Michael Craig-Martin review – one style fits all

Michael Craig-Martin's retrospective spans 60 years, showcasing a variety of works that include conceptual pieces, drawings, and paintings. His signature graphic technique is applied to everyday objects, transforming them into art that is both bright and intentionally mundane. The exhibition features notable works such as 'An Oak Tree' from 1973, which presents a glass of water as a metaphorical tree, emphasizing the artist's conceptual approach. Craig-Martin's self-portraits and other pieces, like 'Tropical Waters' and 'Study for Modern Dance,' highlight his unique style, where objects are simplified and presented without deeper emotional connections. The artist's philosophy suggests that art should be experienced rather than interpreted, leading to works that defy conventional understanding. This approach is evident in his use of consumer products, which serve as the foundation for his graphic explorations. Despite the potential for deeper meanings, Craig-Martin often undermines any mystery, opting for clarity and directness in his visual language. His works, such as the drawing of a pencil sharpener, illustrate this tendency, where the expected depth is replaced with vibrant colors and straightforward representations. The exhibition at the Royal Academy invites viewers to engage with Craig-Martin's art in person, although the question arises whether experiencing one piece is sufficient to understand the entirety of his work. The artist's insistence on the experiential aspect of art raises discussions about the nature of democracy in artistic expression. Ultimately, the retrospective serves as a testament to Craig-Martin's enduring influence in the contemporary art scene.