Walking through Tate Britain's neoclassical Duveen galleries to see a major show or the gallery's permanent and excellent collection of British art, is often a treat in itself.
Phyllida Barlow's 2014 installation felt like the perfect mental introduction to considering the process of making as well as the physical technicalities behind a range of other, unrelated pieces. Although the Tate is often criticised for over valuing the conceptual, Tate Britain has consistently drawn a clear connection and conversation between what is ultimately framed and the challenging and often underestimated creative process.
Since spring this year, the artist Christina Mackie has occupied the Duveen galleries with her three part installation, 'The Filters'. Mackie's vast pigment filters, made out of soft netting and spanning from ceiling to floor, feel incredibly tactile and seem to stand on their own without the philosophies cited in the works' blurbs.
Catch it before it ends on 18 October
Phyllida Barlow's 2014 installation felt like the perfect mental introduction to considering the process of making as well as the physical technicalities behind a range of other, unrelated pieces. Although the Tate is often criticised for over valuing the conceptual, Tate Britain has consistently drawn a clear connection and conversation between what is ultimately framed and the challenging and often underestimated creative process.
Since spring this year, the artist Christina Mackie has occupied the Duveen galleries with her three part installation, 'The Filters'. Mackie's vast pigment filters, made out of soft netting and spanning from ceiling to floor, feel incredibly tactile and seem to stand on their own without the philosophies cited in the works' blurbs.
Catch it before it ends on 18 October