Such is Sillman’s humour and ripe, vivid sense of colour that even the darker works in this show – notably the vast double-sided installation of pictures Dub Stamp (2018) based on drawing made in the days following the election of Donald Trump – have a kind of hopefulness to them. The show includes drawings, prints and oils as well as animations and zines (available to buy: definitely GBP£1 well spent).
On paper, Sillman’s brushy, heavy-lined forms (legs, lungs, figures apparently hunched to puke or poo) appear in series, morphing from one sheet to the next. That tendency reaches satisfying expression in her drawn, painted and collaged animations. After Metamorphosis (2015–16), projected in the central hallway, takes its cue from Ovid as a series of animal and human forms mutate through one another in a long, delightful sequence. Hints of human figures and agricultural landscape stretch themselves across Sillman’s intensely coloured canvases – movement comes here, too, with silvery metallic paint that slithers disconcertingly in the light.
-- Hettie Judah
For more picks from London read our Critic's Guide to the city here.