CHRISTOPHER ORCHARD

The stocky bald man of a certain age dressed in a dark suit is the leading man in Christopher Orchard’s work. Like De Niro and Scorsese, Orchard and his bald man have an enduring association. Initially Orchard used a broader range of figures but these have been refined and modified until all that is left is this man. He represents the every man, and functions as a vehicle for the artist to explore universal themes of humanity.

The suited protagonist is unnamed in an unplaceable location. Many charcoals and canvases see him traversing a barren landscape: only flat earth and sky. Orchard’s mastery of the moody medium of charcoal allows him to draw, rub away, re-draw until an atmospheric and highly energized surface is achieved. In the last exhibition, gale force winds and moody skies created a sense of uncertainty and difficulty for the protagonist. At times they were spot-lit and tones were darker.

In this exhibition of new work we see an outdoor theatre. Punchinello squats, kneels and paints in the sunlight. In many drawings Orchard adds the crutch as a new prop. After the artist came across a 17th century etching by Jacques Callot of a hunchback walking on crutches Orchard was inspired to make the series Callot Variations. Crutches are props in this painted performance. Today he is not fighting against the forces of wind, but a failing body. Again we see man’s vulnerability and his tenacity in the face of physical adversity.

Where Fred Cress’ men are bacchanalian and Garry Shead’s are romantic, Orchard’s figures are held in a tableau vivant with a fixed gaze, expressionless. Are they lost in thought? Orchard hints at the futility of man’s efforts. Grown men wading through thigh-high water (Water, 2006), playing tug-of-war (Taut, 2007) and astride hobby horses (Equus,2008) are viewed with humour and a degree of absurdity. What interests Orchard are the ambitions and follies of men. We are not to take these characters or ourselves too seriously.