Pace London has opened three exhibitions across its Burlington Gardens and Lexington Street galleries with the common link being leading British artist Brian Clarke who is best known for his pioneering work in stained glass.At Pace London’s Burlington Gardens gallery is “a portrait” in pictures of legendary gallerist and Swinging London figure Robert Fraser. Curated by Clarke, who was a close personal friend of Fraser and was represented by his gallery, “A Strong Sweet Smell of Incense: A Portrait of Robert Fraser” is a group show featuring works by Francis Bacon, Jean-Michel Basquiat, Andy Warhol, Peter Blake, Keith Haring, Robert Mapplethorpe, Bridget Riley, and many others, as well as a recreation of Fraser’s desk.Also at the Burlington Gardens gallery is an exhibition of works by Clarke from the late 70s and early 80s that was curated by Fraser for the reopening of his gallery in 1983. These works sparked the inspiration for “A Portrait of Robert Fraser.”Pace London’s Lexington Street gallery is the site of “Spitfires and Primroses,” an exhibition of new paintings and stained-glass pieces by Clarke. As the title suggests, Spitfire plane and Primrose flower motifs are the basis of the works in the exhibition. Clarke has also installed a new site-specific stained glass window in recognition of the significance of architecture and in situ work in his practice.With the exhibition in full swing, BLOUIN ARTINFO got in touch with Brian Clarke and asked him a few questions about his experiences with Robert Fraser and the exhibition of his new works.Pace is exhibiting an exhibition of your works from 1977 to 1985 – as curated by Robert Fraser. What is the significance of these works in the context of your practice at the time and also in the context of your wider practice?There are twelve artworks featured on the first floor of the gallery. The exhibition is titled “Brian Clarke Works 1977 - 85, as curated by Robert Fraser.”Then there is also a solo show of recent work, called “Spitfires and Primroses 2012-14,” which includes both stained glass and paintings, at Pace, 6-10 Lexington Street, London.The two shows are linked; in my early works you can already see a grid, which gives the illusion of order; but that order is always undermined by recurring organic forms, motifs. One of the many things that link the shows is my interest in heraldry, which was a way of communicating through abstract symbols. So the fleur-de-lys, or the cross or the “plus” sign gives way to the spitfires and primroses in my recent show.You are best known for your stained glass works. What is your interest in stained glass and how would you describe your engagement and interaction with the medium?Working in this medium effectively demands that one is conscious of its history. But it would be madness not to concentrate on bringing it into the secular domain. Therein lies its future.What are the common threads and lines of enquiry that link your work in painting, sculpture, mosaics, and stained glass?Order and chaos. Optimism and despair. Creation and loss. And the ineffable and enigmatic relationship between art and architecture.The inspiration for “A Strong Sweet Smell of Incense” is the character and career of celebrated art dealer Robert Fraser. What was your relationship with Fraser and how did it translate into the exhibition you curated at Pace?He was my friend and dealer. I met Robert at an art gallery opening; I wore a clergyman's collar, a leather jacket and an ear-ring. He'd come to the Midland Group gallery, up north, which showed really cool stuff. Robert came for the night, and made a nice comment about my outfit. The second time we met, Malcolm McLaren brought him to the studio, that was in the 70s.Robert was one of the only art dealers who wasn't shocked by me, and the only one who didn't try to moderate my behaviour, work or accent.I was very forthright; it was the days of punk rock, and I was no respector of persons then and I am not now. Robert and I shared that approach to the world.What does “A Strong Sweet Smell of Incense” reveal about Robert Fraser and his influence and impact on the art world?There was never any sucking up to anybody, the art world (as it’s known today) was no more important to Robert and me than the price of disinfectant. Our concern was with art, not with business – I rather wish Robert would have been more concerned with business, it would have helped, but that would have meant we would not have got on as well as we did. We were very close in the last 10 years of his life.Is there an experience or memory involving Robert Fraser that you can recall that best summarises his character and personality?We laughed a lot, but hovering underneath the laughter was always an unspoken agreement that there was a creed we followed: you do what you have to do, and people either got it or didn't get it and if they didn't get it, so what! I regret nothing about my friendship with Robert except that it was far too brief. I miss the thrill and I miss the laughter but most of all I just miss him. “A Strong Sweet Smell of Incense: A Portrait of Robert Fraser” and “Brian Clarke, works from 1977 - 1985, as Curated by Robert Fraser” are at Pace London 6 Burlington Gardens until March 28. “Spitfires and Primroses” is at Pace London 6-10 Lexington Street until March 21. Follow @UK_ARTINFO
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