Rites and Rituals
|Relic. Rites and Rituals: 6|
I met Mr Bowring while working at the Crocus Gallery in Nottingham. Paul was a technician there and one of the go to crew. This gave me ample opportunity to try get to know him and pick his brains. We'd spoken a few time before I saw one of his pieces and to be honest I don't know now what I was expecting. We'd talked mainly about film and life's tos and fros. I'd found out he enjoyed the odd Lynch and a dose here and there of Terry Gilliam. He'd mentioned his fondness of the sonic lobotomy that is LD50 and occasionally wore black t-shirts. Obviously I found Paul to be a kindred spirit. On reflection so many things pointed to Paul being an individual capable of expressing the way only a true individual can. But like bullets on a desk belie inertia, Mr Bowring's quiet, gentle manner ensured a surprise soul kicking of the acrylic kind. This post concerns Bowrings "Rites and Rituals" series. Unfortunately to date these are the only works of his I've had the pleasure of seeing in the flesh.
|Resolute. Rites and Rituals: 8|
It's immediately apparent looking at Bowrings work that there is story there. We've walked in late. The settings are placeless, halls and rooms leading to and from others during nondescript hours. His characters are slight, dressed in a style of neither past nor present but at the same time both. We find them often caught during their transition from one space to another in intimate yet surprised liaison. Intentions are mysterious and covert. Apprehension hangs thick despite the shadowed faces. The walls and arches steer these beings but do little to restrict their scope. These stories are long, involved and personal. There is a high degree of contrast in both the ambient light and the identity of the subjects. Some seem human and very much alive yet others have a distinct air of ghostly or other worldliness. I get the impression what we're seeing is not the end, not even close. It's the thick of the action and the drama still refuses to give up the direction. It's all right there but as a viewer I feel primordial. These scenes we glimpse have played out over millennia and they are no longer on our evolutionary rung. In fact his characters no longer need the ladder. The world Paul presents is far off yet we all seem to be playing a small part in getting there.
|Schism. Rites and Rituals: 2|
I spent a few quiet moments in front of one of Bowrings works from the "Rites and Rituals" series one night during an opening and I don't think I'll ever forget the experience. Once I'd become accustom to the light and the scene and motion developed, I felt a strange sense that the frozen time before me would at any moment once again begin to tick. I wanted to step forward. Not for a closer look but to keep pace with the events. A very enjoyable experience and a feeling I strive to achieve in my own work.