31/05/2026
Jordan Marani’s painting is part of a series of works that draw from his time packing boxes on the shelves of a warehouse in Richmond. The paintings are based on various pallet patterns he collected from the bases of the cardboard boxes. A combination of high art and working-class realities is typical of Marani’s work. Here the artist employs what appears as formal geometric abstraction, based on his experience of manual labour, systems of efficiency and productivity.
‘As wide as magenta’ by Aaron Carter is a study in the way colours, with their alluring, disorienting capacity, generate both tangible and intangible feelings. Carter explains, ‘The processes of staining and dying loose hessian and coffee sacks produced swatches of various intensities of natural and synthetic dyes and inks. The painting is assembled from an accumulation of these separate parts; here both lurid and luxurious colour is soaked into the raw material then stretched onto board as units, which are measured, dissected or fractured then tessellated into a form that carries, holds each swatch in a system.’
In ‘Formation 2’, Samara Adamson-Pinczewski incorporates super fine metallic acrylic paints developed through experimentation during her residency at The Sam & Adele Golden Foundation in New York in 2024. Highly reflective paint colours are applied in multiple thin layers to create scintillating visual effects. Drawing on everyday city dweller experiences of reflection, spatial warping, and disorientation, the work investigates illusory spatial tensions to create new perceptual and optical experiences.
These works are on display at the Bayside Painting Prize 2026 exhibition.
📅 On display until Sunday 14 June 2026
📍 Bayside Gallery, Brighton
🕰️ Wed–Fri: 11am to 5pm, Sat–Sun: 1pm to 5pm
🔗 Learn more via link in bio
[Image credits and image descriptions available in comments.]