Published to accompany Rachel Howard’s solo exhibition of new paintings at Gagosian Gallery, Los Angeles in January 2007, this catalogue includes eight full colour reproductions and an essay by Sue Hubbard, which frames a rational context for these paintings and offers a background to their aesthetic value.
Using household high-gloss paint, Rachel Howard creates tension between the pedestrian, the utilitarian and the essentially romantic. She employs gravity to influence the paint’s direction, with layers of poured building up, allowing a combination of the weight of the gloss, precision and chance to determine the landscape of each work. In these new paintings, Howard controls her medium to create grid-like imagery stretched over the canvas. There are no visible brushstrokes, no marks that suggest an intimacy with the movements of the artist, or any sinewy lines to recall the trace of her hand. Her paintings are built architecturally. The terms she uses are those of the builder: construction, reconstruction, building, layering and assembling. The mundane material she utilises stands in antithesis to the emotional states she wishes to explore: “This is spirituality for a postmodern world.”
Howard was born in County Durham and graduated from Goldsmiths College, London, in 1991. She was awarded the Princes Trust Award in 1992 to support her art practice, was shortlisted for the Jerwood Drawing Prize in 2004 and received the British Council Award in 2008. Recent solo exhibitions include: Northern Echo, Blain|Southern, London (2014); Folie à Deux, Blain|Southern, London (2011); Repetition is Truth, Museo d’Arte Contemporanea Donna Regina, Naples (2011);Still Life / Still Here, Rachel Howard, New Paintings, Sala Pelaires, Palma de Mallorca (2011); Human Shrapnel – oil drawings on paper, Other Criteria, London (2010); Der Wald, Haunch of Venison, Zurich (2009);Rachel Howard: invited by Philippa van Loon, Museum van Loon, Amsterdam (2008); How to Disappear Completely, Haunch of Venison, London (2008); and Rachel Howard – New Paintings, Gagosian Gallery, Los Angeles (2007).
Recent group exhibitions include: Invitation to a Beheading, curated by Rachel Howard, Marianne Boesky, New York, US (2013); Drawing Biennial, Drawing Room, London (2013); Freedom Not Genius, curated by Elena Geuna, Pinacoteca Giovanni e Marella Agnelli, Turin (2012) touring to Multimedia Art Museum, Moscow, (2013); Gravity and Disgrace, curated by Rachel Howard, Blain|Southern Gallery, London (2012); Summer Exhibition 2012, Royal Academy, London (2012); Vanitas – The Transience of Earthly Pleasures, All Visual Arts, London (2010); Kupferstichkabinet – Between Thought and Action, White Cube, London (2010); Modern Times, Kettle's Yard Cambridge and De La Warr Pavilion (2010); Mythologies, Haunch of Venison, London (2009); RED Auction, Sothebys at Gagosian Gallery, New York (2008); In the darkest hour there will be light: works from Damien Hirst’s Murderme collection, Serpentine Gallery, London (2006); Jerwood Drawing Prize, London (2004), Intuition/(im)precision, (curated by Thomas Krens, Director of the Guggenheim Foundation) Galerie Thaddaeus Ropac, Saltzburg, Austria (2004); Shimmering Substance (curated by Barry Shwabsky and Katsou Roberts) The Cornerhouse, Manchester and Arnolfini, Bristol (2002) and The Choice, Exit Art, New York, NY (1998).
Howard’s work can be found in a variety of public and private collections, amongst others: Ackland Art Museum, North Carolina; Museum van Loon, Amsterdam; David Roberts Foundation, London; Goss-Michael Foundation, Dallas; CCA Andratx, Spain; Olbricht Collection, Berlin; and the Tate Archive and the Murderme, Hiscox and Jerwood collections, London.
The artist lives and works in London.