Inviting the Dawning Light is inspired by the iconic closing number of the musical Hair, first taking the stage in 1968. Emblematic of the ’60s cultural revolution, the tune became symbolic of the era’s transformative aspirations. The exhibition at Pilar Corrias in London leverages the idea of a new day to explore artists’ reactions to pivotal socio-political shifts spanning the last six decades, from peace marches to landmark legal decisions.
Presenting a medley of contemporary photographs, sculptures, and paper works, the collection strikes a tone of tentative optimism. Will the coming daylight usher in an era of renewal? Sofia Mitsola (b. 1992) challenges our weariness with her oil on canvas piece, Matrona. Positioned on the right, a sea deity brandishes a crimson trident with mischievous flair, adorned with golden earrings and a streamer-styled swimsuit. A menacing red sun hangs in the backdrop, hinting at tumultuous undercurrents ahead. It marks the beginning of numerous portrayals that contemplate the role of illumination or its extinction.
The collective exhibit not only prompts us to choose a moment in time to inhabit but also serves as a cautionary directive to make that choice with wisdom. Kat Lyons’ (b. 1991) haunting dusky scene, Still More Changes (2022), depicts a dystopian future that looms if we do not. In a grim foreshadowing reminiscent of The Godfather (1972), a horse’s severed head lies abandoned in the mire. Hovering above are two colossal creatures—a behemoth ant and frog—mastering the expanse. Lyons paints with an earth-toned yet fantastical touch that evokes the styles of Otto Marseus van Schrieck and Salvador Dalí.
In Dylan Thomas’ (1914-1953) renowned radio play Under Milk Wood (1954), a curmudgeonly matron quips about the sun’s entry, advising caution lest it track in dirt. The artists featured in this exhibition pay little heed, instead leaving a trail of vibrant and bold hues throughout the gallery space. Despite its audacity, the explosion of atomic hues seems to capture a moment in time, evoking a wistful nostalgia. Many of the landscapes, shrouded in a hallucinogenic facade, remain suspended between epochs, illustrating the tension between what was and what might be as we navigate a cultural renaissance.
Pilar Corrias | Ends 18 February
Words: Jack Solloway
Image Credits:
1. Lina Iris Viktor, No. XXV We once sought refuge there., (2019). Pure 24 carat gold, acrylic, ink, print on cotton rag paper, 25.9 x 21.6 cm, 10 1/4 x 8 1/2 in. Courtesy the artist and Pilar Corrias, London
2. Rachel Rose, Good Morning Midnight, (2022). Chromogenic print face-mounted to Diasec, 213.4 x 182.9 cm, 84 x 72 in (#1/3). Courtesy the artist and Pilar Corrias, London
