Artist and Spiritualist Madge Gill is an important figure in twentieth-century British art. Her work deserves to be much better known.
|Madge Gill. Myrninerest, installation photo with ink drawing, William Morris Gallery|
I spent the morning with Madge Gill. I finally read Vivienne Roberts’ excellent article to which Light devoted the whole of its June edition, and had a really good look at Madge Gill by Myrninerest, edited by Sophie Dutton, which was published to accompany the exhibition devoted to Gill's work she curated at the William Morris Gallery, London.
Madge Gill is an artist in whose work I have long been interested. I even own a few pieces, all courtesy of the Henry Boxer Gallery, London https://www.outsiderart.co.uk/artists/madge-gill Her range of imagery is mesmerising and the scale of her visual art pieces moves from the near-miniature, on countless postcards, to large – and sometimes enormous – drawings on calico, five of which are can be seen in the William Morris Gallery show, including the breathtaking Crucifixion of the Soul (1934). Besides drawings, Gill also produced textiles and automatic writing, and examples of both are also included in Dutton’s book and exhibition.
|Madge Gill, Crucifixion of the Soul (detail), 1061 x 147 cm, London Borough of Newham Heritage and Archives|
|Madge Gill, Red Woman (detail), showing early stages of working (installation photo, Madge Gill. Myrninerest)|
|Madge Gill, Untitled, colour wool embroidery, Collection de l'Art Brut, Lausanne (installation photo, Madge Gill. Myrninerest)|
|Installation photo, Madge Gill. Myrninerest, showing part of Wall 2 and wall 3|
|Installation photo, Madge Gill. Myrninerest, showing part of Wall 3 and Wall 4|
Vivienne Roberts, 'The Art and Spirit of Madge Gill', Light, Vol. 140, June 2019
Sophie Dutton, ed., Madge Gill by Myrninerest, London: Rough Trade, 2019
Below: Exhibition layout and list of works
I thought the Morris exhibition and catalogue were both tremendous.
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