By Morna Hinton, MFA Fine Art at Wimbledon College of Arts
An Exhibition Review Article
In Poems of Our Climate Saunders showcases his continued interrogation of painting in relation to film, photography and print. He introduces a further poetic dimension by naming the exhibition after a poem by Wallace Stevens that revolves around the tension between cold perfection (‘clear water in a brilliant bowl’) and the ‘paradise’ of the imperfect. In fact, if you view the exhibition with this dichotomy in mind, it makes a lot of sense. The ‘imperfections’ of painting – drips, brush marks and so on – are married with the ‘perfection’ of the digital, which is then deliberately messed up, badly registered or pixellated. The five huge etchings in the Ratios/Indomitable series, based on overlaid 1960’s film stills of the glamorous Hannelore Hoger, are shown together with prints taken from the scratched and scuffed reverse sides of the giant plates. In his delicately coloured paintings on chiffon that might otherwise be rather saccharine, Saunders revels in drips and apparently random surface textures that look like the traces of another painting laid accidentally on top of it. Glossy photographic prints are made by passing light through painted canvas.