A Fake’s Progress

Sarah Taylor

  • Sarah-Taylor-Queen-for-a-Day-recycled-fabric-oil-on-linen-various-dimensions-2009
  • Sarah-Taylor-Wallpaper

Sat 2nd March – Sat 6th April

Thursdays / Fridays / Saturdays
11.00 – 4.00
and by appointment

Admission is free

The exhibition A Fake’s Progress comprises work selected from two series of  paintings, Prior Arrangements and The Backside of Labour. The series Prior  Arrangements consists of paintings that are either painted onto, or assembled  from various items of domestic material culture, such as tea towels, dish  cloths, fabric remnants, or printed headscarves. These material domestic items  are stretched over painting stretchers in order to be formally presented and  considered as approximations of paintings. Grouped together and arranged in  ‘lots’, as in an auction, the works are displayed leaning against the wall and  in this form of presentation aspire to count as painting, the most aristocratic  of art forms.

In addition to this series of stretched domestic fabric artifacts, are a series  of large-scale paintings titled The Backside of Labour. These paintings are based  on observations of the underside of machine embroidered clothing labels. The reverse  side of these labels, usually hidden from view, reveal the labour of production by  way of the matted tangles of loose threads. From a collection of small and relatively  ephemeral labels, the appearance of imposing abstract paintings is sought. These  labels provide a parody, visually mimicking the ‘great masculine tradition’ of American  Abstract Expressionism.    Sarah Taylor has produced new work for this exhibition of A Fake’s Progress in the  context of Crescent Arts and Scarborough, following a previous configuration of the  work for her recent exhibition at Leeds College of Art where she currently teaches.

Sarah Taylor studied painting at Chelsea College of Art (1990) and in 2013 was  awarded a PhD (practice led) from the University of Ulster. Exhibitions include  Dirty Knicker Girl, The Gallerette, London & Wall of Guilt, Puriuli Agli Scalzi  Gallery, Venice, Italy. Past support and funding has been awarded by the British  Council, Southern Arts, the Welsh Arts Council and DEL (Belfast).    Alison Rowley is Reader in Cultural Theory in the School of Art, Design and  Architecture at the University of Huddersfield. Her book Helen Frankenthaler:  Painting History, Writing Painting was published by I.B. Tauris in 2007. Her  writing on contemporary art includes essays on AES+F, Chantal Akerman,  Eva Hesse, Willie Doherty, Sarah Lucas and Jenny Saville. Her new book  ‘Common Gestures Class Acts: Young British Art in Retrospect’ will be  published by I.B. Tauris in 2013.

Aspirational Beauty, an essay by Alison Rowley