Ian McKeever, ‘Portrait of a Woman 5’, 2015, oil and acrylic on linen
Faith and Doubt in Painting; or, Confessions of a (lapsed) McKeever Believer
Ian McKeever’s show of paintings at Galeri Susanne Ottesen, ‘Portrait of a Woman’, which I managed to catch during a recent 24-hour stopover in Copenhagen, gave me a great deal to think about. None of it, sadly, to do with finding all that much to celebrate in the works themselves – more about them in a moment – but rather, with the realisation that my views on abstract painting in general, and McKeever’s paintings in particular, have undergone a radical transformation in the last couple of years; to the point where I’m left feeling a little embarrassed at having spent so much time allowing myself to be carried along by the approving critical consensus, and overlooking what I now consider to be fundamental problems with the work. I wanted to like the new paintings, I really did; however, since any honest assessment I could make of them would be little better than a hatchet job (fun to write, but, I suspect, a lot less fun to read) I have opted to go further, and use McKeever’s work as a hook on which to hang various thoughts I’ve been having, about both abstraction, and abstractcritical/Abcrit.
Ian McKeever, “Against Architecture” installation, Matt’s Gallery, London
Ian McKeever: “Against Architecture is at Matt’s Gallery until 19th March 2017.
During the summer of 2016 I visited Ian McKeever’s studio in Dorset. Already an admirer of his work for some 30 years or so, access to the studio to see works as yet unfinished or not exhibited before was much appreciated. This included work from his ‘Portrait of a Woman’ series, which was about to be sent to Galleri Susanne Ottesen in Copenhagen. It was intriguing to see that these apparently abstract paintings were linked, conceptually, to Italian portraiture from the 15th century. Hopefully, at some point in the future, this most recent series of paintings will be seen in the UK (although two were exhibited at the RA last summer).
Upon leaving the studio, some small works that seemed familiar from a catalogue in my collection, were propped against a wall and on a shelf; as nothing more than an impression, they suggested possibilities for sculpture, but I thought no more about it. These included some of the photo/painting panels, first exhibited in Copenhagen in 2014, which re-appear in Against Architecture at Matt’s Gallery.