David also curates and writes about art.
David is the curator behind Sim Smith's current group exhibition "New Raw Green".
David's three picks:
Daisy Parris -- Spit
I'm really drawn to Parris' expressive and heavy approach to the image. Everything is put into the space with the utmost determination, but then once all elements are there, the whole thing buckles and twists under the collective pressure. This produces visible cracks and flashbangs of released tension. The use of text gives us something to hold on to, but it doesn't comfort, instead bringing new narrative dimensions.
Jordy Kerwick -- #2
I like this drawing because it recasts the story of Eve and the serpent in the Garden of Eden. Here the serpent is a cobra, reminiscent of a tattoo. It sits on the skin of a mandrill or baboon, whose face screams out at us. Presumably the scream is silent, but it speaks of the underlying tension between the woman (Eve?) and the serpent. The poisonous creature wears a wonky halo, a symbol of false innocence, but nonetheless she has an expression of temptation. Perhaps she is tempting the cobra? Either way we get the feeling that regret follows, a row of rose-like flowers ends in a skull-and-crossbones full stop. Is this the regret that follows an unwanted tattoo?
Douglas Cantor -- Bullseye
The contour of the bull's body is described in a rich orange that suggests the bright sunshine of southern european or central american places. However this kind of image of a bull emerges from the total darkness of caves like Altamira or Lascaux. The strong animal body in silhouette is understood as a timeless image of power and determination that is as old (older?) than human consciousness. To the top and bottom a pattern encloses the bull, pressing in on it and perhaps causing it to violently turn on the spot. In this respect it becomes an image of frustration and thwarted energy.
If you would like to see more of David Surman's work please visit his website: https://www.davidsurman.com
or his Instagram: @Davidsurman_