Recent painting and sculpture

Ken Unsworth's reputation as an artist is based mainly on his sculptural work, performance and installations. However, during the last two years, a number of his drawings have been exhibited. Their medium - a combination of aluminium and bituminous paints - is new, but the drawing itself goes back to the beginning of his career. What had been a very personal activity, more or less restricted to the studio, is now mounted, framed and hung on gallery walls.

The relationship between Unsworth's drawing and his other activities is an interesting one. In this exhibition a static sculpture, Table Piece, has been placed in the midst of some drawings - and an audience, not looking at the labels, could easily be excused for for not realising that they were all works by the same artist. On the face of it, stylistically, the drawing and the sculpture have little or nothing in common. One is as controlled as the other is spontaneous. One maintains as stiff an upper lip as the other gives itself a free rein. The sort of tension, severity and minimalism of the sculptural pieces - a certain balance - does not exist in the drawings. Admittedly, the balance is precarious, but that is the point. The work can easily upset, a calamity is imminent. For example, the massive riverstones in Table Piece are suspended by thin wire, always on the verge of breaking. The uneasy feelings, which accompany the apprehension of this balance in Unsworth's sculpture, are what make it compelling.

Anxieties, obsessions and fears exist beneath the tightrope. Or in the mind of the tightrope-walker. These are what Unsworth represents in his drawings - the monsters which inhabit an irrational world in his mind.

Emaciated figures falling from apocalyptic skies. Strange Rabel-aisian births, smaller figures escaping as they burst out of rib cages. A feathered creature, with a human head, lies on its back as a bird flies out of its mouth. A dark ominous figure holds up a mirror, which reflects the face of someone who isn't there. It is as if, for a change, the artist is providing answers, rather than posing questions.

JONATHAN WATKINS
September 1985.