This place looks like a storm hit it. The winds have ripped up houses, shops, factories and art studios, whirled the pieces in a mighty twister and smashed them to earth in pulverised fragments. Now they scatter South London Gallery, towering over you in two random heaps, with other pieces gathered in clusters, floating on the walls, thrown all over the floor. Crunch, crunch – you can walk on broken bits of wood carpeting the ground, negotiating your way around bigger debris, as you inspect the ruins of America – and, sadly, of American art.
Seven decades ago, Jackson Pollock put America at the forefront of abstract art with looping and spiralling vortices of energy that he created by pouring and flicking paint on to a horizontal canvas. Leonardo Drew grew up in a housing project in Bridgeport, Connecticut, in the 60s and is consciously influenced by Pollock, whose work he first saw in a book at his local library. Where Pollock threw paint, Drew scatters splintered wood, yet his sculpture can also be seen as painting, since before breaking up many of the boards and planks in this show, he painted them. The entire installation can be seen as a huge action painting in 3D. Drew even numbers his works like Pollock did: the alternative title of Ubiquity II is Number 436.
