Terry Atkinson: Greaser sculptures and drawings from the American Civil War, Curtis LeMay and Frontispiece series
Josey•Sep 05, 2025 — Nov 22, 2025
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For this year’s Düsseldorf Cologne Open Galleries Josey proudly presents a solo exhibition of British artist Terry Atkinson featuring wall-based ‘Grease Works’ of the early 1990s and a selection from two recent series of drawings: ‘American Civil War 2 + Curtis LeMay’ (2018–ongoing) and ‘Frontispiece’ (2025).
Atkinson’s ‘Grease Works’, Slat-Greaser Trough 3 (1990/2024) and Wing-Greaser 1 (1990/2025), both fabricated from original designs for this exhibition, engage the formal language of abstract expressionism. Assembled from DIY-store materials, wooden chevroned and trapezoid structures, reminiscent of the canvases of Kenneth Noland and Frank Stella, are offset by horizonal bands of trough-like frames filled with generic petroleum grease. The ‘Grease Works’ were started at a time when Atkinson began to recognise the extreme self-assured projection of the artistic subject as a “self-confirming centre of truth” as a...More
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Terry Atkinson: Greaser sculptures and drawings from the American Civil War, Curtis LeMay and Frontispiece series
Josey•Sep 05, 2025 — Nov 22, 2025
Press Release
For this year’s Düsseldorf Cologne Open Galleries Josey proudly presents a solo exhibition of British artist Terry Atkinson featuring wall-based ‘Grease Works’ of the early 1990s and a selection from two recent series of drawings: ‘American Civil War 2 + Curtis LeMay’ (2018–ongoing) and ‘Frontispiece’ (2025).
Atkinson’s ‘Grease Works’, Slat-Greaser Trough 3 (1990/2024) and Wing-Greaser 1 (1990/2025), both fabricated from original designs for this exhibition, engage the formal language of abstract expressionism. Assembled from DIY-store materials, wooden chevroned and trapezoid structures, reminiscent of the canvases of Kenneth Noland and Frank Stella, are offset by horizonal bands of trough-like frames filled with generic petroleum grease. The ‘Grease Works’ were started at a time when Atkinson began to recognise the extreme self-assured projection of the artistic subject as a “self-confirming centre of truth” as a...More
