his particular form of abstract painting and unashamedly celebrates its ‘medium-specificity’.