Throughout August London’s Limoncello are holidaying in sunny Suffolk, showing a group exhibition in a temporary space in Woodbridge. 49a brings together the works of May Cornet, Sean Edwards and Yonatan Vinitsky in a relaxed setting.

The temporary space is residential, drawing a focus onto the studio practices of these three artists who take a similarly personal approach to their work. The housing is a suitable spot for these pieces, shown amongst weighty wooden beams in rooms with many indents and handy ledges. On one wall, situated in a room with beam-clad vaulted ceilings, small-scale framed works nestle casually on top of a dado rail. Their close situation alongside one another offers an intimacy that tends to be more regularly glimpsed on studio visits rather than in exhibition spaces, the works allowed to relate outside of an overly regimented curation.

There is also an enjoyably light-hearted nature to much of the work. The pieces all show evidence of their artist’s hand; whether torn papers, not-quite-perfectly folded corners or overlapping edges of screen-printed colours. Signs of contemporary life puncture the work, as in the tiny Cheryl (no longer connected to Tweedy, Cole or Fernandez-Versini) tube that sits on Edwards’s table of stuff, the most direct reference to the banal yet creative nature of studio life. Are Edwards’s objects the scraps left behind from procrastinating, the beginnings of an idea or, in fact, the final piece? More importantly perhaps, are those three always mutually exclusive?

’49a’ runs until 29 August at Limoncello’s temporary space in Woodbridge, Suffolk. All images: Courtesy The artist and Limoncello, London.

Yonatan Vinitsky Cover Me (4/12/94), 2011 Framed 8-Colour Screenprint on Arches Paper (300 gsm) 52 x 38.5 cm (20 1/2″ x 15 1/8″) Edition 1/6 + II AP
Yonatan Vinitsky His/Her Examples (“Team Effort”) K8+K22, 2015 Back-Painted Acrylic Paint, Pastels and Gloss Paint (RAL 9010) on Clear Untreated Archival Melinex (75 Microns) Based on Two Halved and Resized Paintings by Chaim Kiewe (Circa. Late 1950s – Early 1960s), Wrapped Around Wood Stretchers, Bespoke Oak Tray Frame, Card Backing 178 x 126 x 5 cm (70 1/8″ x 49 5/8″ x 1 1/2”)
Yonatan Vinitsky Why does nobody talk to circles? (Because there is no point!) 1, 2014 Back-Painted Gloss Paint (RAL 9010) on Extra Fine Gouache Paint (Brilliant Red, Sky Blue, Meadow Green, Permanent Yellow Deep, Cobalt Violet Deep Imit.) on Extra Clear Glass (4mm), Bespoke Oak Frame 31 x 39 cm (12 1/4″ x 15 3/8”)
Sean Edwards Painting of an Empty RS Box, 2008 Oil on Photocopy on Board 19.5 x 27.4 x 0.28 cm (7 5/8″ x 10 3/4″ x 1/8”)
Sean Edwards Practice Table, 2008 MDF plinth and various objects Dimensions variable Photo credit: Jessica Williams
Sean Edwards Practice Table, 2008, MDF Plinth and various objects
Sean Edwards Notebook Page 105, 2011 Gouache and Graphite on Paper 25 x 19 cm (9 7/8″ x 7 1/2”)
Installation view 49a at Limoncello, London. Photo: Jessica Williams
May Cornet, A path through the woods, 2016, Monoprint on Canvas, Triptych totalling 200 x 430 x 3.6 cm (78 ¾” x 169 ¼” x 1 ⅜”)
Installation view 49a at Limoncello, London. Photo: Jessica Williams
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