1/05/2018 — 5/05/2018


Allison Katz

Allison Katz, The Green Closet (2018)

Image: Courtesy the artist and the Approach.

Representing the artist’s diverse practice and her refusal to see painting as an independent or privileged mode of production, Katz presents a trilogy of works comprising painting, sculpture and print.

Acting in the spirit of continuity that is at the heart of the fig-futures project, Katz’s exhibition picks up where her presentation for fig-2 left off. The painting Tailpiece, originally shown as part of fig-2 at the ICA, London in 2015, is re-presented here; acting as a link between years and locations. While literally depicting a car, the painting also metaphorically suggests a journey, one that is both physical (the distance between the two locations) and contextual (the painting inevitably reads differently in this new setting).

As a further example of the idea of continuity, Dad Sand 1 Plate 1, links to another of Katz’s paintings which was also shown in fig-2. Seen initially in this earlier work, the central image of the seated figure is now referenced and recreated as a ceramic plate, emphasising the mobility of a motif not only to travel across time and locations, but also across mediums.

Completing the trilogy is a new poster work. The starting point for this print, the image of a woman bathing in a mountain hot spring, was picked up by the artist on her recent travels in Japan. Re-used and re-contextualised in this new work, the ‘black pool’ in which the woman bathes acts a visual and linguistic pun drawing our attention to the name of the town in which the Grundy is located.


fig-futures is a programme of 16 week-long exhibitions across four venues around the UK in 2018 and 2019, and draws on the same curatorial framework as fig-2 at the ICA Studio, London in 2015. Grundy Art Gallery is the first institution to exhibit as part of programme across May 2018. For more information visit fig2.co.uk

fig-futures, supported by Arts Council England, Art Fund and Outset.