Unprinted at Paul Stolper gallery, London, is an extensive overview of the art of YBA Angus Fairhurst (1966-2008). Running until 30 August, the exhibition brings together his printed works from 1992 to 2006, including silkscreens and etchings. Founder and Director of the gallery, Paul Stolper speaks to Aesthetica about the unique elements of Fairhurst’s practice and the ideas behind the current exhibition.
A: This is the first comprehensive review of Angus Fairhurst’s graphic work since his death – why do you think now is a good time to exhibit his work?
PS: As many of the YBA’s have become established internationally as major artists of their era, it is the perfect time to reflect on the work of Angus Fairhurst and to study his graphic work in depth. Whilst the pace of contemporary art today is frantic, with a constant deluge of fairs and exhibitions, Unprinted gives the audience an opportunity to reflect on one of the quieter artists of his generation.
A: What is unique about Fairhurst’s work – that makes him stand out from the other YBAs.
PS: Many of the YBA artists, including Angus, exhibited together in seminal early exhibitions such as Freeze (1998) and the landmark group shows including Gambler (1991) at Building One, London and In-a-Gadda-da-Vida with Sarah Lucas and Damien Hirst at Tate Britain (2004), their work is very different. Angus’ art is possibly more introspective than his contemporaries.
A: When putting this exhibition of Fairhurst’s work together what did you consider?
PS: It was important to be as comprehensive as possible whilst focusing primarily on Angus’ graphic work from 1992 – 2006. I wanted to illustrate the link between his original collage works and the three Unprinted etchings and drypoints and so borrowed three collages for the exhibition which makes the show both a retrospective as well as instructive in revealing the artist’s practice.
A: When choosing new artists to work with, what do you look for?
PS: I always keep looking. I am constantly going to shows to see what people are doing, what new mediums artists are working in and find out how they are presenting their work and subject matter. I usually trust my instinct with younger artists and ensure that their work relates to those artists I already exhibit. I also want to add more established artists that complement areas I already concentrate on. Angus is a good example, he has exhibited with both Damien Hirst and Sarah Lucas, both of whom I exhibit.
A: What do you have planned for the future of your gallery?
PS: I want the physical gallery space in London to be the focus for all the projects we do, which today is so varied and international. It includes exhibitions, publishing and also other projects including The Silence Between, week-long sound installations that have run in-between shows. Upcoming exhibitions include Damien Hirst’s Schizophrenogenesis (9 October – 15 November), Peter Blake’s Sideshow and Keith Coventry’s Junk.
Angus Fairhurst: Unprinted, until 30 August, Paul Stolper, 31 Museum Street, London, WC1A 1LH. Find out more at www.paulstolper.com
1. Angus Fairhurst, When I woke up in the morning the feeling was still there, 1997 4 Screenprints Each 87.5 x 66.3 cm. Edition of 45.