George Shaw: My Back to Nature – National Portrait Gallery, London

“The longer I spend here, the earthier and more profane the collection gets. Even the religious paintings eventually get down from their high horse and meet you on your level. It’s all sex, death, bowls of fruit and flowers, and the odd landscape. That may sound somewhat dismissive, but it’s kept artists busy for 700 years and continues to do so.” George Shaw

George Shaw has spent the last two years as the latest Associate Artist at the National Gallery. Provided with a studio at the gallery his brief is to produce work that responds to art in the collection. A Turner Prize nominee in 2011, Shaw is well known for his paintings of the decaying and depressing post-war housing estates of Tile Hill, Coventry, where he grew up, and for his idiosyncratic medium – the sticky Humbrol enamel paint.Famously used for children’s Airfix kits, the use of this unusual paint has led to the assumption that he used to paint these models as a child. Shaw quickly puts us straight telling us that he never would have played with such mundane toys “I was upstairs trying to be a Velasquez or a Goya”.Living on a daily basis with artworks that that has admired throughout his career (“I still have my Thames and Hudson book on the National Gallery that my mum gave me for a birthday present in the early eighties” ) his first response to the residency was a series of charcoal sketches -14 self-portraits in the various poses taken up by Christ in traditional Stations of the Cross compositions, followed by other sketches and watercolours of trees.Positioned as the first thing the visitor encounters on entering the exhibition, Shaw encourages us to read his work as carrying other, deeper ideas, rather than being just a ‘rehash’ of traditional landscape imagery. Even woodland in the National Gallery paintings would be redolent with religious meaning – lone trees for example being instantly recognisable by a contemporary spectator as the crosses of Calvary. Indeed in illustration Shaw provides us with a stark and beautiful monochrome watercolour of three bare trees.Alluding to the theme of woodland in the collection, ‘My Back to Nature’ resonates with Shaw’s own experience of walking in the woods as a teenager, with the feeling that “something out of the ordinary could happen at any time there, away from the supervision of adults”. Looking through the National’s collection many of the paintings feature mythical events involving incidents outside the accepted norms of behaviour, including violence, illicit sex, and drunkenness that are in similar locations – woodlands near a town which we perhaps see, idealised, in a misty or hilly backdrop.Like Cézanne’s Bathers, Velázquez’s Venus, and all the other great nudes in these halls, in the pastoral tradition, woods and fields are places of desire and dalliance – scenes of intense human drama. Perhaps the moment has just passed or is just about to happen. For Shaw it is a mark on the ground, trampling of leaves, the torn pages of an porn magazines. The School of Love by Correggio, is of Venus, Mercury and Cupid in a leafy bower – Shaw’s version is a striped mattress discarded in a clearing. In another a tree trunk drips with red paint: someone’s rage or someone’s private message.A year in to his residence Shaw ordered three large canvases – exactly the size of the Titian Metamorphoses in the gallery. His painted responses to them show firstly a dark and erotic clearing, in another the tree assaulted with red paint and finally a Titian-blue tarpaulin, dangling ghost-like from the arm of a tree. It is easy to see the religious parallels: life, death and the resurrection.A kid from a suburban housing estate gets unlimited access to the National Gallery’s collection. This was George Shaw’s dream come true and through this perhaps unlikely interaction comes an inspirational exhibition of a special quality.George Shaw: My Back to Nature, National Gallery London is on until 30 October 2016

For more information visit www.nationalgallery.org.uk

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george shaw – the sly and unseen day at the south london gallery

My schedule for visiting exhibitions tends to follow one of two scenarios. First is to visit at the very earliest opportunity – usually on the opening day or two. The other, equally frequently, is to realise the closing is approaching fast and make some panicky last minute plans. That was indeed the case with George Shaw. Not greatly attracted to the hike out to Peckham I delayed several times only to realise it was the closing weekend.

The Sly and Unseen Day turned out to be well worth the expedition in to the wilderness (only joking Peckham residents). The show featured Shaw’s trademark works – scenes from the urban lansdcape of his childhood – the dreary postwar Tile Hill Estate in the West Midlands. From this source the subjects chosen are removed a further stage – we see the remote, unnoticed and ‘unseen’; old metal fences, graffiti-ridden garage doors, park fences, workmens sheds and muddy puddles. The sky is almost invariably a dull grey, it looks like it has just rained – or is just about to. Nobody is present.

Painted in Humbrol enamel, a paint more familiar for those making airfix planes than fine art, the colours are muted. The scenes become strangely detached, the gloss finish also emphasising the depressing damp. The absence of people creating a sense of displacement and dream.

As with many of the best artists there is no need here to read the artists statment or the gallery notes – the message is clear. There is a sense of overwhelming nostalgia which seems to almost seep from the canvas. These are fragments of memory within which there is comes a pervasive sense of the post-war history upon which modern-day Britain is built. Is this the present or the past? It could be either or both, the art hovers in its own space.

Another artist from the Wilkinson Gallery stable, to which Shaw belongs, commented to me that it was very English. It is, but the themes addressed are so universal that I cant imagine even, say, a Japanese tourist, not getting the implied messages. This art – good art – is universal as a Hopper diner or a Ruscha landscape; one instinctively gets the idea.

George Shaw is one of the  selected artists for this years Turner Prize. Can a painter be a favourite to win? Probably not, but he should certainly be a strong contender. Pity the exhibition is now closed – but keep your eyes peeled for his work!

George Shaw at the South London Gallery until 3 July 2011 (now closed).

Represented by the Wilkinson Gallery. Their next show Where Language Stops opens on the 15 July 2011.

Related articles

• George Shaw: The Sly and Unseen Day, South London Gallery, London, review (telegraph.co.uk)
• Next generation turns its back on Emin and Hirst’s conceptual artworks (guardian.co.uk)
• Turner prize 2011 shortlist: Humbrol enamels versus bath bombs and lipstick (guardian.co.uk)
• George Shaw: In Conversation (rikrawling.wordpress.com)