Madelynn Green : Gatherings

Taymour Grahne is pleased to present 'Gatherings', an online solo show by American-born, London based artist Madelynn Green, launching virtually on July 20, 2020. Referencing the visual language of film photography, Madelynn Green’s paintings function as the physical embodiments of underrepresented histories, in addition to visually engendering social and political concepts. 'Gatherings' includes a series of paintings addressing the collective and emotional aspects of crowds. These works further interrogate the formal qualities of crowds, in particular their composition and materiality; the positioning of figures inadvertently creates abstract forms. The paintings also address the subjectivity of the crowd over the individual. In the context of Covid-19, these works evoke a heightened appreciation for the personal and political utility of gatherings.

Crowds are marked by dynamic movement and rapid change. After culling through her own personal archive and researching videos of club scenes, Green became preoccupied with pausing the frenetic movements she observed and creating focused snapshots. When these scenes are  immortalized in paint, contrary associations come to the forefront. Contemplation, insecurity, introspection, and desire are laid bare. The paintings are meditations on the communities and connections that arise from group settings. Many paintings depict crowds inside clubs and at parties. These are often generative spaces for mass culture, as well as important zones of self-affirmation for marginalised groups.

The interpersonal connections forged within crowds - whether through dance or conversation, are how ideas transfer from the individual to the public realm. While some scenes are imagined, others come from video references shot by Green herself, her family and also from discoveries in the archives such as Soul Train (1970's) and the New Dance Show (1990's). Green’s interest in group dynamics comes from her experience as a twin. The notion of “togetherness” shapes her worldview and sense of self. For her, the group is the natural default. Thus, a central interest for Green is how one situates themselves in relation to others. The act of looking at these paintings places the viewer within the crowd and allows them to ponder this question.