Review by Nick Kaplony

Nick Kaplony, the Exhibitions Organiser at the Pump House Gallery in London, has kindly written a review of my work to support an Arts Council application I’m writing. It can be odd to see your name in print.

When first encountering the work of John Elliott one is struck simultaneously and strongly by qualities of colour and structure. Working largely in the realm of sculpture, even forays into other mediums carry a strong sense of preoccupation with these qualities. Be it in combining disparate elements of found materials and detritus in ‘Baba Yagga’s House’ a bizarre hybrid sculpture, or translating email messages into a string of virtual DNA online, his work seems to look at how ‘modules’ connect and how one thing follows another.

The colours vivid and strong, the strange objects Elliott creates bring to mind the building bricks a child uses to first learn about how shapes fit together and how different parts of the world relate. In ‘Untitled 2006 – 01’ an ornate patterned ceramic globe is slotted into a brightly striped block. Here two opposites (both in pattern and structure) have been combined to hugely satisfying effect. They fit. The analogy of childlike enquiry can be continued in reference to the sense of play that is implicit in Elliott’s practice: There is in an experiment taking place in his work, where a bizarre hypothesis is being tested or a slightly absurd logic is being followed. Indeed Elliott frequently references science and genetics in his titles indicating a link with a scientific interest of fundamentals. The work ‘Sonic Hedgehog mRNA’ is a good example of this fusing of science and child’s-play in which a ball of down is propped up on glossily painted ‘legs’ to resemble the structure of a chemical molecule.

Elliott continues to build a practice with an ever more eloquent visual vocabulary exploring the world of ‘things’ and ‘stuff’ with an undiminished and infectious enthusiasm. His work charms and engages, be it with seductive use of colour and surface, or with its idiosyncratic wit. Watch this space!

Nicholas Kaplony
Exhibitions Organiser
Pump House Gallery

A Litmus Test for Art

Do you remember at school messing about with Litmus paper in chemistry lessons trying to find out if things are acid or alkaline, or were you too busy trying to make laughing gas or setting fire to somebodies hair?

I’ve just been to Scotland and saw a (very good) show called ‘Off the Wall’ at Scottish National Gallery of Modern Art in Edinburgh. For those of a thoughtful or tabloid bent, there is always the issue of how to tell if a work of art is actually any good – well I think I have found the answer, take along a toddler.

The little man was overwhelmed by a couple of pieces (literally), one was Martin Creed’s piece ‘Work No. 370 Balls’ (2004), he tried frantically to get in there and play with the balls time and tiem again, fortunately (for us) we managed to stop him.

Martin Creed - Work no.370 Balls

The other piece that passed the toddler test was Jim Lambie’s ‘Zobop’ (1999) – the little man would have been happy running around in room all day long.

Jim Lambie - Zobop

In print again

Coop - network magazine

I’ve got in print again. Whilst that is quite nice, it hasn’t worked out exactly as I’d hoped. There is a double page spread all about me in Network – the magazine for members of the co-operative group. Unfortunately the one thing that I insisted on as a condition (links to COSMIC and flipflops) haven’t happened. The pictures are jaw drop-ingly cheesy, but it’s not every day I get to show some of my work to 50,000 (or whatever people).

The idea behind the piece was that it would be a week in the life of somebody who works for a social enterprise. The trouble is that the majority of my working week is spent writing code, whilst that may me intellectually absorbing to me, to anyone else it just isn’t. I haven’t actually read the article – to tell the truth I am afraid of finding out how my words have been twisted. Not only are the words a paraphrase of my actual words, but they are then are re-written for a reading age of 10.