Michael Landy – Saints Alive

An extremely loud exhibition to say the least, Michael Landy’s saint inspired work is something different, and in some aspects, refreshing. The main aspect of the exhibition is undoubtedly the large scale, mechanical sculptures of saints, and this generally what draws the crowd and gets the most attention, despite a frequent amount of ‘Out of Order’ signs being stuck up everywhere.

Underneath all noise and clamour of the sculptures however is the thought process behind them all, and the collage like sketches of his designs. Thin, complex fine liner drawings are framed and displayed, showing the initial brain wave for the designs, with notes written under certain figures, and aspects drawn from different angles and in different places, and these are actually the most interesting thing in the room if really looked at and considered properly. The larger and glossier final products are obviously equally as impressive, but don’t seem to have that personal edge that the smaller drawings have.

Having a contrast between the duller, more neutral toned saints that have been copied and printed again for this work, against the colourful, crayoned wheels and cogs that Landy brings to the pieces is so inviting – it feels like he is taking something that a lot of people can neglect and look over and bringing it to our attention. It is undeniable that to an untrained eye, the National Gallery can hold some very similar looking paintings, but Landy brings them to us in a refreshing new light, highlighting interesting information that are related to the saints, like how Saint Apollonia was tortured by having her teeth pulled out, or Saint Lawerence was roasted on a griddle.

Unfortunately some of Landy’s works are hard to appreciate due to the sheer height of the walls and the way the pictures have been presented. Having picture above picture above picture saved room on space but allowed us to lose sight of them, along with how brightly lit the room is reflecting garishly off the glass, making it even harder. Putting a detailed fine liner drawing at the top of the room was obviously not the best curatorial decision I’d seen before.

Despite the unflattering curation of the exhibition, it is insightful and extremely relevant to the National Gallery itself, whilst also being educational to those who don’t know a lot of saints (understandably). Landy has created something entertaining out of something unappreciated, and hopefully allowed other people to appreciate it more now.

Running until the 24 November 2013

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