Daniel Sinsel

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Daniel Sinsel
© the artist, courtesy Sadie Coles HQ, London
Daniel Sinsel, installation view at Sadie Coles, 2012

A finger (or is that a phallus?) protrudes from a tar-smothered canvas. It keeps company three other clay forms, each beckoning, pointing or poking insistently out at the viewer. This is Daniel Sinsel's most sexual piece here, though still a polite world away from the overtly pornographic male nudes and playful portraits (a man with nuts in each cheek, for example) he was painting at the beginning of his career. The selection of new works is more abstract too than some of his more recent sculptures, which borrowed from classical Greco-Roman art and took obvious delight in evoking the erotic.

Despite being less titillating, though, these works are still invitingly tactile. Nuts push out from beneath woven linen, a series of looped straps cascade from a blood-red canvas and coloured glass discs emerge from the taut fabric that they've been sewn into. It would be unfair to suggest that sex, bondage and nipples are all Sinsel is conjuring here, though he certainly succeeds in exploring the way simple shapes and textures can provoke a cheeky nudge and a wink.

Beyond this, the work continues the artist's interest in the trompe l'oeil effect through two paintings depicting folding, tangled ribbon. And, as a whole, the show also re-affirms his affinity with everyday materials and a strong craft-based aesthetic. It would be good to have seen a wider selection of work, but succinct as it is, it still demonstrates the artist's gleeful pleasure in suggestive forms.

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