Pop art veterans Joe Goode and Antony Donaldson are celebrating fifty years of friendship with "Twice as Many," and the show is all affinities and subtle resonances, as if, at Mayor Gallery, the artists were continuing the conversations they have had in the studio over the decades. At the core of this exchange is the nature of still life, the fluid relationship between the pictorial and the sculptural, and an underlying interest in the concept of the diary – albeit approached from very distinct perspectives by the two artists.
Goode's signature milk bottle crops up in piece after piece and is often photographed covered in thick paint – the resulting print then overlaid with a translucent paste to present a meticulous declension of textures. "Still Life 24" (2010) features one clear-glass bottle, a second covered in gel, a third fully obscured by a yellowish paint. The milk bottle is Goode's loyal companion, a prism to focus his plastic experiments. Meanwhile, Donaldson's vignette-like paintings elicit something of a travelogue. The artist has picked objects he has collected and places he has come across throughout his travels, and he pictures them in De Stijl-inspired primary colour frames. LA's Walt Disney Concert Hall is tagged with the iconic Mickey Mouse ("South Grand," 2011), a Noh mask's cherry lips' echoes the Mondrianesque red batons framing it ("Big in Japan," 2011). Although their respective subjects bear few immediate links, what Goode and Donaldson play out here is their common attentive concern with objects captured in two dimensions. They almost seem to wink at each other from wall to wall.
"Twice as Many, Antony Donaldson & Joe Goode," April 18 – May 18, 2012, The Mayor Gallery, London