Pentimenti (The Corrections)
(2023)
The Sun Shines Through a Hole in the Clouds
Materials: Vegetable dye on textile.
Dimensions: L 2500 x W 550 cm
Bulk: Everlasting Colour
Materials: Acid dye on textile.
Dimensions: L 640 x W 340 cm
The Force that Seems to Beckon
Materials: Metal grates, and UPRISINGS (troppo lento), 4-channel audio by Hannah Catherine Jones.
Dimensions: L 118.8 x W 57.8 cm each, 20 mins 24 secs (loop).
Pentimenti (NG2670)
Materials: Giclée print on Hahnemühle Photo Rag, framed
Dimensions: H 61.9 x W 46.4 x D 3.8 cm
Original painting: Portrait of a Woman (c. 1500s), Unknown artist
Pentimenti (NG280)
Materials: Giclée print on Hahnemühle Photo Rag, framed
Dimensions: H 75.4 x W 53.2 x D 3.8 cm
Original painting: The Virgin and Child (1480-90), Giovanni Bellini
Pentimenti (NG2595)
Materials: Giclée print on Hahnemühle Photo Rag, framed
Dimensions: H 90.4 x W 71.9 x D 3.8 cm
Original painting: The Virgin and Child (1465), Dirk Bouts
Pentimenti (NG751)
Materials: Giclée print on Hahnemühle Photo Rag, framed
Dimensions: H 91.4 x W 68.4 x D 3.8 cm
Original painting: The Virgin and Child (1488), Giovanni Santi
Pentimenti (NG687)
Materials: Giclée print on Hahnemühle Photo Rag, framed
Dimensions: H 62.1 x W 39 x D 4 cm
Original painting: Saint Veronica with the Sudarium (1420s), Master of Saint Veronica
In Pentimenti (The Corrections), new works of art by Artist in Residence Céline Condorelli exposed our surroundings in ways mostly invisible to the naked eye.
‘Pentimenti’ (Italian for ‘regrets’) are the early stages of a picture which, when revealed by scans, show evidence of an artist’s corrections. Condorelli invited us to become aware of our own way of seeing, to pay attention to the space and materials of the National Gallery, how we behaved in it, and how it is connected to the world outside.
Her installation transformed Room 31: a richly coloured print draped and filtered daylight entering through the skylight. A large rug replaced the museum’s benches and a soundscape by Hannah Catherine Jones, of voices and music of Trafalgar Square filled the room through the specially designed air vents on the floor.
Based on research conducted since the beginning of the one-year residency, she came to understand museums as ‘machines for seeing’ that teach us how to perceive and value art. The printed textiles contained technical images of all the materials in the room – such as marble, wood and wall fabric – made with the National Gallery’s Scientific Department using methods usually applied to paintings.
See Céline talk about her experience of working at the National Gallery and her exhibition here.
See Guardian review here.
The National Gallery Artist in Residence is a collaboration with the Contemporary Art Society.
Programme sponsored by Hiscox.
