Adrian Jeffery
Credit: Adrian Jeffery.
By permission of the artist.
Adrian Jeffery
Credit: Adrian Jeffery.
By permission of the artist.
In reviewing the work of Adrian Jeffery (AJ), I have two problems: a) I'm his brother and biased in his favor; b) of art, I know nothing to speak of. This review is offered faute de mieux. The review is principally based on the works shown at Nightwatch Studio.
The first thing that strikes one is that AJ's work is dark, centers on the human body, has sexual resonances, and studies human pain. It is no surprise that Francis Bacon (see also Art.com: Francis Bacon and Wikipedia: Francis Bacon) is one of AJ's most admired artists. AJ's people are often monstrous and in monstrous embrace. This reminds one of David Cronenberg's remarks on his film The Fly: they went something like this: either through disease or age, we all become monsters at some time in our lives. David Cronenberg's point was that love and tenderness can reach beyond this---it must if the soul/self has any meaning and value, because appearance is superficial. Of course, good appearance often implies/means good physical and mental health---and those are preciously good things for society and individuals. But the people who don't have those good things are not to blame in any final sense. Either in body or mind, they are wounded people: these are AJ's people. AJ's people are also isolated: mostly they appear in confined spaces, or in confining darkness. Even in embrace, the persons seem remote from each other by posture or color. The oneness and joy of sex seems absent. The effect AJ aims at it seems is shock, recoil, compassion. But the compassion part comes mostly from reflection: not something obvious in the design elements.
Now art works are chosen to be part of one's mental or, if you will, spiritual universe. The works are outward expressions of one's own character---or the character one aspires too. There are, of course, many aspects to character, and so many art themes: e.g., flowers, hunting scenes, adventures, landscapes, fruit bowls, abstractions, or even just technical exercises for those who admire technique itself. AJ's works are not comfortable mental adjuncts in most moods. And unlike landscapes are difficult to casually ignore---one does get accustomed to them after awhile I suppose. Living rooms are out. Perhaps, a personal office or study. It is difficult to find a place for them.
I have suggested to AJ that he widen his themes. He says angels are out of the question---everyone does angels: they are glut on the market. How about refugees? They were the story of the 20th century and seem to be likely the story of the 21st century. Either environment or human malice---mostly the latter it seems---have made refugees a growth industry. It may be in the future that we will all be refugees---and probably for more than 15 minutes. And refugees include all the stages of life and all the artifacts a human can carry and all the work, animals, and pets of humankind.
AJ can also do a good portrait.
Thanks for the review. It's fine, though I don't agree with some of it. I admire Bacon's work, but stylistically, I don't paint like him, although I feel the urge to move in a more "expressionistic" direction. I don't see the figures as monstrous. I don't particularly aim to be shocking, but I do like intensity. The problem with doing refugees is that it would tend to pathos and the political. I don't tend to like political art. Photo-journalism and political cartoons do that much better I think. Though I do like the old socialist-realist paintings of Stalin or Lenin inspiring the proletariat with messianic fervour. I should someday write an artist's statement. It's considered de rigeur these days.
Adrian Jeffery at his show at the Intolerant Gallery, 2009 May.
Credit: Roland Meisel.
Adrian Jeffery at his show at the Intolerant Gallery, 2009 May.
Credit: Roland Meisel.
Adrian Jeffery at his show, 2010 February.
Credit: Unknown.