The Living
and the Dead
John Kirby retrospective
13th January 2012 – 15th April 2012
Reviewed by
Not wishing to cause his staunch catholic family any embarrassment, John
Kirby (born 1949) left Liverpool for a life in London that left him free
to be himself. His paintings create an overwhelming sense of solemn alienation,
and sexual disorientation. These are depictions of people locked inside
themselves, posing in role as if to have a photograph taken - reminiscent
of some of Hopper’s paintings. Often created with a dark background,
the pictures are not social narratives so much as existential explorations;
not domestic so much as ritual. A woman is caught the moment before she
washes her hands; the scene is imbued with theatrical (religious?) significance.
A man in funereal suit and tie is caught the moment before he eats The
Last Supper (above). Not even the humdrum sauce bottle can diminish the
solemnity of the occasion.
In a short film John Kirby talks about a dream he had in which he had
murdered someone and buried the body beneath the floorboards. In order
to contain the stench he nailed the boards more and more securely. Two
things are obvious from this easily interpreted dream: the absurd inadequacy
of this act of denial and the sense of appalled shame.
A naked man in a crown and veil prays over a dead rat and you can’t
resist the mischievous thought: has anyone smelt it yet? The sense of
ritual is supported by the appearance of catholic emblems and this, together
with the absence of a social environment, creates a surrealist element.
In one painting two choristers are fighting outdoors whilst a third figure
approaches from very far away – we are on the humorously grotesque
edge of Father Ted territory: what new element of chaos will Father Jack
bring? Or is it Mrs Doyle to quell the savagery with tea on a tray?
Sexual and cultural disquiet is combined in the painting of the black
child just off the boat from Jamaica, juxtaposed with a white, flaxen
haired, female doll. White Wedding has an element of humour: two black
men in white suits are portrayed on the occasion of their civil partnership
ceremony. But your smile soon dissolves when you see the expression in
their eyes. They confront you with their trapped fear and the sense that
they have seen too much. And these unwavering gazes are repeated time
and again, time and again; in child and in adult, the look is the same.
There is also a strand of transvestism in Kirby’s paintings but
the artist has expunged the Lily Savage factor: the theatrical drag-glamour
which masks identity, to show the steady and - I would suggest - courageous
gaze of pain. There is something touchingly innocent about the short-haired
male figure with a naked torso wearing a skirt such as a young girl might
wear. A similar self portrait shows the painter in grey off-the-shoulder
garment decorated with a red flower. This painting has some eroticism,
as has the enigmatic sculpture of a head in a meshed basket which evokes
the fetishism of that inadequate concealment, the veil, together with
the ghoulish idea of decapitation.
And this, perhaps, is the key image: sexuality, and omnipresent censure
when someone smells the exposed rat. Yet the artist has managed to express
compassion for the human condition; hopefully for himself, too.
PS Pop trivia: Virgin of Sorrows, the largest painting in the exhibition,
shows a naked figure (appropriately asexual – it could be a pre-pubescent
male or female) in a white confirmation veil. It was previously owned
by Madonna!
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