To coincide with the display of his work in the ISelf Collection: The End of Love, Jim Lambie has created an edition of 40 hand-finished prints especially for the Whitechapel Gallery. Similar to his floor work, Zobop, Lambie has used bands of vibrant colour to create a striking optical effect. Concentric circles give the illusion of movement or expanding space as they appear to reverberate outwards. Lambie, who is interested in music and pop culture, has created a kaleidoscopic image akin to the format of a phonograph record or a psychedelic rock n roll poster, as well as a pop art aesthetic alluding to the target paintings of Jasper Johns and Peter Blake.
A burst of colour has been hand-sprayed by Lambie onto the centre, or bullseye, of each print. Drips of paint have hardened in relief from the flat backround, interrupting the optical illusion of the circles. The title of the edition, Sunspots, references similar visual phenomena: dark spots on the sun’s surface or a sensory blast on the retina from staring into bright light.
Jim Lambie's (b. 1964, Glasgow, UK) practice evolves from a response to the psychology of space and colour and is influenced by movements in art and the history of place. His sculptures and large floor installations incorporate familiar and common ephemera found in markets and jumble sales, including records, potato sacks and plastic bags. Using a DIY economy of means, Lambie riffs on popular culture and music alongside art historical references. Lambie lives and works in Glasgow, UK.
Recent solo exhibitions include ‘Op Art in Focus’, Tate Liverpool, Liverpool, 2018; ‘If I go there, I won’t stay there’, Ltd Los Angeles, Los Angeles, 2018; ‘Eurovisions: Contemporary art from the Goldberg collection’, Canberra Museum and Gallery , Canberra, 2018; ‘Innovative Printmaking’, Glasgow Print Studio, Glasgow, 2018; ‘Totally Wired’, Franco Noero, Turin, 2018; ‘Spiral Scratch’, Pacific Place, Admiralty, Hong Kong, 2018; ‘Both Ends Burning’, Konrad Fischer Galerie, Dusseldorf, 2018; ‘Electrolux’, The Modern Institute, 14—20 Osborne Street, Glasgow, 2016; ‘La Scala’, Gerhardsen Gerner, Berlin, 2016; ‘Derrick Alexis Coard, Glasgow International’, Project Ability gallery, Trongate 103, Glasgow (Installed in collaboration with Jim Lambie), 2016; ‘Train in Vein’, Anton Kern Gallery, New York, 2015; ‘Zero Concerto’, Roslyn Oxley9 Gallery, Sydney
‘Sun Rise Sun Ra Sun Set’, Rat Hole Gallery, Tokyo, 2015.
