A Matter of Routine

Milly Peck
18
September
,
2020
17
January
,
2021
VITRINE, Basel

‘A Matter of Routine’ is British artist Milly Peck's first solo exhibition with the gallery and first exhibition in Switzerland. Working at the slip between two and three-dimensions, Peck uses a modest colour palette creating cartoonish imagery to depict slapstick yet mundane scenes, drawn from the everyday and domestic environment. Peck draws from the gallery's location next to an old train depot, train tracks and a busy tram stop to create a new body of site-responsive work and installation.

Milly Peck, The Unforgiving Hour, 2020. Emulsion on Valchromat, wood, coloured pencil. 168 x 120 x 4 cm.
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Milly Peck, Alternative Means of Travel, 2020. Emulsion on Valchromat, coloured pencil, wood. 113 x 86 x 4 cm.
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Milly Peck, Standing Passengers, 2020. Emulsion on wood, LED lights, bolts. 131 x 91 x 4 cm.
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Milly Peck, Standing Passengers, 2020. Emulsion on wood, LED lights, bolts. 131 x 91 x 4 cm.
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Milly Peck, Standing Passengers, 2020. Emulsion on wood, LED lights, bolts. 131 x 91 x 4 cm.
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Milly Peck, Alight I, 2020. Emulsion on wood, perspex, coloured pencil, bolts. 161 x 122 x 7 cm.
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Milly Peck, Alight II, 2020. Emulsion on wood, perspex, coloured pencil, bolts. 161 x 122 x 7 cm.
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Milly Peck, Alight III, 2020. Emulsion on wood, perspex, coloured pencil, bolts. 161 x 122 x 7 cm.
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Milly Peck, Alight IV, 2020. Emulsion on wood, perspex, coloured pencil, bolts. 161 x 122 x 7 cm.
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Milly Peck, Straphangers, 2020. Emulsion on Valchromat, wood, coloured pencil. 56 x 41 x 41 cm.
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Milly Peck, Straphangers, 2020. Emulsion on Valchromat, wood, coloured pencil. 56 x 41 x 41 cm.
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Milly Peck, The Eight Bells, 2020. Emulsion on wood, painted steel, LED lights, glass, silicon sealant, bolts. 241 x 103 x 76 cm.
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Milly Peck, The Eight Bells, 2020. Emulsion on wood, painted steel, LED lights, glass, silicon sealant, bolts. 241 x 103 x 76 cm.
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Milly Peck, Moquette, 2020. Emulsion on wood, painted steel, coloured pencil, bolts. 91 x 225 x 53 cm.
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Milly Peck, Moquette (detail), 2020. Emulsion on wood, painted steel, coloured pencil, bolts. 91 x 225 x 53 cm.
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Milly Peck, A Matter of Routine IV, 2020. Coloured pencil on 130gsm acid free paper. Framed. 42 x 29.7 cm.
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Milly Peck, A Matter of Routine I, 2020. Coloured pencil on 130gsm acid free paper. 42 x 29.7 cm.
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Milly Peck, A Matter of Routine II, 2020. Coloured pencil on 130gsm acid free paper. 42 x 29.7 cm.
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Milly Peck, A Matter of Routine III, 2020. Coloured pencil on 130gsm acid free paper. 42 x 29.7 cm.
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Milly Peck, A Matter of Routine V, 2020. Coloured pencil on 130gsm acid free paper. 42 x 29.7 cm.
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Milly Peck, A Matter of Routine, 2020. Installation view. VITRINE, Basel.
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Milly Peck, A Matter of Routine, 2020. Installation view. VITRINE, Basel.
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Milly Peck, A Matter of Routine, 2020. Installation view. VITRINE, Basel.
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Milly Peck, A Matter of Routine, 2020. Installation view. VITRINE, Basel.
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Milly Peck, A Matter of Routine, 2020. Installation view. VITRINE, Basel.
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Milly Peck, A Matter of Routine, 2020. Installation view. VITRINE, Basel.
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Milly Peck, A Matter of Routine, 2020. Installation view. VITRINE, Basel.
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Milly Peck, A Matter of Routine, 2020. Installation view. VITRINE, Basel.
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Milly Peck, A Matter of Routine, 2020. Installation view. VITRINE, Basel.
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Milly Peck, A Matter of Routine, 2020. Installation view. VITRINE, Basel.
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Milly Peck, A Matter of Routine, 2020. Installation view. VITRINE, Basel.
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Milly Peck, A Matter of Routine, 2020. Installation view. VITRINE, Basel.
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Milly Peck, A Matter of Routine, 2020. Installation view. VITRINE, Basel.
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Milly Peck, A Matter of Routine, 2020. Installation view. VITRINE, Basel.
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Milly Peck, A Matter of Routine, 2020. Installation view. VITRINE, Basel.
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Milly Peck, A Matter of Routine, 2020. Installation view. VITRINE, Basel.
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Milly Peck, A Matter of Routine, 2020. Installation view. VITRINE, Basel.
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Milly Peck, A Matter of Routine, 2020. Installation view. VITRINE, Basel.
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Milly Peck, A Matter of Routine, 2020. Installation view. VITRINE, Basel.
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Milly Peck, A Matter of Routine, 2020. Installation view. VITRINE, Basel.
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Milly Peck, A Matter of Routine, 2020. Installation view. VITRINE, Basel.
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Milly Peck, A Matter of Routine, 2020. Installation view. VITRINE, Basel.
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Milly Peck, A Matter of Routine, 2020. Installation view. VITRINE, Basel.
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Peck creates hybridised life-size renderings by combining various influences and representations of rail travel in both London and Basel. Manipulating and simplifying familiar features of this form of transport such as seats, handles and windows, combined with their additional, more subtle characteristics of spilled coffee cups and urban road bicycles, the sculptures and wall based works will create a scene in motion. Following Peck’s signature style, the works incorporate elements of marquetry, drawing and lighting, extending the exhibitions vitality.

As in much of Peck’s recent work, this exhibition continues to explore the language of artificial environments such as theatrical sets or museological dioramas. The imagery suggesting traces of past and future passengers on their everyday commute aboard a fictional vehicle awaiting motion. What seems a mundane, everyday activity is animated and given hidden agencies that create a sense of staged liveness similar to a theatre set.

Peck has drawn on Scott McCloud’s writing into the polyptych which, in its traditional artistic meaning, is a painting which is divided into sections, or panels. McCloud describes it as a device used in comics as a series of separate consecutive image cells, where the background remains the same, but which allows figures to pass freely from one to another.

The exhibition title is taken from an exchange of dialogue in Agatha Christie’s detective novel ‘Murder On TheOrient Express’ (1934), which follows Hercule Poirot’s attempt to find the perpetrator of a murder on-board a train which is halted during a snow storm. Peck is interested in the canon of trains and rail travel within film, literature and theatre, which has long stood as a familiar setting within multiple genres and a versatile structural device for containing and compartmentalising diverse narratives. Whilst also physically containing characters in one location,Peck believes that a train made up of multiple carriages could be seen to replicate chapters, frames or image cells from a storyboard or a comic book.

Even from the advent of cinema in the Lumière brother’s short ‘Arrival Of A Train At La Ciotat’ (1895), where a locomotive rolls into a station towards the camera famously (though speculatively) terrifying its original audience, the train has remained both a ubiquitous symbol of urban daily life and a setting loaded with fictional potential for violence, adventure, romance or comedy. At VITRINE, the viewer will encounter Peck’s show in-the-round from the public square and as the local tram wraps around this square, interior and exterior spaces interchange and through the act of replication, our position simultaneously as both viewer and passenger comes into question.

Curator: William Noel Clarke.

Selected press

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Milly Peck (b. 1990, London, UK) lives and works in London, UK. She holds a BFA in Fine art from The RuskinSchool of Art, University of Oxford, UK (2012) and an MA in Sculpture from The Royal College of Art (2016).Awards include: Jerwood Visual Arts Artist Bursary (2018); David Troostwyk/Matt’s Gallery Studio Award (2016);Gilbert Bayes Charitable Trust Grant (2016); Villiers David Travel Award (2015); Peel Award (2011).

Peck has been exhibited internationally at galleries and institutions including: East Bristol Contemporary, Bristol,UK; Tintype Gallery, London, UK; Assembly Point, London, UK; Matt’s Gallery, London, UK; Jerwood Space,London, UK; g36, Glasgow, UK; Bluecoat, Liverpool, UK; BALTIC, Newcastle, UK; Thame-Side Studios Gallery,London, UK; Annarumma Gallery, Naples, IT; Castle eld Gallery, Manchester, UK; The Royal Standard, Liverpool,UK; The Greenroom, Krakow, PL; and Bloc Projects, Sheffield, UK.

Residencies include: AA2A Artist in Residence, Wimbledon College of Art, London, UK (2013-2014) and Artist inResidence, Surbiton High School, London, UK (2013)

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