Lips and Tits

Paul Kindersley's drawings, Men of '73 and other friends are punchy and dazzlingly POP. Reminiscent of horror show porno movie posters from the seventies, all sickly rich colours and sexy patterns. Full of tragic and debauched tales of human malice and thrill.

Each drawing has an enchanting attention to detail, like the flickering tassels on a waistcoat, curling hair and dreamy eyelashes. The drawings feature a selection of sexy characters all with glamorous dilemmas made light by their exposed genitals and witty one liners. A bunch of beautifully mis-proportioned freaks of nature made up of odd shapes.

The gratifying marks of inky felt tip pens even suggest a painterly quality to the mark making process, yet still retain the immediacy and passive importance of a drawing.

They give a privileged view through the eyeballs of Paul Kindersley who sees everyday scenarios, objects and characters like nobody else does. The execution of each drawing demonstrates a real pleasure in their creation, each one seems to be made in a burst of over-excitement. I can imagine Paul going about his daily glamorous business and trying but failing to suppress an overwhelming urge to draw one of his characters with a slick one liner, block coloured onto the page there and then.

This selection of drawings supplement his active disinterest for the confines of art genres. Having a productively conflicting attitude to the boundaries and expectations of sculpture, installation, performance, painting and video, is in my belief, intrinsic to making successful drawings. Maybe unintentionally? I think the success of his drawings lie in the fact that he is not hung up about what his drawing is going to be once it's finished.

Kindersley is a prolific drawer in every sense of the term, a separate body of work based around the character of Albert (a minor character from the D'Argento film

Suspiria) involved a series of performances including Albert: Sketch for a ballet a performance which took place at the ICA. The performance involved four 'Alberts' walking in a square and zig zag sequence which was mapped out on the floor. This performace is a sketch in his mind, planning out routes and points of departure.

Kindersley's drawings invoke a method of making that nourishes his rich practice with endless visual stimulation with lashings of sophisticated humour.