A survey of exhibitions held at the Saint James Cavalier Centre for Creativity (2000-2005), including a critical analysis of major contributions

Abstract

Rather than limiting this dissertation into a catalogue of exhibitions at the Saint James Cavalier during the first five years since its opening, I aim to analyse, discuss and relate the major exhibitions on a wider, interrelated context. The aim of this preface is to describe what I am really looking for in my long essay. While I acknowledge the fact that every contribution is unique, and of a particular individuality, it is also a fact that the work of some artists has exerted major impact and influence than that of others. From this point on, my main aim shall be to analyse and discuss some contributions which, in my belief, were major achievements. In my dissertation, I have divided exhibitions at the Saint James Cavalier into two different categories; personal and collective. Both have been juxtaposed in chronological order. To further simplify my synthesis I shall, in this part of my essay, fragment these contributions into five various categories: 1. Painting 2. Plastic arts 3. Concept art and installations 4. Photography 5. Exhibitions with a historical connotation For the sake of restriction and better focus, I am dismissing the last two categories unless they directly relate to my sphere of analysis. While it is interesting to note that internationally renowned photographer Sarah Lucas, nicknamed by critics as 'the bad girl of Brit art' has exhibited her work at the Saint James Cavalier, I shall only relate to photography in the case of John Pasmore, whilst covering the Pasmore exhibition. Historical connotations shall be given ample space when the artistic content is notable.