In one of these new paintings, Araujo depicts Moore's majestic bronze sculpture, The Arch (1968), standing in its meticulously landscaped pastoral setting. By contrast he has also depicted an urban view of the Barbican's Lakeside Terrace complete with water features and planting, overlooked by the iconic modular residential units. Another painting of the Barbican is that of its carpark where the formed concrete is articulated for an altogether more abject and un-heroic vision of the modernist ideal. At their core, these very different iterations of British modernism seek to align society and culture with the tangible experiences and values of modern industrial life.
Other works in the exhibition appear much more abstract, but also have a photorealist quality. One is an image of the surface of a Moore bronze in close-up, with the scratches and patina greatly magnified. This obsessive rendering provides a great a source of pleasure for the artist, and it was during this concentrated making process when Araujo noticed that a sub-image seemed to emerge within the work that strangely echoed the more abstract qualities of a Turner seascape. This unexpected fusion of the work of these two very different artists is serendipitously echoed in a quotation by Moore about Turner's skill as a painter, from which Araujo found the title for his exhibition.
26 April–15 June 2019
Juan Araujo at PEER, London, UK