Britta Pollmuller and Les Bicknell
The Cut, Halesworth
> The Cut, Halesworth
Striving to draw the viewer's attention to the sheer physicality of painting as a medium, Britta Pollmuller's work features visible brushmarks and surfaces that have been worked up with her bare hands. It's a hit and miss process, and perhaps the piece entitled 'I don't know what to paint' ought be retitled 'I don't know how to paint'. The political piece 'And you' featuring the American flag enveloped in a shroud-like layer of white emulsion with suitably slanderous sneer at George W Bush is displayed for full impact next to the German flag, which by contrast is emblazoned with a freedom slogan.
Les Bicknell's small chamber constructed from the pages of Arthur Mee's Children's Encyclopaedia reveals his obsession with books. Although the index is crafted together and laid out as an expansive reference, thereafter sequential notion is thwarted and the pages interface by virtue of Bicknell's careful consid-eration. This creates some fascinating double images, brightly illuminated from within the fragile cavern, such as an ocean liner sailing implausibly through woodland.
However it was the poetry readings that excelled. The varied pace of Rupert Mallin's anecdotal 'Broken' odes and Lisa D'Onofrio's whimsical 'Trolley Trilogy' enthralling those assembled. In this third exhibition by the InPrint collective of artists and poets, whose mission is to bring text and image together, Tim Lenton bestows abstract geometric painting 'Blue' by Annette Rolston with a provokingly portentous narrative. And I was fascinated by 'I grew her so fat, so she filled the room', a feeder fetish poem by Lisa D'Onofrio that further enlivens Bronwen Edwards's adipose appliqué ladies, whose fleshy torsos strain to shatter the glass that encases them.
t Until April 9
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