I had been invited to attend ‘enigma: conversations in painting’, an exhibition staged at Saan1 by the wonderful 1838 collective. On show for one weekend only – 16 – 17 August – this exhibition brings together painters from the Manchester School of Art. They achieve an enticing and authentic selection of works, never clamouring for individual attention, instead arriving at genuine conversation.

After catching up with a new friend, we make our way down the side streets of the Northern Quarter to Saan1. This townhouse – three floors of white walls kitted out for exhibitions – is the perfect venue for tonight’s artists, many of whom are milling outside. It is a hot day, and a well-attended preview. Making the most of the long summer evenings, the street has become an informal patio. Harriet Westgarth, my contact and a talented abstract artist, greets us, gets us a drink and explains the premise of the show.

It is immediately apparent how well these artists work together. The staging of the exhibition seems well mannered and thoughtful, although I am informed that it was a rather quick process. Knowing each other’s works, and knowing each other, there is an ease and naturality to the curation.

Equipped with a small catalogue – and a very charming zine – we make our way to the 1^st floor. More interested in her take on the artworks, I follow my friends lead and we find ourselves in front of Masi Naidj’s works in walnut ink. They have a peculiar physicality to them, a weight and a sense of potential momentum, as if they have been captured seconds before tumbling over. The repeated rock motif is powerful – at once very real and understandable, yet floating and precarious.

Nearby, one of Westgarth’s abstracts, a composition named Cucumber. An abrasive slice of texture jars the otherwise calm composition, adding a fun level of intrigue. As previously stated in my reviews, I am always drawn to the abstract, and Westgarth manages a nice blend of parts that seem abstracted from something concrete, and purely abstract forms. Explorations of colour done large. They are – to me – relaxed and relaxing pieces. It is always easy to label an abstract work as effortless, so it is worth noting the strongly deliberate nature of these works. They appear very purposeful constructions.  

Upstairs, the standout piece comes from Mahrokh Mofidnakhaei. A deep pool of green, a sleeping world that you could fall right into. For a second, the light, filtering in from the shutters, seemed to be a natural product of the room, the painting hung strategically next to a window overlooking the street. High calibre and highly evocative, this may be my highlight of the exhibition. It speaks of a promise of waking up, of a sort of remembered belonging.

Mixed in with the other works are a few examples of portraiture from Aliyah Farakh. They are technically impressive, especially when they blend surreal forms with the presence of a human subject. However, I find them somewhat out of place. That is not to say that they are not perfectly fine works, only that, in the flow of conversation that is the exhibition, these seemed like an aside, or an interjection. Speaking later on with Rebecca and Harriet on the process of constructing this exhibition, I fully understand and support the inclusion of these works, and only note that, during my visit, they initially felt like a sticking point.

Hung above the staircase we see one of two works by Rebecca Garrard. In conversation with her, I learn that the ink life drawing is an older piece, and that her practice has developed in the subsequent years – following a spell in Japan – to more abstract and fluid compositions. A fascinating artist and gracious host – trained in philosophy – her works capture an intent and a motion that is quite special. Her second work, acrylic on warped black paper, is highly interpretable. I had a nice conversation with my friend, as we both saw mussels or razor-clams, with Rebecca stating that many see ribcages or skeletal images. The intent for interpretability is strong and successful.  

For brevity, and publicity, rather than speak any longer on the content of the exhibition, I’ll provide links to the socials of the exhibiting artworks: Yasaman Salehi | Sophie York | Rebecca Garrard | Max Charles | Masi Naidj | Mahrokh Mofidnakhaei | Harriet Westgarth | Georgia Noble | Aliya Farakh

I would highly recommend anyone to attend while this is still showing. Keep an eye on the 1838 collective, who plan to run two shows of a similar ilk each year. Their mission, to bridge art school with the art world, is admirable, and their series of workshops, talks, co-working space, and exhibitions such as this one, are a brilliant force.

The exhibition itself succeeds in presenting and exploring a conversation – the submissions by each of the artists are strong, and the collaborative curation brings out the parallels and connections between not only the artworks but the artists themselves. Combined with such a pleasant and well-located venue, ‘enigma: conversations in painting’ is a triumph – hopefully one in a long run of the 1838 collective’s successes.