"Bluebeard, Jelly-bean and my mum"

An exhibition by Lawrence Fry and Marion Archer

Oriel LLIW Gallery
Pontardawe Arts Centre
February 2nd - 27th

As a paid up, fully fledged member of the ''titling race'', founder members include Les Krims and Steven Morrissey we can welcome to our exclusive club husband and wife Lawrence Fry and Marion Archer. As to their current exhibition title I am informed that the reference to Bluebeard is a citing of the protagonist from Bela Balasz's play Duke Bluebeard's Castle, not the serial killer of Perrault's fairy tale. That is all pretty clear. Mum is evident by titles, the sweets aforementioned who knows? Sustenance in the studio or from walking around Rhossili (paintings from here are shown, a larger selection previously shown at the Taliesin in Swansea). The current exhibition comprises 50 or so pieces, predominantly works on paper or canvas. This number is a little excessive and some serious pruning could have achieved a very impressive and considered show.

The selection problem is best illustrated by two examples of Lawrence Fry's work, in the cheap bargain bucket seats we encounter 'A stone age family huddles at the entrance to its flat' an appalling example of pastel on paper partially redeemed though by its title. Nip around the corner and view 'Swansea boys' a first rate painting undoubtedly the highlight of the show. It cannot sink even when accompanied by its pale sister 'Swansea girls' or its plain and in this context banal title. To concentrate on 'Swansea boys' a painting from a photograph yet eschewing the common flatness of perspective so often witnessed through this technique. The skilled appliance of paint by Fry steers it away from a copy of Aunties beach snaps to a subtle blended realistic portrayal of a disparate group of young men. The depth given to each individual offers both enigmatic gazes yet collective tension. As a viewer one is reluctant to catch their eye, it would not be stretching the point to suggest memories of the Reservoir Dogs film poster are evoked. Mr Pink and his cohorts leave the diner and step onto the streets and 'go to work.'

It would seem a little unfair to concentrate solely on Lawrence, for while Marion practices within a narrower confine she does imbue her work with lightness and humour. Notably within her mixed media pieces whose scale compliments the gallery perfectly.
To mount an exhibition as husband and wife yet neither suffer in comparison is no small feat, rare indeed that both produce pieces which are commendable. Indeed there is no discernible house style.

While the subject matter is reasonably safe, a remark unfortunately too often true about contemporary Welsh landscape, there are some gems glistening in these rock falls, even the odd Jellybean amongst the allsorts.

David Jones Feb 2004