Painting as Document

Andrew Grassie
July 31 – September 27, 2008

Painting as Document, 2008

Talbot Rice Gallery, The University of Edinburgh

 

Grassie’s paintings of exhibition views have a stillness that sometimes belies their subject matter, for example those of the process of installation. The images have a timeless quality, even though they also suggest an action is taking place, that the inhabitants of these spaces had perhaps only briefly left the room or wandered offstage or off screen. 

 

Photo © Andrew Grassie

Painting as Document, 2008

Talbot Rice Gallery, The University of Edinburgh

 

Grassie’s paintings of exhibition views have a stillness that sometimes belies their subject matter, for example those of the process of installation. The images have a timeless quality, even though they also suggest an action is taking place, that the inhabitants of these spaces had perhaps only briefly left the room or wandered offstage or off screen. 

 

Photo © Andrew Grassie

Painting as Document, 2008

Talbot Rice Gallery, The University of Edinburgh

 

Grassie’s paintings of exhibition views have a stillness that sometimes belies their subject matter, for example those of the process of installation. The images have a timeless quality, even though they also suggest an action is taking place, that the inhabitants of these spaces had perhaps only briefly left the room or wandered offstage or off screen. 

 

Photo © Andrew Grassie

Painting as Document, 2008

Talbot Rice Gallery, The University of Edinburgh

 

Grassie’s paintings of exhibition views have a stillness that sometimes belies their subject matter, for example those of the process of installation. The images have a timeless quality, even though they also suggest an action is taking place, that the inhabitants of these spaces had perhaps only briefly left the room or wandered offstage or off screen. 

 

Photo © Andrew Grassie

Painting as Document, 2008

Talbot Rice Gallery, The University of Edinburgh

 

Grassie’s paintings of exhibition views have a stillness that sometimes belies their subject matter, for example those of the process of installation. The images have a timeless quality, even though they also suggest an action is taking place, that the inhabitants of these spaces had perhaps only briefly left the room or wandered offstage or off screen. 

 

Photo © Andrew Grassie

Painting as Document, 2008

Talbot Rice Gallery, The University of Edinburgh

 

Grassie’s paintings of exhibition views have a stillness that sometimes belies their subject matter, for example those of the process of installation. The images have a timeless quality, even though they also suggest an action is taking place, that the inhabitants of these spaces had perhaps only briefly left the room or wandered offstage or off screen. 

 

Photo © Andrew Grassie

Painting as Document, 2008

Talbot Rice Gallery, The University of Edinburgh

 

Grassie’s paintings of exhibition views have a stillness that sometimes belies their subject matter, for example those of the process of installation. The images have a timeless quality, even though they also suggest an action is taking place, that the inhabitants of these spaces had perhaps only briefly left the room or wandered offstage or off screen. 

 

Photo © Andrew Grassie

Painting as Document, 2008

Talbot Rice Gallery, The University of Edinburgh

 

Grassie’s paintings of exhibition views have a stillness that sometimes belies their subject matter, for example those of the process of installation. The images have a timeless quality, even though they also suggest an action is taking place, that the inhabitants of these spaces had perhaps only briefly left the room or wandered offstage or off screen. 

 

Photo © Andrew Grassie

Painting as Document, 2008

Talbot Rice Gallery, The University of Edinburgh

 

Grassie’s paintings of exhibition views have a stillness that sometimes belies their subject matter, for example those of the process of installation. The images have a timeless quality, even though they also suggest an action is taking place, that the inhabitants of these spaces had perhaps only briefly left the room or wandered offstage or off screen. 

 

Photo © Andrew Grassie

Installation: Maaike Schoorel, 2006

Tempera on paper

 

Grassie’s paintings of exhibition views have a stillness that sometimes belies their subject matter, for example those of the process of installation. The images have a timeless quality, even though they also suggest an action is taking place, that the inhabitants of these spaces had perhaps only briefly left the room or wandered offstage or off screen. 

 

Photo © Andrew Grassie

Installation: Banks Violette, 2006

Tempera on paper

 

Grassie’s paintings of exhibition views have a stillness that sometimes belies their subject matter, for example those of the process of installation. The images have a timeless quality, even though they also suggest an action is taking place, that the inhabitants of these spaces had perhaps only briefly left the room or wandered offstage or off screen.

 

Photo © Andrew Grassie

Installation: Seb Patane, 2006

Tempera on paper

 

Grassie’s paintings of exhibition views have a stillness that sometimes belies their subject matter, for example those of the process of installation. The images have a timeless quality, even though they also suggest an action is taking place, that the inhabitants of these spaces had perhaps only briefly left the room or wandered offstage or off screen. 

 

Photo © Andrew Grassie

Installation: Gillian Wearing, 2006

Tempera on paper

 

Grassie’s paintings of exhibition views have a stillness that sometimes belies their subject matter, for example those of the process of installation. The images have a timeless quality, even though they also suggest an action is taking place, that the inhabitants of these spaces had perhaps only briefly left the room or wandered offstage or off screen. 

 

Photo © Andrew Grassie

The Studio: The Hugh Lane Gallery, Dublin, Number 1 (of 4), 2006

Tempera on paper on board

 

Grassie’s paintings of exhibition views have a stillness that sometimes belies their subject matter, for example those of the process of installation. The images have a timeless quality, even though they also suggest an action is taking place, that the inhabitants of these spaces had perhaps only briefly left the room or wandered offstage or off screen. 

 

Photo © Andrew Grassie

The Studio: The Hugh Lane Gallery, Dublin, Number 2 (of 4), 2006

Tempera on paper on board

 

Grassie’s paintings of exhibition views have a stillness that sometimes belies their subject matter, for example those of the process of installation. The images have a timeless quality, even though they also suggest an action is taking place, that the inhabitants of these spaces had perhaps only briefly left the room or wandered offstage or off screen. 

 

Photo © Andrew Grassie

The Studio: The Hugh Lane Gallery, Dublin, Number 3 (of 4), 2007

Tempera on paper on board

 

Grassie’s paintings of exhibition views have a stillness that sometimes belies their subject matter, for example those of the process of installation. The images have a timeless quality, even though they also suggest an action is taking place, that the inhabitants of these spaces had perhaps only briefly left the room or wandered offstage or off screen. 

 

Photo © Andrew Grassie

The Studio: The Hugh Lane Gallery, Dublin, Number 4 (of 4), 2007

Tempera on paper on board

 

Grassie’s paintings of exhibition views have a stillness that sometimes belies their subject matter, for example those of the process of installation. The images have a timeless quality, even though they also suggest an action is taking place, that the inhabitants of these spaces had perhaps only briefly left the room or wandered offstage or off screen. 

 

Photo © Andrew Grassie

Painting as Document

Andrew Grassie
Talbot Rice Gallery, The University of Edinburgh
July 31 – September 27, 2008
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