Jack Brindley & Nick Jensen: Staring at the Sun & Jorge Diezma: Después de todo, Pececillo

08/02/2020 - 07/03/2020

Union Gallery is pleased to present Staring at the Sun, a joint exhibition between Jack Brindley and Nick Jensen. Taking its stance from the narrative of knowledge bases, and how ideas themselves have a trajectory and history. Conceived from discussions which leapt between Donald Rumsfelds’ ‘Known Knowns’ 2002 Iraq war speech, Ellsworth Kelley, Japanese Modernism, and T J Clarkes’ idiom of the window in Picassos’ ‘Three Dancers’ painting.

The exhibition brings into question how we perceive space and territories, via presence within absence. This came from Brindley and Jensen’s interest in wabi-sabi, a Japanese view on aesthetic, challenging the imperfect, impermanent, and incomplete. They create a provisional space with various potentials on perspective.

The title of the exhibition, Staring at the Sun, confronts the act of gazing directly at the sun where we enter a visual and physical unease, stimulating the artists desire for a created haze within the presentation. Loose narratives occupy the works, giving portals into a dream-like melancholic state.

Brindley lives and works in Glasgow, UK

Jensen lives and works in London, UK


A text by Jack Brindley

Found dumb, Lucifer was once the brightest star. An opalescent miracle bleached out by the sun as it crashed down toward the horizon at dawn. A light-bearer fallen from a sky taut and black, converted to a bored architect spacing out known unknows. Stuttering blankly into the void, A sky so massive.

Distances and spaces extending away from themselves, and elegiac memories stretched to cover unencountered territories. Windows replaced with mirrors, whited out and impulses strained as fake histories are assembled.

Pure white Paintings straining perceptions, sculptures as pavilions, provisional spaces that try and hold onto an immaterial future, temporary sites of autonomy. mirrors and text artwork emerging from mist, like visions through a post-industrialist haze. Retrofitting poetry into bank statements, loose threads difficult to tie up. Artists like dumb poets, weaving materials with immaterial desires. A paradoxical situation a bit like Foucualts Heterotopias, a ‘no-place’ realised. Smithsons mirror displacement series photographed on Ebay.


Union Gallery is pleased to present Después de todo, Pececillo featuring Jorge Diezma’s latest little paintings.

después de todo, Pececillo,

tal vez alguna razón existe

After all, little fish,

there might be a reason

The title of the exhibition and verse presented comes from Diezma’s great admiration of Peruvian poet José Watanabe. The words are taken from Watanabe’s The Fossil poem questioning life long ago with ours today. Diezma connects this text with his little paintings as his practice is constantly looking at his painting past to fulfil his present.

Obvious connections with the history of painting link a Diezma’s work with his cotemporary practice. Painting of the Baroque, gestural abstraction, still life painting, amateur painting, and plagiarized elements all fit within Diezma’s ever expanding little paintings practice.

Diezma challenges painting with his scale. The little paintings are tactile, their materiality is appealing. The works become souvenirs of Diezma’s existence, his fascinations and perspective.

Each painting magnifies our focus, telling their own abstract narratives, yet leaving out the story. A captured moment is presented, as if peeping through a keyhole. The physical relationship between the viewer and the work is dictated, we are invited in.

Diezma lives and works in Mallorca, ES