London

Simon Edmondson

Nicola Jacobs Gallery

Simon Edmondson’s paintings are educated work. They are loaded with respectful allusions to artists he evidently admires, from Frank Auerbach (Asleep in the Daytime II, 1984) and Oskar Kokoschka (Alternatives, 1983–84) to Philip Guston and Christopher LeBrun, who seem to haunt everything he makes. Edmondson plainly understands painting as a process of assimilation, for there is a colleaguely feeling about all his adaptations of technique and image-handling from other artists. If his influences do not yet seem fully digested, it should not be surprising. He is a young artist—29 years old—who seems to be working hard, to judge by the labor in his canvases, without rushing things.

The central intuition of Edmondson’s work is that painting preserves textures of experience that are increasingly unavailable elsewhere in the contemporary world. The mingling of matter and imagination that only

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