Men of Cornwall, 2012
Oil on canvas
Original size: 42 x 53.5 in / 107 x 136 cm
Photographer: Anna Arca
Eleanor Moreton (b. London, 1956) lives and works in London.
Moreton’s recent work has further evolved her enquiry into image-making and a dissection of those cultures which produced the photographs, paintings or illustrations she works from. Working from specific cultural artefacts, products of a historical/geographical place, she refers repeatedly to psychoanalysis, European history of the last 200 years, homes, the feminine and literature. Hers are paintings of longing and ambivalence, nostalgic and sentimental, yet analytical and critical, they investigate a sense of loss that drives us in acquisitiveness, addiction, deception and creativity. Moreton often chooses images of the pauses in people’s lives, where they present themselves for others, for history.
Solo exhibitions include Tales of Love and Darkness, Ceri Hand Gallery, London, UK, 2014; I See the Bones in the River, Ceri Hand Gallery, London, 2012; The Lady of Shallot, Jack Hanley Gallery, New York, 2010; Im Wartezimmer, Ceri Hand Gallery, Liverpool and Harewood House, Leeds, 2010.
Recent group exhibitions include A Painters Craft, Laing Art Gallery, Newcastle upon Tyne, UK, 2013; Group Show, Galerie Vidal-Saint Phalle, Paris, France, 2013; New British, Lloyds Club, London UK, 2013; Rituals Are Tellers Of Us, Newlyn Art Gallery, Newlyn, UK, 2013; Make Believe, Galerie Magnus Karlsson, Stockholm, 2011; Behind the Mask, The New Art Gallery, Walsall, 2010 and Fade Away, Transition Gallery, London, 2010. Eleanor was shortlisted for the John Moores Painting Prize, 2008, Creekside Open, London, 2009 and Threadneedle Prize, Mall Galleries, London, 2009.
Fireman, Spiderman, 2013
Oil on formica mounted on aluminium
Original size: 76.2 x 61 cm / 30 x 24 in
Images courtesy of George Lawson Gallery, San Francisco and Pippy Houldsworth, London
“Clem Crosby is recognised as one of the UK's most important abstract painters. For Crosby, the painted gesture brings together line and form in a way that imposes control and at the same time locates a kind of freedom for the resulting image. The process of drawing within the work pushes the paint into an unknown and ultimately impossible place, where representational ideas become redundant, and a new, non-representational space is created.
In an increasingly visual culture in which the mediation of images is more than ever in question, Crosby's paintings are a testimony to the complex process of creating and receiving an image. The paintings are autonomous objects that contain infinite detail and a sense of history through the build up of brush marks and wiped surfaces. Drawn both inwards and outwards by the pictorial and architectural elements of his paintings, the viewer is invited to engage in the act of balancing a reading of the part against the (often) monumental 'whole'.”
– Text by Jonathan Horrocks at Pippy Houldsworth Gallery
Recent exhibitions include: About Vision: New British Painting in the 90s, Museum of Modern Art, Oxford; Contemporary Art at the Courtauld, London; Fact and Value-New Positions in Painting, Kunsthal Charlottenborg; Minimalism: Then and Now, UC Berkeley Art Museum, CA; Vivid: British and American Abstract Art, Mead Gallery, Warwick Art Centre; and Tate Britain Drawing Symposium. Crosby is represented by Pippy Houldsworth Gallery, London, and George Lawson, San Francisco.
The Garden (After Robert Smythson, 1535–1614), 2013
Ink on Paper
Original size: 110 x 130 cm
Photographer: Annabel Tilley
Annabel Tilley lives in Hastings, UK and works from a studio in South London. Tilley has always used books in her practice. From classic to contemporary literature – Daniel Defoe, Proust, McEwan – to botany and the travels of a Victorian aristocrat; to old black and white architecture and art history manuals on 18th century Old Masters like: Hogarth, Stubbs & Gainsborough and most recently the Jacobean mansions of architect, Robert Smythson (1535–1614). Tilley uses visual quotes from these books to create new surreal versions of the Old Masters. The random and often abrupt nature of the objects drawn and quoted are both deadpan and humorous. Together Tilley's drawings, collages and paintings form a playful look at the history of Britishness.
Shortlisted for The Jerwood Drawing Prize, Annabel Tilley has exhibited widely including: Transition Gallery, WW Gallery, C4RD, Charlie Dutton’s Crash Open Salon, Oriel Davis, Towner Art Gallery and Fruehsorge Contemporary Drawing in Berlin. Tilley trained in Fine Art Painting at The University of Brighton and has an MA in literature. Her work is held in several private collections in the UK and USA. She has written for a-n Magazine, Garageland and Arty. Tilley founded the London-based arts organisation, Zeitgeist Arts Projects, with Rosalind Davis in 2012.
Śnieżne Kotły / Schneegruben – Google Earth-scape, 23–May–13
Watercolour on paper
Original size: 146 x 108 cm (approx 57.5 x 42.5 in)
Photographer: Steven Ingman
Mik Godley's detail is from a series of watercolours derived from Google Earth screen-grabs of a granite glacial bowl on top of the Sudeten Mountains of Lower Silesia, bordering the now Czech Republic and Poland; the backdrop to a Nazi mausoleum and SS temple.
Conspiracy theories of secret weapons in Albert Speer’s secret HQ “Der Riese” with armaments factories tunnelled into the mountains overlooking his mother's then German birthplace (partly also a laboratory for Zero Gravity experiments for flying saucers and Foo Fighters) are the flip side of this story of the artist seeking his heritage. These themes are observed in the context of our evolving relationship with new media – our digital “way of seeing” – focusing on "virtual" expeditions to Godley’s mother’s homeland (a place he’s never been to) and the very "analogue" activity of painting.
In development since 2003 Considering Silesia has been aided by an EU funded research degree at Nottingham Trent University and exhibited in:
Counterpoint, Platforma Festival, London; The Bookmark Project, Nottingham Contemporary; Digital Canvas, Autodesk Gallery, San Francisco; Nazi UFO's @ TotalKunst, solo show for the Edinburgh Art Festival; Penned, Artscape/Pinkard Gallery, Baltimore; No Letters, Nettie Horn Gallery, London; in the echo of a shadow, University of Leeds, with Henry Tietzsch-Tyler, for the conference From Perpetrators to Victims? Constructions and Representations of German Wartime Suffering; When Men and Mountains Meet, Museum of Contemporary Art Zagreb.
Watercolour and Graphite on Aluminium
Original size: 124 x 86 cm
Photographer: Annabelle Shelton
Annabelle Shelton is currently based in Milton Keynes at Milton Keynes Art Centre studios Galley Hill and a member of Market Project, a collective researching and sharing new methods or opportunities for artistic professional and economic development. Shelton creates paintings on Aluminium, which are extractions of people in place, figures floating in a white space to create semi-abstracted circles, clusters and lines bunched together. More recently she has been working with landscapes that are partially revealed and partly in the negative space.
In 2010 Shelton was a resident artist at the Aberystwyth Art Centre, Wales, where she took part in the main gallery show Five. In the same year she was selected for the John Moore’s Painting Prize. In 2011 she had a solo show at the Chapter Gallery in Cardiff. In 2013 she was awarded at the Neo:artprize 2nd prize for Black holes at Weymouth. Shelton holds a BA (Hons) Fine Art from Staffordshire University and Post Graduate Diploma & MA Fine Art from Birmingham City University. She is represented by the Rarity Gallery in Mykonos, Greece and Corte Real Gallery, Portugal. Her work is held in many private and public collections internationally.
Touchdown (Full Metal Jacket), Jan–14
Acrylic on Aluminium
Original size: 380 x 436 mm
Photographer: David Manley
David Manley has created an extraordinarily varied body of work over the past thirty-five years that eludes stylistic and historical categories. His practice encompasses painting, drawing, photography, digital manipulation, sculpture, assemblage and installation. Language, spatial arrangements and scale in painting are central ongoing concerns. The poetry of materials, both traditional and provisional, is of paramount importance to the artist whose intellectual curiosity and interest in spirituality imbues his work with startlingly original and often non-specific starting points. He was born in the West Country of the UK, and studied at Exeter, Falmouth & Birmingham Schools of Art. Awarded Cheltenham Fellowship and major awards from West Midlands, East Midlands and Yorkshire Arts Councils.
Recent exhibitions include Centro de Arte de Joao da Medeira, Portugal, Ostrale 012, Dresden and Lakeside Arts centre, Nottingham. In 2014 he is participating in Painted Thought, Queens Arcade, Cardiff and About Painting, curated by Lisa Denyer at Castlefield Gallery, Manchester.
Acrylic on panel
Original size: 40 x 40 cm
Photographer: Ben Cove
Ben Cove has worked as an artist since 2001. Initially based in Manchester, he relocated to London in 2006 where he currently lives and works.
Cove has made work across a broad range of media, frequently making works that form coexisting relationships. Painting and sculpture have been his primary concern over recent years.
As George Vassey writes, ‘According to Alfred H Barr’s definition, Cove’s paintings would be ‘near-abstractions’, as they retain some vestige of recognisable form. A ‘near-abstraction’ displaces something to a symbol, back to material and then to semiotic, or; it is what it is until it is not. When we look at Cove’s work, we see this displacement enacted at every turn – figure turns to abstract, background and foreground merges, and all of those impossible geometries. We never know where we stand these days.’
Cove graduated from Goldsmiths College, University of London with an MFA in 2008 having previously completed undergraduate degrees in Fine Art at Sheffield Hallam University, 2001 and Architecture at The University of Nottingham, 1995. Solo exhibitions include: Vernacular Hangover, Acme Project Space, London, 2013; Practical Mechanics, Cell Project Space, London, 2006 and New Plastic Universal, Castlefield Gallery, Manchester, 2004.
Aloha From Hawaii: Clyde, 2013
Oil on card
Original size: 20 x 15 cm
Cathy Lomax isolates, crops and re-configures filmic moments, found photographs and old master paintings and re-presents them (usually in the form of paintings) to create new taxonomies which hint at a curious contemporary longing for something unobtainable.
Lomax graduated from Central St Martins with MA Fine Art in 2002, she is the director of the artist-led Transition Gallery and editor of two magazines: Arty and Garageland. In 2014 she had a three-month painting fellowship at the British School at Rome. Her recent exhibitions include: Misdirect Movies, Royal Standard, Liverpool and touring, 2013; This Me of Mine, Art School Gallery, Ipswich and touring, 2013; and The Perfect Nude, Exeter Phoenix and touring, 2012. Her work has been shortlisted for The Threadneedle Prize (2011) and The Jerwood Drawing Prize (2010) and is included in private collections nationally and internationally.
Oil on linen on board
Original size: 44 x 32 cm
Photographer: Damien Meade
Damien Meade (b.1969 in Ireland) lives and works in London
In recent years, Damien Meade has made a series of paintings of busts, heads and limbs and other forms that have been modelled in clay, tape and wire. The fabrication of these sculpted subjects can appear cursory and improvised, but this crudeness of form is dignified by the trompe l´oeil of their painterly representation. The premise suggests artifice within artifice, but the paintings still appear to transcend the artificial, oscillating between the inanimate and the reanimated. In their genre, they hover between still life and portraiture; in their subjects, between inert matter and sentient beings.
Recent exhibitions include Sitting with the Qualities of a Mountain, Blyth Gallery, Imperial College, London; Damien Meade, Scheublein + Bak, Zurich; Shape Shifters, ACME Gallery, Los Angeles; Beastly Hall, Hall Place, Kent; Unspecific Objects, Malgras|Naudet, Manchester and The Royal Standard, Liverpool; Have You Seen Dante?, Vitrine Gallery, London; About Face, ACME Gallery, Los Angeles, The John Moores Painting Prize 2012, Walker Art Gallery, Liverpool; The Future Can Wait, Victoria House, London; The Smallest Composite Number, Standpoint Gallery, London; Damien Meade, Charlie Dutton Gallery, London; SV12 Members’ Show (selected by Jenni Lomax and Mike Nelson), Studio Voltaire, London.
Shit-trees and beating heart (after Sano di Pietro), 2013
Oil and metal leaf on gesso panel
Original size: 76 x 61 cm
Photographer: Henrietta Simson
Drawn from the background imagery in Renaissance paintings, Simson’s work explores the interplay that exists between the depiction and perception of landscape. The application of perspective, discovered during the Renaissance, marks the beginning of a particularly Western attitude to visual imagery as well as landscape, one that is associated with the domination of visual and physical space. She makes paintings and installations in order to return to the origin of this paradigm and explore an appreciation of the material that accompanied Renaissance perspective and that facilitated a description of the experience of being in the world, as opposed to the representation of how we assume we may see it that is more commonly associated with the effects of perspective. Her work engages with ecological narratives through exploring a connection between land and body that does not exclusively privilege the visual.
She completed an MA at the Slade in 2007 where she is currently researching for a practice-related PhD. She received the Clare Winsten Memorial Award and the Gordon Luton Award for Fine Art in 2007, and in 2011 won the Threadneedle Prize for Painting and Sculpture.
Solo shows include the Slade Summer School, 2007/13 and the Slade Research Centre, 2008; Man&Eve Gallery, London, 2008; Volta New York (2010) and The Art Cabin, London, 2014.
Group shows include New Contemporaries, 2006; the John Moores Painting Prize, 2010; the Jerwood Drawing Prize 2005; and Simson&Volley in 2012.
There It Is, 2013
Oil on canvas
Original size: 303 x 257 mm
Photographer: David Dipré
David Dipré uses portraiture as a basis for exploring the language of painting. Repeated subjects are refined through an accumulative body of work, that sets out to challenge traditional notions of representation. More recently, the work has moved from the flat surface into painted, sculptural objects that further explore ways of recording the physical world. Dipré has recently exhibited in the prestigious John Moores Painting Prize and at the National Portrait Gallery's annual Portrait Award on three occasions.
Faculty of Pleasure, 2013
Acrylic and Oil on Canvas
Original size: 140 x 180 cm
Photographer: Benet Spencer
Benet Spencer (b. St Albans, 1969) lives and works in London. His current practice concerns architecture as an emblematic form. Located at the intersection of real and imaginary worlds, his paintings collage found images into fictitious environments. The paintings are layered and evolve through an investigation of the possibilities for both language and image as means of pictorial expression. An eclectic sensibility dominates with the use of computers and the sampling of images integral to the development of the work.
Spencer studied Fine Art at Birmingham Polytechnic and the Royal Academy Schools, graduating in 1995. Since 1994 he has exhibited widely both nationally and internationally, including solo exhibitions at the Mappin Art Gallery, Sheffield, the Static Gallery, Liverpool; Shanghai University Gallery; and 2060 Vision Gallery, Antwerp. His curated exhibitions include: Tiergarten, 2060 Vision Gallery, Antwerp; Weekending, Globe Gallery Newcastle and touring to RMIT Project Space, Melbourne; Fantasy Island, Metropole Galleries, Folkestone; Reconstructing the Old House, Nunnery Gallery, London, and the Ruskin Gallery, Cambridge; and The Thing is the Thing at the ASC Gallery, London.
He is currently course leader in BA Fine Art at Anglia Ruskin University.
Oil and alkyd on polyester
Original size: 71 x 127 cm
David Reed is a Californian who lives and paints in New York. Solo exhibitions include Motion Pictures organised by the Museum of Contemporary Art, San Diego, which travelled to the Rose Art Museum, the vWexner Center, and P.S.1 Contemporary Art Center, and a recent retrospective, Heart of Glass, Paintings and Drawings 1972–2012, at the Kunstmuseum Bonn, Germany. Upcoming shows in March 2015 include a two person show with Mary Heilmann at the Hamburger Bahnhof, Museum für Gegenwart, Berlin, Germany and a one person show at Haus Lange, Kunstmuseum Krefeld, Germany.
Mona Lisa Brown, 2014
Oil on canvas
Original size: 77 x 53 cm
Photographer: Euripides Altintzoglou
Euripides Altintzoglou’s practice oscillates between conceptual critically reflective and post-conceptual socially engaged art. Throughout his career Altintzoglou has held and curated numerous exhibitions in private galleries and public spaces in Britain, France and Greece. Following his latest solo show Reversible at Beton7 Arts, Athens that dealt with the Greek and Eurozone economic crisis, he has been engaged with The Ends of Art, a concurrent reflection on the contemporary nature of art and an exploration of new directions through the employment of latest technologies. With an ironic reference to conservative historical doctrines Altintzoglou’s current work employs the analytical and reflective inter-disciplinary methods of Conceptual art in order to explore the ways by which new technologies can affect the development of art.
For (detail) Altintzoglou has submitted Mona Lisa Brown, a monochrome from a series of works that revisit well known paintings by artists such as Van Gogh, Monet, Klimt, Picasso, Malevich, etc.. These paintings are re-produced in their original media and dimensions after having undergone a process of digital transcoding of their aesthetic properties by analysing their colour consistency through a set of software applications. The resulting data is used to mix a single colour pigment out of which the monochromes are produced. In this process of re-presentation the employment of conflicting methodologies (mechanical/expressive) and cognitive functions (aesthetic/semiotic) establish painting as a field where previously un-reconciled dichotomies can be advanced.
Oil on canvas
Original size: 163 x 118 cm (l x h)
Isabel Young has specialised throughout her career in the enduring theme of landscape and environment, subjects that continues to inspire her current work. Her practice has explored a range of subjects all relating to landscape, including, environmental issues, climate change, our relationship to other living things, our experience of landscape and the influence of the built environment on external spaces. Her mission is to understand landscape at the deepest possible level so as to establish a cross-disciplinary practice that combines landscape architecture with environmental art and fine art.
Young graduated from the Royal College of Art in 2002 with a Masters in Fine Art and has exhibited her paintings and drawings in galleries and museums nationally and internationally including the Jerwood, John Moores, Flowers, The Lowry and The Laing Art Gallery. More recently her practice has been influenced by landscape design, which has culminated in a major piece of research over a 2 year period resulting in a Masters in Landscape Architecture from the University of Greenwich (completed Sept 2012).
Jules & Victorine, Conversation, 2010
Oil and acrylic on canvas
Original size: 71 x 56 cm
Alun Williams (b. Manchester, UK) is a British painter currently based in New York. His work as a painter deals with notions of portraiture beyond resemblance, and have particularly involved the appropriation of found accidental paint-marks discovered in locations with particular links to historical characters. This has more recently been complemented by quotations from art history.
Williams studied at University College of Wales, and Goldsmiths' College, London. As an artist he was first visible in the UK with exhibitions at Mario Flecha Gallery and Maureen Paley (Interim Art), London, as well as at the Museums of Stoke-on-Trent and Peterborough. He then became active in France undertaking residencies and exhibitions while continuing to exhibit in London. In 1993 he joined the Board of Directors of the Triangle Arts Association in New York, and in 1995 he was the founder of the Triangle France Association, in Marseille. Since 1998, he has been based in New York, and in 2000, he was the founder of Parker’s Box, an experimental gallery in Williamsburg, Brooklyn that produced 100 exhibitions from 2000 to 2013. He is currently the Chair of the Board of Directors of the Triangle Arts Association in New York.
His most recent exhibitions include group shows in France at Le Moulin Art Space in La Valette du Var, as well as recent shows at the Modern and Contemporary Art Museum in Nice and the Fondation Maeght in St. Paul de Vence, and at Untitled in Miami. In 2014 he has solo projects at Soapbox Gallery, Brooklyn and Galerie Anne Barrault, Paris.
Oil on canvas
Original size: 150 cm diameter
Photographer: Tim Edgar
Dominic Shepherd uses paint as a tool to create populated, romanticised worlds; the process itself; the intent, methods and forms used act as a latent means to manifest the hidden. The act of attempting to imbue creative artefacts/events with an ‘effect’; to enchant, the spell, would seem to contradict progressive theoretical frameworks.
Shepherd has exhibited internationally, with an extensive record of group and solo shows in London, Berlin, Los Angeles, Helsinki, Munich and Miami and he is represented by Charlie Smith London. As well as his practice Shepherd is currently co-managing ‘Black Mirror’, an international research network that is engaged in actively promoting research and practice that explores enchantment, occultism and Magic in relation to Modern and Contemporary Art.
Oil, acrylic, gouache on canvas
Original size: 140 x 105 cm
Photographer: Andrea Giuseppe Corciulo
Andrea Giuseppe Corciulo lives and works in St. Gallen, Switzerland. He studied at the Zürcher Hochschule der Künste, Zürich.
Recent solo shows include: Fieldtrip, Kultur im Bahnhof, St.Gallen, Switzerland 2013; When the world was woken, Kunsthalle Arbon, Switzerland 2009; The nearest faraway place, Gallery Martinos, Athens, Greece 2008; The nearest faraway place, Galerie Luciano Fasciati, Chur, Switzerland 2007.
Recent group shows include: Soirée Graphique, Kunsthalle Bern, Switzerland 2012; pressure points:between tracks, International 3, Manchester, UK 2009; Surréalités, Centre PasquArt, Biel, Switzerland 2007.
Painting for D.A, V.A, 2011–12
Oil on panel
Original size: 50 x 40 cm
Photographer: May Heek
Estelle Thompson, lives and works in London. Thompson studied at the Royal College of Art, London. Her work is held in numerous public collections, including Arts Council of Great Britain, British Council, British Museum and New York Public Library.
She has recently worked with Arts commissioning bodies and architects designing projects for the built environment: 2009-11 Centre for the Creative Industries, Glyndwr University, Wrexham; 2008-11 South Bristol Community Hospital; 2008- 10 The Orchard Centre, Hull.
She has curated a number of exhibitions at Oriel Sycharth Gallery, Wrexham, most recently in 2013, I was a Teenage Cave Girl and other works, Ed Allington solo, and I do nothing but think of you, Kevin Hunt solo.
Selected solo exhibitions include: Oriel Sycharth Gallery, Wrexham, 2014; Purdy Hicks Gallery, London, 2009; True Colours, Wetterling Gallery, Stockholm, 2004; Being Here: New Paintings, The New Art Gallery Walsall, 2001; Punctuation Paintings, Purdy Hicks Gallery, 1999; Galerie Helmut Pabst, Frankfurt, 1999; Fuse Paintings, Usher Gallery, Lincoln, Mead Gallery, Warwick, 1998.
Recent selected group exhibitions include: Do You Believe in Angels?, Mo Space Manila; Equator Art Projects Singapore, 2014; Jerwood 20 Years, The Jerwood Gallery, Hastings, 2014; Golden Sections, thewindshow@CPT, London, 2014; Head to Head, Rogue Project Space, Manchester, 2013; Small is Beautiful XXI Who’s Afraid of Red Yellow & Blue, Flowers, London, 2013; Theory & Practice of the Small Painting, Equator Art Projects, Singapore 2013; Colour as Material, Finnish Academy of fine Arts, Helsinki, 2013; RA Summer Exhibition, Royal Academy of Arts, London, 2012; Back and Forth, B55 Contemporary Art Gallery, Budapest, 2012; Drawing 2011, Drawing Room, London, 2011.
Body and hand, resting, 2014
Ink and watercolour on paper
Original size: 54 x 32 cm (w x h)
Eve Ackroyd (b. UK, 1984) lives and works in New York. Details of bodies appear in Ackroyd’s paintings – headless torsos, hands reaching out to touch another figure, heads turned, lying side by side. By observing and detailing bodily gestures and physical encounters, she is enquiring into patterns of social and instinctive human behaviour. Themes such as corruption, religion, power, individualism, desire and satisfaction all recur in her work. In her paintings, such notions are distilled into images of the body and presented via its relationship to environment and space. The body at rest is a recurring figure in Ackroyd’s work, and she explores how that can reveal both the inner state and external restraints of human existence.
Ackroyd studied painting at Chelsea College of Art and Design, and Weissensee School of Art in Berlin. Her work was selected by Ceri Hand for Creekside open, APT gallery, 2013 and she was a finalist in the John Moores painting prize in 2012. She was invited by Art HK to show a solo presentation of her work in Hong Kong in 2011 with Cole London.
National Velvet, Jul–05
Oil on Board
Original size: 18 x 24 cm
Photographer: Annabel Dover
Annabel Dover explores the social relationships that are mediated through objects. We all have relationships with objects that simultaneously confound and support emotional expression. The personal narratives we impose upon objects often provide a hidden expression for the breakdowns in human relationships and the memories and emotions that they reflect: overlapping, disparate and disjointed. Her research is in this way specifically engineered to be overlapping, mythical, disparate and disjointed.
Oil on aluminium,
Original size: 180 x 150 cm
G.L. Brierley explores our relationship to the object through the materiality of paint. The theorist Julia Kristeva argues that a child’s attachment to a “transitional object” can happen in the process of separation from the mother, seeing her as both attractive and repulsive. In Brierley’s work paint is left to alchemically react, dripped and thickly smeared in celebration of actual material, a word that is derived from mater or mother. She looks at the wider implications involved in the collection and display of the venerated object.
Solo exhibitions include: Tender Folds, FeldbuschWiesner, Berlin, Germany, 2013; New Paintings, Carslaw St* Lukes, London, 2012; Matersatz, Madder 139, London, 2010; Volta NY, Solo Presentation, (Madder 139 Gallery) New York, 2010; New Works, Natalia Goldin Gallery, Stockholm, Sweden, 2008; The Naughty Puppies, Firstsite Contemporary, Colchester, UK, 2005.
Selected recent group exhibitions include: The Hallucinated World, Haus am Lutzowplatz, Berlin, 2014; Fleursdumal, Lamb & Lion Gallery & Charlie Smith Gallery, London, 2014; The Viewing Room, All Visual Arts gallery, London, 2013; Metamorphosis, All Visual Arts gallery, London, 2012; Everywhere & Nowhere, The Reydan Weiss Collection, Villa Jauss, Bavaria; EU - 27 Artists | 27 Countries, Museum Tongerlohuys, Netherlands; A Piece of Paper, Madder 139 Gallery, London, 2011; Memories of the Future, La Maison Rouge, Paris, France, 2011; John Moores, Walker Gallery, Liverpool, UK, 2010.
Kipling by Lionel Trilling (Variation 2), 2011–2012
Acrylic on canvas
Original size: 10 x 130 cm
Photographer: John Bodkin
Jamie Shovlin is interested in the tension between truth and fiction, reality and invention, history and memory. He is an artist whose work combines extraordinary facility as a draughtsman, printmaker, painter and writer with conceptual complexity and playfulness. His painstakingly researched and executed works merge inherently flawed systems, pseudo-scientific exactitude and doubtful philosophical propositions with the seemingly objective experience of the archive. Through his projects Shovlin questions how information becomes authoritative and explores the way that we map and classify the world in order to understand it.
Recent solo exhibitions include: Hiker Meat, Cornerhouse, Manchester 2014; How most of what you know is reconstruction, Southampton City Art Gallery, Southampton 2013; The Evening Redness in the West, Haunch of Venison, Zurich, 2009; and In Search of Perfect Harmony, Tate Britain, London 2006.
Original size: 213.4 x 251.4 x 20 cm
Hand Woven manila rope, climbing rope, alkyd paint, silicone, wood
Photographer: Fabian Marcaccio
Fabian Marcaccio (b.1963, Rosario, Argentina) lives and works in New York. Marcaccio’s work investigates whether the traditional medium of painting can survive in the digital age. He has used printmaking and transfer techniques to make paintings and became well know in the 1990s for his sculptural manipulations of the two-dimensional surface of canvas. More recently, he has relied upon digital and industrial techniques to infuse his painting process. The results are environmental work, animations, and “Paintants” that combine digitally manipulated imagery, sculptural forms, and three dimensionally painted surface.
He has exhibited widely throughout the United States, Europe and South America. In 2004 a retrospective of his work was organised by the Kunstmuseum Liechtenstein, the same year that a solo exhibition of his work was mounted at the Miami Art Museum. He regularly exhibits with galleries in New York, Los Angeles, Paris, Cologne and Barcelona. He has participated in numerous group exhibitions, including the 44th Biennial Exhibition of Contemporary American Painting, Corcoran Gallery of Art, Washington DC, 1995; Summer Projects at PS 1 Contemporary Art Center, New York, 2002, and Documenta 11, Kassel, Germany, 2002. His multi-disciplinary collaborations have included projects with the architect Greg Lynn that resulted in an exhibition at the Wexner Center for the Arts, Columbus, in 2001 and projects with composer Claudio Baroni creating animated operas and a 2005 scored, paintball performance at Weston Hall in Toronto.
The Country Air and All of Its Joys, 2012
Original size: 200 x 180 x 50 cm
Photographer: Peter Hope
Fiona Curran is an artist based in London currently studying for a PhD at The Slade School of Fine Art. Recent exhibitions include: Beach Fatigue (solo), Carlslaw St* Lukes, London, 2013; Riff/t at Baltic39, Newcastle, 2013; Signal Failure, Legion TV, London, 2013; Easy Does It at David Dale Gallery, Glasgow, Aid & Abet, Cambridge and Supercollider, Blackpool, 2013. Recent site-specific commissions include: An Accident Looking for Somewhere to Happen for Art Across the City, Swansea, 2012 and This Time Next Year Things Are Going To Be Different for The Tatton Park Biennial, Tatton Park, Cheshire, 2010.
An Indeterminate Prognosis, Feb-14
Oil on Canvas
Original size: 62 x 62 cm
Photographer: Tonje Ch Ytterstad
Alistair Payne completed his Practice-Led PhD in 2005 at Chelsea College of Art and Design based upon the notion of Painting as an Interdisciplinary Form. His practice expands across the frame of the painterly surface investigating the potential for painting to become immersed within alternate forms and this includes the moving image, three dimensions, installation and architectural intervention.
Recent exhibitions include: Indisciplinary Behaviour, Rom8 Gallery, Bergen, Norway, 2014 (Solo exhibition), Drawing to Learn/Learning to Draw, The Fleming Collection, London, 2013; The Ends of Art, Beton7 Gallery, Athens, Greece, 2013.
In 2008 he published the book ‘Painting as an Interdisciplinary Form’, which was followed in 2013 by ‘The Virtual and Interdisciplinarity’ in ‘Digital Media and Technologies for Artistic Spaces’, IGI Global.
He is currently Head of School of Fine Art at Glasgow School of Art.
The Margin, 2014
Newspaper stock market listings, archival inkjet, acrylic, sand on canvas and sail cloth.
Original size: 150 x 200 cm
Photographer: Gordon Cheung
Gordon Cheung is of Hong Kong origin and born in London 1975 where he lives and works. He graduated from the Royal College of Art, 2001 and has since regularly exhibited internationally. Cheung’s multi-media art captures the hallucinations between the virtual and actual realities of a
globalised world oscillating between Utopia and Dystopia. Spray paint, oil, acrylic, pastels, stock listings and ink collide in his works to form epic techno-sublime vistas.
Cheung's works are in international collections including the Hirshhorn Museum, Whitworth Museum, ASU Art Museum, The New Art Gallery Walsall, Knoxville Art Museum, Hiscox Collection, Progressive Arts Collection, UBS Collection and the Gottesman Collection.
Oil on board
Original size: 20 x 15cm
Photographer: Damian Griffiths
Alli Sharma lives and works in London. Exploring notions of identity, memory, longing and loss, she often takes an ambiguous glance back at her own history, unearthing memories to create revealing, fluid paintings. Examining our relationships with familiar but overlooked objects and animals suggest possibilities for paintings. Sharma transforms the forgotten and degraded into subjects worthy of portraiture that evoke hidden histories. With her focus on our emotional investment in things, there is also strong reference to class and taste.
Recent exhibitions include: John Moores Painting Prize 2014, Walker Art Gallery, Liverpool; Stowaway, Weekend Gallery, Los Angeles, 2014; Ornament, huntergather, London; Painting Past Present: A Painter's Craft, Laing Gallery Newcastle; Masque, Galerie d'YS, Brussels, 2013.
The Face of God, 2011
Oil on Canvas
Original size: 137 x 183 cm
Photographer: Dan Hays
Over the past fifteen years or so, Dan Hays has used poor-quality, low-resolution imagery, gleaned from the Internet, to produce oil paintings. Landscapes visited by means of the website of another Dan Hays living in Colorado, and webcams situated in ski resorts have been abiding sources – amongst other things. The relationship between the pixelated, immaterial, instantaneous and encoded realm of the digital, and the tactile, flawed and time-consuming medium of painting is the focus of his work.
Hays has exhibited nationally and internationally since graduating from Goldsmiths College in 1990. He won the John Moores Prize for painting in 1997, and his work can be found, amongst other places, in the collection of the Tate and reproduced in the book Vitamin P. He recently completed a PhD at Kingston University, which included the solo exhibition Screen as Landscape at the Stanley Picker Gallery in 2011. Recent group shows include Film in Space at Camden Arts Centre, London, and A Machine Aesthetic at Gallery North, Newcastle.
London Artist (David), 2013
Oil on canvas
Original size: 16 x 12 in
Photographer: Enzo Marra
Enzo Marra’s creative practice is concerned with the exploration and pictorial analysis of the art world via oil, ink and graphite applications over canvas, paper supports and wooden board. He has been exploring the settings of the studio, the gallery, the auction house and how the art world is seen both from the perspective of the insider and that of those on the periphery. The use of texture is of great importance in his practice as he feel that it gives oil paints an added dimension, and the brush used a necessary dominance in the final image created. The dragging away and building up of pigment are as relevant in the final image as the tonality and colour balance that they are used to express.
His works have been selected for the Threadneedle Prize in 2010, 2012 and 2013, Gfest in 2010, Charlie Smith Anthology in 2011, and the Open West at Gloucester Cathedral and the John Moores Painting Prize in 2012. He has also recently been included on the shortlist for the 100 Painters of Tomorrow and selected for the Crash Open Salon 2013 at the Charlie Dutton Gallery.
Self-Portrait as Emergency Shipwright, 2013
Oil on canvas
Original size: 60 x 84 in
Photographer: Susan Alzner
Sky is Falling deals with an imagined landscape after calamities like Hurricane Sandy and the BP oil spill. Heffernan has invented alternative habitats, mechanisms for storing food and things we can’t live without - like water and books - as we confront inevitable changes to our lives and habits as the realities of climate change and its effects on people all over the globe make themselves more evident every year.
Julie Heffernan is a Professor of Fine Arts at Montclair State University in New Jersey. She received her MFA at Yale School of Art in 1985. Heffernan has been exhibiting her paintings actively throughout the United States since 1988 and is currently represented by PPOW Gallery in New York City, Catharine Clark Gallery in San Francisco, CA; and Mark Moore Gallery in Los Angeles, CA. A version of her most recent 2013 solo exhibition at PPOW Gallery entitled Sky is Falling began at the Mark Moore Gallery in Los Angeles in 2012, and then travelled from the Palo Alto Cultural Center to the Crocker Art Museum in Sacramento, California in 2013-14.
In 2011 Heffernan was inducted into the National Academy Museum in New York, and has been the recipient of many awards including a MacDowell Fellowship, a National Endowment for the Arts Grant and a Fullbright-Hayes Grant. In 2009 she was invited to be the Guest Artist at BAM and was the 2010 Commencement Speaker at the Pennsylvania Academy of Fine Arts.
Oil on board
Original size: 56 x 60 cm
Geraint Evans makes paintings that explore the idea that landscape is largely a social and cultural construct, depicting the way in which nature is shaped and fabricated in high streets, shopping malls and the suburbs; in theme-parks, gardens and national parks.
Evans grew up in Swansea, Wales and studied at Manchester Polytechnic and the Royal Academy Schools, graduating in 1993. His solo exhibitions include: Newport Museum and Art Gallery, Wales, 2012; Wilkinson Gallery, London, 2000 and 2004; Centro de Arte de Salamanca, Spain 2003; Glynn Vivian, Swansea, 2002 and Chapter, Cardiff, 2001. His work has been included in group exhibitions at: Monash University, Melbourne, Australia, 2013; CAST, Hobart, Tasmania, 2012; The Lion and Lamb, London, 2013; Ceri Hand Gallery, Liverpool 2011; Shanghai Art Gallery, China, 2010; Seongnam Art Centre, Korea, 2010; ICA, University of Pennsylvania, USA, 2007; The City Gallery, Prague 2004 and The Approach, London, 2003 and 1999.
Geraint has been a resident artist at the Banff Centre for the Arts, Canada and, in 2003 received a Pollock-Krasner Foundation Award and the Berwick Gymnasium Fellowship. He was awarded a prize at the John Moores Contemporary Painting Exhibition in 2008. His work is held in the collections of Fondazione Morra Greco, Napoli; The British Embassy, Berlin; the Colas Foundation, France and the Ferens Art Gallery, Kingston-upon-Hull.
He is a senior lecturer in Fine Art at Wimbledon College of Arts, University of the Arts London.
Oil and acrylic on linen
Original size: 183 x 257 cm
Photographer: Antony Makinson at Prudence Cuming Assc
Dan Perfect describes his paintings as “imagined interior or psychological landscapes”. They derive from drawings which are manipulated and re-worked digitally into composites that are used as ‘proposals’ for the large scale paintings. Although teeming with organic forms, these are not direct responses to nature, but re-imagined experiences - a way of manifesting the outside world in the studio. Perfect says, “They can also seem quite urban and technological, and there’s a strong sense of science fiction in them. It’s perhaps a decayed science fiction where tumultuous change and biological entropy are intervened and radically altered. Our cultural history is rooted in our biology - which futurologists now predict that we may one day be able to transcend; in 50 years you may be able to upload yourself. In my paintings I’m thinking about the nature of what it is to be us in this world right now.”
Dan Perfect studied at Chelsea School of Art, London, 1981–83, and St Martins School of Art, London, 1983–86.
Solo exhibitions include: Dan Perfect, One in the Other, London, 2006; Paintings and Drawings, Road Agent, Dallas, 2008; Dan Perfect: Paintings, Chisenhale Gallery, London, 2008; Dæmonology, Karsten Schubert Gallery, London, 2010; Painter, Painter; Dan Perfect and Fiona Rae, Nottingham Castle Museum, 2014.
Group exhibitions include: Death to the Fascist, Anthony d’Offay Gallery, London, 2001; Beck’s Futures, ICA, London, 2002; Exploring Landscape, Andrea Rosen Gallery, New York, 2003; Newspeak: British Art Now, Saatchi Gallery, London, 2010; New Wave, Etemad Gallery, Dubai, 2011; John Moores Painting Prize 2012, Walker Art Gallery, Liverpool.
Albion's Bounty (Bindweed), 2012–13
Oil on primed linen
Original size: 70 x 55 cm
Photographer: Colin Mills
Clyde Hopkins was born in 1946 in Bexhill on Sea. He studied art at the University of Reading. Artists such as Bruegel, Goya, Braque and, most importantly, Miro remain significant for him.
He currently works at APT studios in Deptford London, and in St Leonards on Sea, making paintings and editioning screen prints with Advanced Graphics London. He has exhibited widely in the UK and Europe. Solo exhibitions include: the Serpentine Gallery, London; the Ikon Gallery, Birmingham; Rochdale Art Gallery; the London Institute Gallery; Millfield School Gallery; Joan Prats Gallery, New York; 116 gallery, Kent. Group shows include; Colour Boundary, Newcastle upon Tyne, 2014 and APT in Den Haag Nederland.
He has been Head of Painting at Winchester School of Art and at Chelsea College of Art & Design (UAL).
Oil on panel (with walnut artist's frame)
Original size: 150 x 120 cm
Andrew Graves (b.1967, England) lives and works in London. Recent solo and group exhibitions include: Spool, Andrew Graves, Neil Rumming and Marco Palmieri, Ana Cristea Gallery, New York, 2014; Summer Show, Lion and Lamb Gallery, London, 2013; Andrew Graves, Studio 1.1 Gallery, London, 2012; The Curator’s Egg, Altera Pars, Anthony Reynolds Gallery, London, 2012.
Untitled (china clay pit, St Austell), 1990
Oil paint, canvas
Original size: 30 x 40 in (h x w)
Photographer: Alec Shepley
The subject matter in Alec Shepley's work inhabits temporary zones of production - 'behind the scene' as it were. Various explorations of the incomplete, together with attempts to perform the behaviours associated with the unfinished work involves reflecting on the fragment and occupying the nomadic studio as a means of creating audience encounters through 'the sketch'. The studio without walls or ruin in reverse is one by-product of this process. The practice of suspending the work in an unresolved state is explored by Nick Temple in his 2013 essay ‘Unfinished Narrative’, where he examined how Shepley's practice relates uneasily to the contemporary pre-occupation with art-works as products, readily consumed objects and whose material and sensual qualities are reduced to surface effect and how this underlines the creative potential of the fragment to restore our embodied relationship to the world.
Shepley’s recent exhibitions include: INSERT2014: New Models for Common Ground, Mati Ghar, Indira Ghandi National Centre for the Arts, New Delhi. 2014; Overtime, Wellington Park House, Leeds, 2014; Library Library, 70 Arthur Street, Winnipeg, Canada, 2013; By-Product Exchange Society (solo), Sam Scorer Gallery, Lincoln, 2013; and Entropic Union, Galeria Legnica, Poland, 2013.
Recent papers presented at conferences include: 9th International Conference on the Arts in Society, Sapienza University of Rome, 2014; Royal Society of the Arts East Midlands Annual Conference, Phoenix Centre, Leicester, 2013; 8th Annual Conference of the Arts in Society, Budapest, 2013; and 7 Conference, Bergen Academy of Art & Design, Norway, 2013.
Does Anyone Ever Get This Right, 2013
Acylic on Canvas
Original size: 80 x 80 cm
Photographer: Thomas Heming
Gordon Dalton (b. Middlesbrough, 1970) lives and works in South Wales. His paintings have a melancholic humour that questions their seriousness and intentions. His seemingly offhand approach denies any superficial finesse to reveal a love of awkward imagery, polluted colours and scruffy surfaces. An anxious contradiction is on show, with the work being self conscious of what it is, its possible failings, yet disregarding any angst by replacing it with a certain nonchalance and arrogance. The paintings have an adolescent quality about them, vulnerable, embarrassed and yet full of bravado. The works both attract and repel, daring you to like them, to share in their stuttering, bad grammar. Dalton’s work asks the viewer to look longer and harder at what painting is, and why it continues to fascinate.
Recent solo exhibitions include: Quiet Riots, Bay Art, Cardiff; The Idiot Convention, Motorcade FlashParade, Bristol; We Care A Lot, Chapter, Cardiff; Gorilla Lipstick, Bank Gallery, Los Angeles, USA.
Recent group exhibitions include: Change at Crew, The Studio, Llandudno; Painted Thought, Arcade, Cardiff; Without an edge there is no middle, Pluspace, Coventry; Like A Monkey With A Miniature Cymbal, Aid & Abet, Cambridge; Uncle Vern's Dog, Gallery North, Newcastle; National Open, Motorcade Flash Parade, Bristol; AreWeNotDrawnOnwardToNewEra?, G39, Cardiff; Panopti(con), Bank Art, Los Angeles, USA; Oh show me your love, Galerie Skuc, Llubjiana, Slovenia; This show is ribbed for your pleasure, Cynthia Broan Gallery, New York, USA; Flourish, Moravian Gallery, Brno, Czech Republic; Over & Over, Again & Again, Contemporary Art Centre, Vilnius, Lithuania; Among the living, Milton Keynes; ICA, London; MIMA, Middlesbrough; City Gallery, Leicester; Master of the Universe, Chapter Gallery, Cardiff; Spectator T, Art Sheffield; Things we lost in the fire, Transition Gallery, London.
Touch your world, 2013
Oil and acrylic on canvas
Original size: 84 x 69 in / 213.4 x 175.3 cm
Photographer: Copyright Fiona Rae, Courtesy Timothy Taylor Gallery, London
Photo: Antony Makinson, Prudence Cuming Photography, London
Over the last 25 years Fiona Rae has developed a distinctive body of work, full of restless energy, humour and complexity, which has set out to challenge and expand the modern conventions of painting. Fonts, signs and symbols drawn from contemporary design and typography have appeared in her paintings, whilst abstract marks and spontaneous gestures worry at the autonomy, legibility and function of these graphic shapes, debating a new synthesis of painterly languages. In 2004, when Rae visited Tokyo and reconnected with visual aspects of her peripatetic childhood in Asia, her lexicon further broadened to include small figures or cartoons whose status is left intriguingly ambiguous. Like Caspar David Friedrich’s human presences in an overwhelming landscape, they serve to point up the metaphysical and artificial dimensions of abstract painting, whilst also providing an empathetic point of identification for the viewer that invokes a more personal reading.
In using elements from popular culture that might be considered inappropriate or unserious in the grand tradition of painting, Fiona Rae looks to re-examine their meaning and expressive possibilities. In more recent paintings, these ludicrous yet gnomic images might be thrust into passages of expressive brushwork, layered and dense, or caught in black calligraphic drawing inspired by Dürer’s Apocalypse woodcuts, to produce dramatic and emotive compositions. Her recent titles often purport to be exclamations or statements, but like her paintings, they elude definitive explanation and can appear simultaneously dark and charming, anxious and insouciant.
Painter, Painter: Dan Perfect, Fiona Rae opened at Nottingham Castle in May 2014 and toured to Southampton City Art Gallery in July 2014.
Phyllobates Terribilis (Blusher), 2014
Acrylic and water based oil on canvas
Original size: 60 x 60 cm
Photographer: John Rimmer
John Rimmer makes paintings and video, as well as employing other media such as photography, laser cutting, text, and audio in the development and production of art. His practice intersects both painting and video so that the creative process involves a co-opting of methodologies and transcriptions of imagery from each disciple. Collage and appropriation have become important elements in the making of the work and these are sublimated through an employment of abstraction.
A key constituent that runs through his work is an exploration of aspects of human agency, with a particular focus on how individuals negotiate being in public spaces, depicting the sensation of being in these places, and then forging forms of 'mental landscapes' from the initial source material.
Initially these ideas found an outlet solely through painting and the source material was derived from frenetic public urban spaces such as busy shopping centres, train stations and city centres. More recently his source material and attention has shifted to explore how, virtual social worlds, networks, and the use of screens and electronic media in the everyday have been significant mechanisms in a dissolving of separate public and private spheres.
Rimmer has exhibited and curated both in the UK and internationally.
What's going on?, 2013
Acrylic on canvas
Original size: 120 x 100 cm
Photographer: Hamish McLain
Hamish McLain (b. London, 1983) explores the intersection between drawing and painting in his practice, investigating how a graphical sensibility can interact within the world of abstraction. An expressive release is vital, channelling the immediacy of sketchbook drawings and mark making into bold and energetic final compositions.
McLain received a BA (Hons) in Fine Art from Liverpool John Moores University in 2005, where he was recipient of the Norman Moores Fellowship in Drawing and Painting 2006. In September 2013 he graduated with a Masters in Fine Art from Chelsea College of Art and Design receiving a Distinction. Recent exhibitions include Crash Open 2013, Charlie Dutton Gallery, London; Sunday Salon, Oakley Road Project Space, London, 2013; MA Final Show, Chelsea College of Art, 2013; To Boldly Go, Cookhouse Gallery, Chelsea College of Art, 2013; Cave Art Fair - New Bird Street, Liverpool, 2012.
Between 2007 and 2010 he was Chairman and Co-director of The Royal Standard Gallery and Studios in Liverpool.
Oil on canvas
Original size: 30.5 x 23 cm (w x h)
Photographer: Sophia Crilly
Mark Kennard (b.1969, London) lives and works in Manchester. His sensuous paintings exhibit a lightness of touch in their consideration of colour and composition. His paintings are grounded in their material quality; free of specific narrative, they entice the viewer into the act of ‘looking’ and ‘seeing’.
Kennard is Co-Director of Bureau. He studied Fine Art at Manchester School of Art, and previously Graphic Design at the University of Salford. He has exhibited work across the UK and internationally, at galleries in Berlin, Helsinki, and New York, and has undertaken residencies in Helsinki (The Cable Factory) and Rotterdam.
Recent selected exhibitions include: In Conversation, Touchstones Rochdale, 2014; Without an Edge There is No Middle, Pluspace, Coventry, 2013; Summer Show, Malgras Naudet, Manchester, 2013; Treatment, PS Mirabel, Manchester, 2013; 60 Drawings, Bankley Gallery, Manchester; International Drawing Project, PR1 Gallery, UCLAN, Preston; Salon Neu, Embassy, Edinburgh, 2012; The Manchester Contemporary, Spinningfields, Manchester 2012; We Are All In This Together, Bureau, Manchester; Unrealised Potential, Northern Gallery for Contemporary Art (NGCA), Sunderland, 2011; Industry & Idleness, Contemporary Art Society, London, 2010-11; Unrealised Potential, Cornerhouse, Manchester, 2010.
Original size: 61 x 50 cm (w x h)
Photographer: Jay Oliver
Jay Oliver studied at Kent Institute of Art and Design Maidstone 1988-9 and University of Wales College Newport 1989-92. He is senior lecturer in the University of Lincoln’s school of Art and Design. His exhibitions include: Singer and Friedlander/Sunday Times Watercolour Competition, Mall Galleries London 1994 and 2001; Jerwood Drawing Prize, Jerwood space, London (touring), 2004; Royal West of England Academy Autumn Exhibition, RWA, Bristol, 2006; Jerwood Drawing Prize, Jerwood space (touring), 2008; Lynn Painter-stainers Prize, Painters’ hall, London 2008 & 2010; John Moores painting Prize 2012.
Still Life, 2013
Stitched wool on pink linen
Original size: 78.7 x 51 in / 200 x 130 cm
Photographer: Anna Arca
Hannah Knox (b. London, 1978) and lives and works in London. Her practice takes painting as its focus. Her most recent works are made from a selection of fabrics and cloths, ostensibly unpainted they are stained, poured, dipped, printed or sprayed. Shape-shifting they fall from the ceiling, hang out on the floor or gather themselves up to make a stand-in body in the room; actively embracing the world beyond the wall.
Using a variety of materials and surfaces, the works play with relationships both as a metaphor and in a more literal way as a marriage or clash of colours. Knox’s paintings are made to perform, change colour, heat up or sensually absorb light from the room. They are often presented as an installation with paintings linking to one another in a familial group, colours run through, some appear to be cropped, zoomed in and repeated. The more recent paintings feel spacey, as if seen from above, suggesting a galaxy and a bigger picture. They are attention-getting with a fluorescent palette of bright pinks, two-tone dupion, silks and sea blues, the initial loudness of the hues flat lining into a quieter echo or vibration.
The Temptation of St Anthony, 2011
Acrylic on canvas
Original size: 250 x 200 cm (h x w)
Photographer: James Hopkins
Iain Andrews is primarily a painter, based in Manchester and represented by Man&Eve gallery, London, with whom he had a solo show in 2013. He has also has recent solo shows at: Warrington Art Gallery, 2012; The Atkinson Gallery, 2013; and at Castlefield Gallery, Manchester in 2014. His work is held in numerous private and public collections including The Progressive Collection and The New Art Gallery, Walsall. In 2011 he won the Marmite painting prize, the regional award in the National Art Open and was shortlisted for the Jerwood Drawing Prize, and in 2012 he was nominated for the Northern Art Prize. His work is concerned with the narratives of Folk tales and Faery stories, which he uses as structures within which he explores the mythology both of art history and of the individual psyche. He also works as an Arts Psychotherapist with adolescents.
Oil paint on canvas
Original size: 45 x 45 cm
Evi Grigoropoulou explores the materiality of the paint through repetitive modes of production working across different media and surfaces. She graduated from the MA Fine Art at Manchester Metropolitan University in 2010. Her most recent exhibitions include: This space we are, The International 3, Salford, 2014; Not Just for Christmas, Contemporary Art Society, Mirabel Project Space, Manchester, 2013; Unrealistic, Untitled Gallery, Manchester, 2013; Salon Art Prize 2011, Matt Roberts Arts, London; Young Manchester Artists, Galleria FaFa, Finnish Academy of Fine Arts, Helsinki, 2011 and Apocatopia, Castlefield Gallery, Manchester, 2009. Her work has also been shown at The Manchester Contemporary Art Fair (2012) and Buy Art Fair (2008). In 2012 she undertook a one-month residency at 501 Artspace, Chongqing, China supported by the Arts Council England. Recent reviews of her work include The Guardian Guide and This is Tomorrow.
3 Wishes, 2007
Oil and gloss on MDF
Original size: 100 x 90 cm
Photographer: Michael Franke
Alexis Harding lives and works in London. Using eccentric devices to make his work, Harding pours household gloss paint over a monochrome of oil paint. During the long drying process, that can last for months, the surface changes and is manipulated. Gravity, extreme force and painterly chemical reaction work together alongside the artist's intervention to make works that aim to split, break and reinvigorate the possibilities of abstract painting.
He says of his work "I use the ordinary language of abstraction and aim to fundamentally change it; to stretch it to breaking point so another image emerges. To do this I have had to change the way paint normally behaves and functions. A combination of strategy and control, irrationality, chance and abandonment is at work in making the paintings. The paintings are abstract and bodily and entropic".
Selected solo exhibitions include: Alexis Harding In Progress: Nunnery Gallery, London, 2013; Fill Line, Platform A Gallery, Middlesborough, 2012; Long Room Drying Depot, Two Rooms Gallery, New Zealand, 2012; Substance and Accident, Mummery + Schnelle, London, 2012; Tondos and Bi-Products, Rubicon Gallery, Dublin, 2011; Clockwise Stoppages, Gallerie Hollenbach, Stuttgart, 2011; Bi-product Depositories, Mummery + Schnelle, London, 2009; Broken Lines, Galleria Marabini, Milan, 2009.
Recent Group Exhibitions include: Colour: Move! Galerie Renate Bender, Munich, 2014; L.A-London, Mind the Gap, Autonomie Gallery, L.A, 2014; Painting Two: Two Rooms Gallery, Auckland, New Zealand, 2013.
Harding’s work is held in numerous public and private collections.
Blue Drift 2, 2009
Oil on canvas
Original size: 92 x 114 cm
Photographer: Graham Crowley, with David Bloomfield
Graham Crowley “is a painter of restless intelligence and tremendous energy, and it soon became apparent that these qualities, combined with a rather unfashionable social conscience, would propel him into exploring the world about him through an intensely focused realism quite unlike anything else to be found on the contemporary art scene.”
Text by Andrew Lambirth, 2002
Wise Witch, 2011
Oil on canvas
Original size: 38 x 30 cm
Lindsey Bull’s work is an exploration around perceptions of reality and illusion, investigating fragmentary instances where the real merges with the fantastical, surveying a history of practices that shift the everyday into realms of spiritual, ritualistic or psychedelic perception. She describes her paintings as interpreting a kind of ‘gothic psychedelia’. They are the juncture where psychedelic patterning and colours meet darker forces driven by an interest in ritualistic performances and the ‘freak out’ of the acid trip.
Bull completed her MA in Fine Art at Chelsea College of Art and Design, London, in 2009.
Solo exhibitions include In Disguise, High House Gallery, Oxford, 2013; Darkling, Motorcade/FlashParade, Bristol, 2012; and Out of the Cosmic Storm, Transition gallery, London, 2012.
Selected group exhibitions include: Masques, Galerie d'YS, Brussels and Transition gallery, London, 2014; Rituals are Tellers of Us, Newlyn Art Gallery, Newlyn, 2013; Creekside Open (Selected by Paul Noble), APT gallery, London, 2013; Apophenia II, Fullersta Bio Konsthall, Sweden, 2013; Painting Rituals, Coldharbour gallery, London, 2012; Pulp Fictions, Transition gallery, London, 2011. She has been awarded the Red Mansion Prize (2011) and the Brenda Landon Pye prize (2009).
Oil paint on board
Original size: 43 x 65 cm
Jennifer Maidment grew up in Leeds, and studied at the University of Reading (BA) and Wimbledon College of Art, UAL (MA) before going on to work full time as a painter and art tutor. Speaking about her works she writes: “if I am not documenting, I am day-dreaming. People, faces and domestic or intimate lives have always held a fascination for me. This is what I refer to when I mention documenting – painting the insights I have into personal lives or straight-forward portraits that try to capture a story in the sitters face. On the other hand, I also like to escape; so I paint landscapes, jungles with tiny aeroplanes, pink skies, huge bodies of water, people flying. All these paintings are subject to a kind of fantasy – either in a way where nature engulfs human kind; where giant animals overshadow tiny figures or by a wild, vast, sublime image of nature that simply performs some kind of escapism. These paintings provide a sort of cinematic escape for me and I hope they do for viewers of my work too.”
Recent exhibitions include: Edinburgh Art Fair, Edinburgh, 2013; The Affordable Art Fair, Battersea, London, 2013; The Brixton Drawing Project, Brixton, London, 2013; The Griffin Art Prize (shortlist exhibition), The Griffin Gallery, London, 2012; Dining Room Drawing Club, The Old Nuns Head, London, 2012; The Dining Room Drawing Club UK tour (12 locations within the UK), 2012; Nuit Blanche, The Jelly, Reading, 2011; The Dining Room Drawing Club, Coach and Horses, London, 2011; Ladyfest Ten art exhibition, Ground Floor Left Gallery, London, 2010.
ReconFigure Painting (Jean-Auguste-Dominique Ingres), 2013
Acrylic on paper
Original size: 19 x 11 cm
Photographer: Andrew Bracey
Andrew Bracey (b.1978) is an artist and curator, based in Lincolnshire, England. In his most recent paintings Bracey strips the subject of his work back to the history of the discipline. ReconFigure Paintings feature an additional abstract geometric triangular structure to the human figures within printed reproductions of historical paintings. The eye alternates between this contemporary addition and the background of the original, something that is usually side-lined by the dominant figure. Despite a consistency of rules adopted when painting, each work takes on its own unique character and alters the viewer’s perception of the original source. The size of each original ReconFigure Painting correlates with different forms of reproductions sourced from gallery shops such as postcards, prints and pages from catalogues.
Solo exhibitions include; Nottingham Castle, 2014; Manchester Art Gallery 2009; Transition Gallery, London, 2007; Wolverhampton Art Gallery, 2007; and firstsite, Colchester, 2006. Recent group exhibitions include: A Machine Aesthetic (2013/4), Gallery North, Newcastle and touring; The Ends of Art, Beton7, Athens, 2013; Reliquary, Syson, Nottingham, 2013; and Possession (I), BACC, Bangkok, 2013.
Curated exhibitions include Misdirect Movies, 2013, Royal Standard, Liverpool, and touring; Crocodiles With a Second Skin Thrash, 2011, Over+Out, Lincoln; Being Lost, Rogue Project Space, Manchester, 2011; Unspooling: Artists & Cinema, 2010, Cornerhouse, Manchester.
Bracey is currently Programme Leader of MA Fine Art and MA Contemporary Curatorial Practice at The University of Lincoln, England.
EVERYTHING (cursive), 2012
Ink on paper
Original size: 84 x 42 in
Photographer: Yaowmarn Parinyapariwat
In her recent work, Julia Schwadron has been playing with the appearance of language. Patterns of lattice and matrix-like structures have appeared in her paintings and drawings. Using relatively neutral words such as OK, or patterns of XOXO, she creates layers of repeating motifs using theses letters to both undo and re-do meaning. One drawing titled, EVERYTHING, uses this word by folding it back and forth on itself in a design that resembles architectural details or patterns found elsewhere in the world. These drawings suggest that language might slip into physical form and perhaps vice versa. The drawings are designed to be both literally “read” while also looked at as abstractions.
She aims to use language as a visual code for thought that goes beyond standard comprehension to become meaningful as an image as well as text.
Driving her art-making are fundamental questions around the conventional notions of internal vs. external, i.e. our thoughts vs. our exterior environment. Schwadron attempts to find a way to blur these boundaries and create layers that more closely resemble the complicated ways we experience the world.
Oil on board
Original size: 30 x 40 cm
Photographer: Anna Arca
Henny Acloque's paintings draw on old masters such as Bosch, Bruegel, Durer and Ibbetsen. Appropriating the work of dead artists, Acloque forensically unpicks and reassembles the layers of each image she works from. She talks about her paintings being "evidence of evidence of evidence". Her paintings speak of infinity, inferring that both the landscape and our ideologies expand and contract outside of the image (and the edges of a canvas).
In her latest series of works, Acloque subtly prises open collections (and collectors) to reflect on how our changing world finds new meaning in their legacy and how changes in society, culture, and the economy have radically reshaped the meaning of objects and our relationships with them.
Her recent paintings and works on paper draw on her family’s collection of auction catalogues, artist’s postcards and a book of Victorian fairy paintings, which all feature historical landscape painting, enabling Acloque's investigation into our relationship to nature, the transfer of knowledge (public, private, between artists), and the consumption of art and objects.
Eliminating all figurative elements from the original source material, Acloque enforces her own codes and systems to re-introduce 'characters' to the frozen worlds she paints. This instils a familiar, timeless quality to the works. Utilising the colour of a cloth from a figure in the source image, Acloque injects abstract swoops, jacquard patterns and strokes that wittily challenge and disrupt these fantastical visions.
Doncombe Aga Kha, 2010
Oil on canvas
Original size: 235 x 342 cm
Photographer: Peter White
The subjects of Mark Fairnington’s paintings are made more singular through being painted. He is building a sort of ark – a raft of individual creatures and typologies of painting – which probes the possibility of realism. Like the vitrines and bell jars that house these specimens, we are all kept in a perpetual bubble of partial truths and convenient lies. The natural world is like raw footage that the artist can script and reframe into a narrative of his own, using the syntax of the fantasist with as much veracity as that of the scientist.
Fairnington’s most recent solo exhibition Unnatural History was a retrospective at the Mannheimer Kunstverein and Galerie Peter Zimmermann in Germany.
Double Hexad- Blue Naples, 2013
Acrylic on linen
Original size: 60 x 50 cm (h x w)
Photographer: Katrina Blannin
Katrina Blannin is a painter who lives works in London. She studied at the Royal College of Art 1995-97. In 2012 she was selected for the John Moores, in 2013 for The Future Can Wait and in 2011 and 2010 for the CRASH Open at Charlie Dutton Gallery by Matthew Collings. Other recent shows include: Alter, Vegas Gallery, London, 2012; The Fine Line, Identity Gallery, Hong Kong, 2013; Without an Edge There is no Middle, Pluspace, Coventry, 2013; and The Discipline of Painting, Harrington Mill, Nottingham, 2013. Other projects include writing and teaching for Turps Banana, co-curating Ha Ha What Does this Represent, Standpoint Gallery, London 2011 and contributing as co-director of the Lion & Lamb Gallery.
The Inflight Advert, 2014
Oil on linen
Original size: 45 x 60 cm
Photographer: Michael Fullerton
Michael Fullerton’s work is concerned with how political and historical information is recorded and disseminated, in particular through the medium of the oil painted portrait. Fullerton’s choice of subjects range from the overtly political to people of varied social class and unexpected cultural histories. Underpinning Fullerton’s work is an examination of the relationships between people and the forces at play in those relationships, whether that be social relations involving authority or power, or relationship dynamics that work on a more emotional, psychological or aesthetic level. Other mediums of communication, such as billboard posters, wall texts and the raw materials used for analogue tape and audio recording are also employed.
Solo exhibitions include: Meaning Inc, Greene Naftali, New York, USA, 2014; Columbia, Chisenhale Gallery, London, 2010.
Group exhibitions include: Learning to Draw/Drawing to Learn: The Glasgow School of Art, Fleming Collection, London, 2013; A Picture Show, Gallery of Modern Art, Glasgow, 2013; Dawn Chorus: New Works in the Arts Council Collection, Leeds Art Gallery, 2012; The Irregular Correct, Fremantle Arts Centre, Australia, 2012; ABC: Art Berlin Contemporary, Berlin, 2011; The Big Society, Galerie Vallois, Paris, 2011; Bigminis: Fetishes of Crisis, CAPC, Bordeaux, 2011; British Art Show 7, touring exhibition at Nottingham Castle Museum/Nottingham Contemporary, Hayward Gallery, London, Glasgow Centre for Contemporary Art and Peninsula Arts Plymouth, 2010–11.
Double Decker, 2014
Acrylic and oil on canvas
Original size: 80 x 70 cm
Photographer: Keith Thomson
Louisa Chambers recent practice responds to ongoing research into depiction and visual perception on two dimensional surfaces (more specifically, concentrating on the mediums of drawing, collage and painting). Multiple dimensions and perspectives that feature in the work are explored through the materiality of paint and the repetition of geometric motifs that are floating ambiguously in space. These shapes and silhouettes have been assembled becoming anthropomorphic forms that teeter between abstraction and figuration. The paintings seem to present an alternative universe where impossible science fiction/architectural structures comment on conflicts between our inner dream worlds and the technological robotic control on our everyday lives.
Chambers graduated with an MA in Painting from the Royal College of Art (2005-2007) and a BA in Fine Art with first class honours at the University for the Creative Arts, Farnham (2001–2005). Selected recent exhibitions include: Stereoscope, Mrs Rick’s Cupboard, Primary, Nottingham (Solo- 2013) Rotation, New Court Gallery, Repton, Derbyshire (Solo- 2013) Flatland, Blyth Gallery, London (2012) Needle’s Eye, BayArt Gallery, Cardiff and Transition Gallery, London (2012). She was a finalist in the Crash Open 2013, Zeitgeist Open 2012, selected in 2010 and 2009 for the Salon Art Prize, Matt Roberts Art and John Moores 25 at Walker Art Gallery, Liverpool in 2008.
She is currently Artist-in-Residence at Repton School, Derbyshire.
A Change is Gonna Come, 2014
Acrylic on canvas
Original size: 163 x 112 cm
Photographer: Emma Talbot
Emma Talbot is an artist based in London. Her work is an act of reconstruction. She makes drawn and painted images of memories and thoughts directly onto paper and canvas. These are grouped together to reveal psychological patterns. She describes her work as ‘an attempt to get close to the way connections are formed between disparate things, building our experience of the world’. The work includes pictures, motifs and text - from her own writing as well as song lyrics, poems, and the writing of others.
Selected recent exhibitions include: Painting Past and Present, The Laing, Newcastle; Drawing Now, Carousel De Louvre, Paris; Bad Objects, Little Deaths, Transition Gallery, London; The John Moores Painting Prize, The Walker Art Gallery, Liverpool; Me and My Shadow, Kate MacGarry, London; TOLD, Hales Gallery, London; You Would Cry Too If It Happened To You, Kusseneers Gallery, Antwerp; The Solo Project, Basel (Kusseneers Gallery); The Life Of The Mind, The New Art Gallery Walsall.
Emma Talbot's work will be featured in two Thames and Hudson publications: ‘100 Painters of Tomorrow’ and ‘Drawing People’. Her work is in the Saatchi Collection and The David Roberts Collection.
Some Noise, Dec–13
Acrylic on Canvas
Original size: 30 x 25 cm (w x h)
Photographer: Steve Dutton
Steve Dutton is an artist/academic who works on both collaborative and individual projects. He is Professor in Contemporary Art Practice at the University of Lincoln where he is creating an Artistic Research hub for the Lincoln School of Art and Design.
Individual and collaborative projects have been exhibited throughout the UK and internationally, including The Institute of Beasts at Kuando Museum of Fine Art in Taipei and more recently The Stag and Hound at PSL in Leeds UK (both Dutton and Swindells) which was nominated for the prestigious Northern Art Prize. His most recent collaborative commission was ‘End of Ends’, an Arts Council Funded project for Bend in the River in the East Midlands of the UK in which he collaborated with sound artist Neil Webb (www.endofends.co.uk). His solo work has recently been included in Modern Times, which was shown at numerous sites across the Netherlands including the Stedelijk Museum Amsterdam and the Centraal Museum Utrecht.
Much of his work has been in collaborations but he is currently producing a new body of solo work which is characterised by a play with image/ text boundaries. Dutton is increasingly writing around the subject of ‘Artists’ institutes and the Institutes of Art’, drawing on his own practice and the practice of a growing body of artists who seek to rethink the nature of the art educational institution as a process of unfolding ‘epistemic events’ rather than a sequence of ‘progressive’ tiers of knowledge.
He has published in the Journal of Writing in Creative Practice and the Journal of Visual Arts Practice along with many contributions to various magazines, publications and conferences on contemporary art. He also has curated a number of exhibitions, his most recent being a co-curated project with Dr. Brian Curtin entitled Possession (1) at Bangkok Arts and Culture Centre which ran from March-May 2013 and Possession (2) at LGP in Coventry, UK in March 2014.
Kiosk – Red, Green, Blue, 2013
Gouache on board
Original size: 38 x 34 cm
Photographer: Bernard G. Mills
Kiosk – Red, Green, Blue is one of a series of paintings Bristow has been making since 2004. Her process begins by making an arrangement of models and collage elements, reminiscent of miniature stage sets, on a table in her studio. She then paints this arrangement fairly realistically. The paintings contain narrative, although she rarely begins with a definite story in mind. Instead, the exploratory process of making the work allows her to discover or construct meaning from the combination and juxtaposition of elements. The ‘meaning’ or story remains quite loose – without the expectation the viewer will be able to interpret it literally, but with the hope that they will get hints of meaning, and begin to make their own connections based on their understanding of the painting and what is represented. In her work for (detail) the elements include a model of a kiosk selling bread, which Bristow photographed in Moscow, and a paperback book bought in a second-hand bookshop in Prague.
Recent solo exhibitions include: Unofficial Paintings in the De'Longhi Print Room at Pallant House Gallery, Chichester, 2013; Hidden Persuaders, Permanent Gallery, Brighton and Geheime Verführer, Laura Mars Grp, Berlin, both 2009.
Recent group shows include: Memory of a Hope, Ceri Hand Gallery, Liverpool, 2011; Pre-Production, Occupy My Time Gallery, London and Self Made Worlds, Wimbledon Space, both 2013.
Barnes Master Plan, SUNY Purchase, 2014
oil and acrylic on panel
Original size: 24 x 24 in
Photographer: Will Laughlin, Image Courtesy of 532 Gallery Thomas Jaeckel
“Julie Langsam’s work playfully negotiates and questions the legacy of modernism on contemporary culture. Representations of toxic landscapes reference the painterly sublime, serving as the ground for modernist architectural marvels, structures that evoke notions of failed utopias. Newer watercolors and wall paintings based on architectural blueprints are layered and transformed by abstract color fields, selected randomly by chance. Drawings depicting iconic buildings by modernist masters are marked with graphite, having the effect of redacting parts of the structures and surrounding landscape. Langsam’s work may seem to allude to the endgame of history, however the work also stems from a place of ambivalence and desire. The work suggests an attempt to navigate multiple legacies at once negotiating personal memory with art historical and institutional history.”
Text by Kirsten Nelson
Oil, acrylic, spray paint and collage on canvas
Original size: 107 x 94 cm
Photographer: Tristram J. Aver
Tristram Aver (b.1979) is an artist and curator currently based in Nottingham, UK. Aver has been involved in activities ranging from album/single cover artwork for The Cooper Temple Clause breakthrough album 'Kick Up The Fire and Let The Flames Break Loose', to producing the visuals for BBC projects. Aver has been Chairman and studio holder at OpenHand Open Space gallery (Reading, Berkshire) and he is currently a Curator at Nottingham Castle Museum & Art Gallery and studio member of 3rd Space Studios, Sherwood.
Exhibitions include: Recent Paintings: Tristram Aver, Djanogly Art Gallery, Lakeside Arts Centre, Nottingham, 2014; Four, Cornerhouse, Manchester, 2013; YOU CAN TELL ME!, Factory-Art Gallery, Berlin, 2012; Mind The Gap, IDM Gallery, Busan, Korea, 2012 and Lotte Gallery Jamsil, Seoul, Korea 2012; Nature or Nurture - Tristram Aver and Michael O’Reilly, GX Gallery, London; WW Solo Award, WW Gallery, London, and Culture Cloud, New Art Exchange, Nottingham. His work is held in private collections including the Bayswater Media Group, London, and The Stremmel Gallery Collection, Reno, Nevada (US).
Menagerie 1: Nature, Nurture and Nietzsche, 2010
Gouache and watercolour
Original size: 87 x 62 cm
Photographer: Chris Goddard
Medina Hammad is a painter who lives and works in Lincolnshire. Much of her output involves cultural identity and hybridity. She is very interested in the use of exotic motif and its related context. Often she employs autobiographical material as a vehicle for exploring this. The image featured in (detail) is from Pebbles and Avalanches, a show focused on education, where Hammad chose to explore the art college as a menagerie.
Hammad studied at Chelsea, Newport and De Montfort. Selected exhibitions include: Pebbles and Avalanches (curated by Clare Charnley),The Crossley Gallery - Dean Clough, 2010; Medina Hammad – Recent Drawings, Tyler School of Art Philadelphia, 2004. Medina Hammad – New and Recent Work (Solo exhibition) University of Leeds, 2004; Medina Hammad – New and Recent Work (curated by Dr Eddie Chambers), 4 Victoria Street Bristol (Solo exhibition), 2002; Sudanese Stories (Solo exhibition) Usher Gallery, Lincoln, Bradford University, and Peterborough Art Gallery, 1999/2000; Solo Exhibition, Friendship Hall, Khartoum, Sudan, 1995; Solo Exhibition, Angel Row Gallery, Nottingham, 1993.
The Second Novelty At Square Pier, Jan–14
Acrylic on panel
Original size: 61 x 61 cm
Photographer: Sarah R. Key
Appropriation plays a large part in Sarah R. Key’s working methods, where imagery relating to particular films and music might be employed alongside odd architecture, constructed environments and fuzzy fields. Hybrid and anthropomorphic forms are used to pose questions about ideas and scenarios that relate to human experiences of constructed environments (in the absence of natural ones). The imagery aims to leave questions hanging over the ambiguous nature of forms and space, which have both abstract and narrative potential – that it is not at all clear where (or when) we are meant to be (in time and in reality) is essential to the work.
Over the past decade, Key has exhibited internationally, in London, Stockholm, Dresden and in South Korea. Represented in private and public collections, Sarah’s work has garnered significant art prizes and nominations. In 2010 her work was selected for the Royal Academy Summer Show, in 2011 for the Mostyn Open and Threadneedle Prize, where she was a finalist. In 2014 Key has a solo show at New Court Gallery, Repton, Different Kinds Of Matter and is also showing in the group show Enclosures/Elsewhere at the Lion & Lamb Gallery, London.
Armchair Thriller, Dec–12
Oil on canvas
Original size: 190 x 210 cm (h x w)
Photographer: Stefan Rohner
Rachel Lumsden regards the process of painting as a speculative business and believes that paintings only really live by lucky chance. For her, to paint means to embrace the materiality of paint with all its refreshing unpredictability when set loose upon a surface. Works come to exist both as colour-terrains, as well as contributions in the discussion of current themes through participation in collective citation.
Rachel Lumsden lives und works in St. Gallen, Lucerne and London. She studied Fine Art at Nottingham Trent University, (1987-1991) and postgraduate painting at the Royal Academy Schools London, (1995–1998). Since 2007 she has lectured at the University of Lucerne on the course for BA Fine Art. She has been the recipient of numerous prestigious art prizes (including The International Art Prize from Bregenz, Vorarlberg and The Pollock-Krasner Award, New York. Her work is represented in public, national and international collections. Some recent exhibitions include: Drunk in Charge of a Bicycle, Kunstraum Kreuzlingen, 2013; Six Impossible Things Before Breakfast, Kunstplatform Akku, Lucerne, 2013; What‘s the Time, Mr. Wolf? Galerie Schöneberger, Thurgau, 2012; Man & Beast, Kunstraum Engländerbau, Vaduz, 2009; La Suisse est une ville, Cité Internationale Des Arts, Paris, 2012; The Open West, Cheltenham, 2011; Art of Giving, Saatchi Gallery, London, 2010; Narrative Sequencing, CBA Gallery, New York, 2010; Let the Yangzte Flow, Hubei Institute of Fine Art, China, 2010; Works on Paper, Raab Gallery, Berlin, 2009; AIR 2 Substitut, Raum für Aktuelle Kunst, Berlin, 2009.
Engram 8, 2011
Acrylic and digital photo media on wood
Original size: 60 x 40 cm
Photographer: Mick Finch
Mick Finch’s practice is centred around questions of the image, tableau and painting. He lived in France for 20 years and references contexts of post war French visual art both through his studio work and his extensive writings. He exhibits widely and internationally, most recently in group exhibitions such as Painting/Tableau/Stage, The Urban Space, Columbus, Ohio; Dirty Pop, &Model, Leeds; With Torch and Spear: constructing collage, Winchester School of Art Gallery and Picture /Tableau/Screen, Herbert Read Gallery, Canterbury. His most recent solo exhibitions have been at the Piper Gallery in London, LAS Gallery and Moments in Paris. In 2011 he co-curated, The Pavement and the Beach at the Paradise Row gallery. Since 2010 he has led the Tableau Project that to date is a series of on going seminars and a symposium that took place at Tate Modern, London in November 2011. Writing and teaching are important components of his practice. He was the professeur de l'atelier de peinture at the Ecole des Beaux-arts de Valenciennes and is presently the Course Leader of the BA Fine Art course at Central Saint Martins, London. In 2005 he was a Senior Scholar at the Terra Foundation in France and in 2011 he was an Abbey Fellow in Painting at the British School at Rome.
Nov 07 – May 09
Paynes grey, oil on linen
Original size: 120 x 120 cm
Photographer: © Peter Abrahams
Making reference to an eclectic range of influences including Eastern philosophy and Spanish still life painting, Simón Granell’s practice explores process through painting, drawing and text as metaphors for presentness, employing systems of layering and repetition. Strict parameters are employed to allow the uncontrolled to happen. The process of repetition leads either to ambiguity or articulation, each variation becoming writ large because of its repetitious nature.
Simón Granell studied fine art at Falmouth School of Art and The Slade School of Art, London. He is currently a Senior Lecturer in Fine Art and an MA supervisor at The Arts University Bournemouth.
In 2007 he exhibited in Underground with Roger Ackling and Eric Butcher; a site-specific collaboration in the labyrinth of basement rooms at Shoreditch Town Hall, East London. His first solo exhibition was a Sanchez Cotán in Trondheim, Norway in 2009 and recent projects include The devil finds work for idle hands at Toomey Tourell Fine Art, San Francisco (2012) and Drawology: drawing as phenomenology at the Bonington Gallery Nottingham, and the co-curation of A Machine Aesthetic at Gallery North, Northumbria University, The Gallery, The Arts University Bournemouth, University of Lincoln, Norwich University of the Arts (2013-2014) where eleven contemporary artists were invited to explore the various manifestations, uses and influences of different aspects of mechanisation within their practice.
mixed medium on linen
Original size: 214 x 156 cm
Yelena Popova (b.1978, Urals, Russia) is currently based in Nottingham. Popova works in painting, installation and video. After graduating from the Royal College of Art in 2011, Yelena was selected for Bloomberg New Contemporaries (2011) and New Sensations (2011). She has had solo shows at Figge von Rosen Gallery, Berlin (2011), Zabludowicz collection, London (2012), Eastside projects, Birmingham (2012), Knoll Gallery Vienna (2013), and Cole Gallery London (2013). In 2014 Yelena was shortlisted for Arts Foundation Painting Award. Yelena’s works are part of RCA Collection, Saatchi Collection, Zabludowicz Collection and the Nottingham Castle Permanent Collection.
Oil paint on canvas
Original size: 30 x 25 cm
Photographer: Andrew Seto
Andrew Seto is an artist from Edinburgh whose studio practice is based in London. He has exhibited his work internationally in various group and solo shows and was selected for the John Moores Painting Prize in 2012 and the Jerwood Drawing Prize in 2010. His painting practice plays with, meditates on, and explores the conventions and contradictions of pictorial space through gesture, personal allegory and the materiality of paint. Often referencing the natural world, organisational systems or the decorative, Seto’s work borrows freely from the history and languages of painting, and contains themes of bathos, loss, the sublime, mundane and the imperfect.
Untitled (large dark), 2012
Oil on canvas
Original size: 114.3 x 76.2 cm
Photographer: Peter White FXP photography
Robert Holyhead (b. Trowbridge, UK, 1974) lives and works in London. Holyhead’s work is marked by expanses of white ground left uncovered with traces of colour at the canvas-edge where paint has been carefully removed from the surface. While some pieces are covered almost entirely with semi-translucent paint others are, in contrast, sporadically punctured by intensely coloured, geometric shapes.
Holyhead studied at Manchester School of Art, Manchester Metropolitan University (1993-96) and at the Chelsea School of Art (1996-97). In 2005 he was awarded a five-year ACME Fire Station live/work residency. In 2009 The Government Art Collection commissioned him to produce two site-specific works for the New British Embassy and the UK Permanent Representation to the European Union in Brussels. The Arts Council Collection, the Government Art Collection, and the Tate collection have acquired his work.
Recent solo exhibitions: Galerie Max Hetzler, Berlin, 2014; Karsten Schubert, London, 2009/ 2010/ 2012; and PEER, London, 2012.
Recent group exhibitions include: Stag - Berlin/London, Dispari & Dispari, Reggio Emilia, Italy, 2013; Every bird brings a different melody to the garden, No Format, London, 2013; System Painting Construction Archive, Lion and Lamb, London, 2013; Revealed: Government Art Collection, Ulster Museum, Belfast, 2013; The Space Between, Tate Britain, London, 2012/13; Towards a New Abstraction, Fondazione MACC, Museo d’Arte Contemporanea di Calasetta, Italy, 2012; British Modern Remade: Style. Design. Glamour. Horror, Park Hill, Sheffield, 2012.
Prosopon for Still-Life #1903, 2013
Pigmented silicone on polystyrene and MDF
Original size: 28 x 15 x 9 in
Photographer: Image courtesy of the artist
Neal Rock (b. Port Talbot, South Wales 1976) lives and works in Los Angeles & London. He has BA (Hons) Painting from the University of Gloucestershire 1996-99 and MA Fine Art, Central St Martins School of Art & Design 1999-00. Solo exhibitions include the New Art Gallery Walsall, UK and at commercial galleries in New York, London, Los Angeles and Amsterdam. Group exhibitions include the Jerwood Contemporary Painters 2007, Jerwood Space, London; Extreme Abstraction; the Albright Knox, Buffalo, NY; Landscape Confection, Wexner Centre for the Arts, Columbus, Ohio & Contemporary Arts Museum, Houston, TX; Expander, the Royal Academy of Arts, London.
Rock is currently undertaking a PhD by project in Painting at the RCA, London.
Blumen für eine Unbekannte, 2010
Acrylics on found painting, Performance
Original size: 90 x 130 cm
Photographer: Olivia Notaro
Olivia Notaro (b.1975) is based in Bern, Switzerland and London, England.
Notaro’s art practice is a research into painting itself and its process. She investigates experiences of space, time and relational aesthetics through painting. As additional tools she applies installation and performance. Through obliterating boarders of the studio, public and exhibition space, Notaro creates anachronism of time and authorship through a physical appropriation and subtle alteration of found paintings and spaces.
By destabilizing the state of final completion, found paintings are brought back in the process of becoming. These hybrid paintings provoke in their destabilising nature the discourse on the interpretation of paintings as temporary and provisional propositions in time.
Notaro graduated in 2011 with an MA from the Central Saint Martins College of Art and Design in London, and in 2012 won both the first prize of the Aeschlimann-Corti Art Stipend and the Prize for Women Artists in Bern. Her prize-winning work was shown in the exhibitions Kunstlese (2012) at Centre PasquArt in Biel and This is a Women’s World (2012) at the Museum of Art in Thun, Switzerland. In 2011-2012, her work was also shown in Switzerland at the Museum of Art in Moutier and the Museum of Art in Interlaken.
Seminar, Yellow, 2014
Oil on Linen
Original size: 155 x 160 cm
Photographer: Paul Winstanley
Paul Winstanley (b. Manchester, 1954) lives and works in London. He has been exhibiting since the late 1970s and over the past two decades he has had regular solo exhibitions in London, Paris, Munich, Dublin, New York, L.A., and Hamburg. His first retrospective was held at the Auckland Art Space in New Zealand in 2008 and was accompanied by a fully illustrated catalogue. Other solo shows include Driven Landscapes at Camden Arts Centre, London 1993 and Annexe, Tate Britain, 1998.
Recent group shows include Window to the World, Fondation de l'Hermitage, Lausanne, 2013 and Museo Cantonale d'arte and Museo d'arte, Lugano, 2012; Lifelike, Walker Art Center, Minneapolis and The Deer, Le Consortium, Dijon, 2012; Out of focus. After Gerhard Richter, Kunsthalle Hamburg, 2011; Sea Fever: From Turner to today, Southampton City Art Gallery, 2010; Terror and the Sublime: Art in an Age of Anxiety, Crawford Art Gallery, Cork, 2009; Conflict Tales: Subjectivity, Burger Collection Berlin, 2009; Self as Selves, Irish Museum of Modern Art Dublin, 2009.
Winstanley's work is represented in numerous public and private collections, including the collections of the Tate Gallery, the British Council, the European Parliament, the New York City Public Library, The Irish Museum of Modern Art, and the Museum of Contemporary Art, Los Angeles.
Untitled (painting) Paintscape 7 (photograph), 2013
Oil on Canvas
Original size: 20 x 20 in
Within the study of the history of painting, the photographic detail is a device used to reveal ‘the hidden’, such as technique, gesture or the genius hand of the artist. The ‘Paintscape’ macro photographs reference this search but with a more ‘forensic’ approach, a documenting and mapping of the material fact of paint, rather than a search for ‘artistic truth’. The source paintings are fictions, produced to be digitally photographed. Paradoxically, this method has resulted in imagery that also references the aesthetic of romantic seascape painting, a (re)discovery of Copsey’s painting traditions.
“Rick Copsey’s Paintscape photo-series looks like photographs of seascapes but they’re really of wet paint drying. Despite his use of distinctly non-traditional picture-making processes, Copsey is a landscape painter who is in the business of enticing makebelieve and mystification. His thinking might be more in line with Baudrillard’s concepts of hyperreality – “a real without origin or reality” – but he also harks back, as have many contemporary artists recently, to Kant’s “formless and shapeless” sublime. But Copsey’s trick-visions of natural forces at work are less an empathetic depiction of the elements than perhaps a play of illusions for an age where so much experience is digitally mediated.”
– Robert Clark
Oil & acrylic on linen
Original size: 72 x 72 in
Following his graduation from the RCA, London in 1991 Mark Wright was a founding member of Cubitt Gallery and Studios in central London. Since then he has been a practicing painter and curator working throughout the UK and overseas.
Recent exhibitions have been held at Collyer Bristow Gallery, London, Galeria Cadaques, Catalonia, Gallery Stock, Berlin and D’Arcy Thompson Museum, University of Dundee. He has also curated a number of exhibitions exploring themes such as the continued impact of photography on painting, photomicrography as source material for contemporary painting and the continued use of landscape as subject matter within recent painting. These have been held at Carter Presents, London, Tim Sheward Projects, London and & Model Gallery, Leeds.
Recent commissions and paintings have been made/collected for the D’Arcy Thompson Museum supported by the Art Fund, Montpellier Chapter Art Collection, Cheltenham and David Roberts Foundation, London.
During 2014 he will be delivering a paper at the Art and Science conference called Riddles of Form at the University of Dundee. It will explore the impact of the work of D’Arcy Thompson on modern and contemporary painting, looking particularly at the legacy of the work of William Turnbull and Richard Hamilton on his own work and that of his contemporaries.
OGVDS-GW #2, 2013–14
Oil paint on CNC machined Perspex
Original size: 76 x 64 x 4 cm
Photographer: Andrew Bick
Andrew Bick (b.1963 in Coleford, UK) lives and works in London. His art and curatorial practice is based on a critical analysis of the complex and ambivalent nature of our relationship to late modernism. Recent solo exhibitions include School Studies, recent work and selected work since 1993, Galerie Von Bartha, Basel, 2012, and School Studies, Ghosts, Arguments, Hales Gallery, London, 2012. The last in this series of exhibitions School Studies, an architectural problem, was hosted by INDEX Gallery in Stroud Gloucestershire and toured to Von Bartha Chesa, s-Chanf, Switzerland in early 2013.
Major public space exhibitions include Slow Magic at Bluecoat, Liverpool in 2009. Since 2008 he has been developing projects based on research in to British Construction and Systems Art from the 1950’s to 1970’s initiated as a result of a Henry Moore Institute Fellowship in 2007/08. Bick has also made commissions in collaboration with architects such as Lifshutz Davidson Sandilands and John McAslan + Partners and is currently working on a project for central London with MAKE Architects. He teaches at Kingston University, & The University of Gloucestershire. He has written for Art Monthly, The Brooklyn Rail and online magazines Kultureflash and Abstract Critical and is represented by Hales Gallery, London and Galerie Von Bartha, Basel.
Fugitive Spaces, 2011–2012
Oil on board
Original size: 180 x 300 cm
Photographer: Ollie Harrop
Ruth Solomons’ work combines collage and construction methods with a materially-aware painterly approach. An appearance of ‘abstraction’ is the result of working from simple maquettes made from malleable materials such as paper, string and wire, which are projected as silhouettes upon painting surfaces. These maquettes become a springboard for painterly decision-making; balancing construction with composition. Thus the way her paintings are physically constructed and displayed echoes the evidence of compositional processes, which remain upon the painting surfaces themselves.
Solomons has recently completed an MRes in Arts Practice at Chelsea College of Art & Design, where she carried out a research project looking at ethics and the strategies artists use to sustain their practices. In 2014 she has participated in a 5 person show, Hey Days!, at Bermondsey Project Space, and has been selected to show new work in the exhibition Speaker's Corner - New Voices in Hackney Art at BL-NK Gallery in Shoreditch. She aims to begin her practice-based PhD in Arts Management later this year, at Birkbeck, University of London.
Oil and Acrylic on Linen
Original size: 180 x 230 cm
Photographer: David Lawson Commercial Photography
Laura Lancaster lives and works in Newcastle Upon Tyne, UK. She uses found anonymous snapshots/slides and archive material as the source material for her paintings - the transformative process of painting allows for the exploration of the complexities of this enigmatic source material and the elevation of the imagery from the mundane to the monumental. Lancaster is represented by Workplace Gallery, Gateshead, UK.
The painting selected for (detail) is based on a photograph of children wearing masks - and is from a recently completed series of people in masks, fancy dress, and clowns. This series investigates how the banal can become quite alien and absurd when the photographic evidence of human rituals is removed from its original context. Lancaster uses the painting process to navigate this indeterminacy of meaning.
Original size: 300 x 190 cm
Soichiro Shimizu was born in Tokyo in 1966 and studied at the School of Visual Arts in New York after graduating from Keio University, Tokyo. He has lived and worked in New York before moving to Bangkok, Thailand where he has resided for the last 10 years.
Shimizu’s works have been selected for numerous private collections, such as Public Collections Shu Uemura Cosmetics Company, Dowa Kasai Insurance Company, Sony Headquarters in Tokyo, Japan, and Sony Plaza, New York. He has had solo exhibitions at Yoshii Gallery, Paris in 2001, Itochu Gallery, Tokyo in 1999, Elysium Gallery, New York in 1998 and Caelum Gallery, New York in 1996. Shimizu has also show work in many group exhibitions, including New York Independent Art Fair “Frere”, New York in 2000; Surface Structure, Nikolai Fine Art, New York in 1999; Jeune Peinture, Espace Branly, Paris, France in 1997; SIAF (Seoul International Art Fair), Seoul, Korea; ‘Chicago Art Fair’, presented by Yoshii Gallery, and The Japan Times, and Dialogue of Consciousness, Eighth Floor Gallery, New York.
I Don’t Understand You, Can You Speak Up?, 2014
Oil and charcoal on canvas
Original size” 101 x 151 x 5.5 cm
Photographer: Christopher Bagnall
Bagnall is a painter who is concerned with the notion that a stranger is an abstract ideal. Currently, his work begins with a series of small sketches of strangers. By drawing people he does not know, he is able to focus on the form and presence rather than their identity. Through this process he has discovered, the sketches become about a very peripheral experience of observing the person whilst the identity of the individual remains largely unknown. Upon return to the studio, these drawings become a catalyst for painting.
Through the process of transcribing these sketches into paint he has to scrape and reapply paint repeatedly; forming several layers that overlap which creates further abstraction of the figure and its surroundings. The result is an image that has been informed by an observation and the act of drawing. Selected exhibitions include: Crocodiles with a Second Skin Thrash, 2012; Designated Viewpoint, 2012; Deep Philosophical Thoughts Stole My Bike, 2013; and EM13 Residency, 2013.
Acrylic and oil on linen
Original size: 64 x 54 in
Shirley Kaneda is an abstract painter who lives and works in New York. As critic Matt Biro has stated: "For over two decades, Shirley Kaneda has explored the possibilities of abstract painting in a number of unique and thought-provoking ways. An artist who pushes the limits of painterly form today, Kaneda is an analytical and historically informed painter. She excels in juxtaposing a wide variety of gestures, shapes and patterns in a manner that suggests an archaeology of twentieth century modernism.”
Kaneda has exhibited widely both in the US and internationally. Solo shows include: Annandale Galeries, Sydney; Galerie Richard, Paris; Danese Gallery, New York; Bernard Jacobson Gallery, London; Feigen Contemporary, New York among many others. Group exhibitions have included most recently: Conceptual Abstraction, Hunter College Gallery, 2012; American Academy of Arts & Letters Invitational Exhibition, New York, 2012; Underwater, a traveling exhibition originated at Towner, UK, (2011); Transfontaliers, Centre d’Art Contemporain de Montbeliard, France, 2010.
Kaneda has been the recipient of the Guggenheim Memorial Foundation Grant, Pollock Krasner Foundation Grant, NEA Regional Fellowship and The Elizabeth Foundation. In addition to painting and teaching, Kaneda is a Contributing Editor for Bomb Magazine and has published articles, catalogue essays and reviews for various publications and journals since 1989. She is a professor of Painting at Pratt Institute.
Painting Samples I (Aerial), 2013
Oil on card
Original size: 14.8 x 10.5 cm
Photographer: Phoebe Mitchell
Phoebe Mitchell (b. Chester, 1987) lives and works in London. Mitchell’s struggle with the notion of the ‘finished’ painting and the idea of painting’s subject matter in an age of digital image-making, inform her practice. The seduction and history of the medium coupled with an awkward relationship with her source material lead to a process defined by the relentless application and removal of barely-there oils, occasionally held in place by a heavier mark, suggestive of something concrete and in existence but denied an identity in the moment of the painting’s abandonment. Her works have been exhibited at Fokidos, Athens, Fullersta Bio Konsthall, Stockholm, The China Shop Gallery, Oxford and The Charlie Dutton Gallery, London.
No title, 2013
Acrylic, oil and enemal behind Plexiglas, framed
Original size: 205 x 155 cm
Photographer: Nick Ash
Stefan Sehler lives and works in Berlin.
Solo shows include: Galerie Cosar HMT Düsseldorf, 2013; Because it's there, Parkers Box, New York, 2012; Abstract Paintings, Galerie Sultana, Paris, 2012; I Was There, KUTTNER SIEBERT Galerie, Berlin, 2011; Cosar HMT, Düsseldorf, 2009; Musée d'Art moderne et d'Art contemporain de Nice, France, 2009; Galerie Baumet Sultana, Paris, 2008; Neue Bilder, KUTTNER SIEBERT Galerie, Berlin; New Paintings, Parker's Box, New York, 2007
Recent Group shows include: pink summer, Galerie Sultana, Paris, 2013; 100, Parker's Box, New York, 2013; Beyond Painting, Galerie Cosar HMT Düsseldorf, 2013; Multiple Market, Handel Street Projects, London, 2012; Salon der Gegenwart, Hamburg, 2012; WNTRSLN II, Parker's Box, New York, 2012.
Oil and acrylic on canvas, brown paper
Original size: 24 x 24 cm
Photographer: Tony Smith
Tony Smith’s practice is based primarily around painting and curating.
He has an interest in the decisions made when constructing a painting which stems from his earlier interests in studio practice and the ‘how’ to make a painting. Using prime numbers and the grid system, an attempt to dictate the aesthetic outcomes of paintings has been made. It is noted that notions of the inimitable and chance within painting methods can be echoed via the random nature and unpredictable occurrence of primes. Paintings are constructed and the work is then wrapped with brown paper, upon which, a geometric grid is drawn, and squares are cut out of the grid 2,3,5,7,11 etc, in order to reveal sections of the painting beneath. This process constructs the composition of the work utilising a system that is reliant on mathematics and scatological arithmetic.
Smith completed an M.F.A. in Fine Art at Manchester Metropolitan University in 2002 and he currently lectures in Fine Art at Liverpool Hope University.
In 2005 he curated an exhibition in Liverpool’s Arena Studios entitled The Last Gang in Town which was an overview of work selected from city centre studios that were, at this time, all under threat of closure, and being forced to move to the periphery of Liverpool city centre, due to development, investment and ironically, the imminent arrival in 2008, of Liverpool’s city of culture status. Whilst Liverpool was the capital of culture in 2008, he curated two large and similarly themed exhibitions in Cologne, Germany and Liverpool.
Let's all do the Conga, 2013
Acrylic and emulsion on canvas
Original size: Number 3 of set of four 47 x 54 cm each (h x w)
Photographer: Simon Pantling
Living in Manchester and working at Islington Mill, Salford, Alison Erika Forde creates paintings and objects that draw on dreams and memories of past experiences. Her imagery and illustrative style is influenced as much by book illustration, comic strips and kitsch as it is by fine art’s history. Alison uses found materials such as existing prints and ornaments discovered in charity shops and second hand stores, alongside other discarded and donated items given to her by family and friends. Using the formal qualities and past histories of these objects as starting points, she creates engaging images which on initial viewing have a disarming playfulness. Closer inspection however, reveals a cast of wide-eye characters frequently facing impending peril and uncomfortable scenes enacted on the periphery.
Forde graduated from Manchester Metropolitan University in 2008 with a 1st class BA (Hons) Fine Art. Her first solo public gallery exhibition, The Tallest of Tales took place in 2013 at Manchester Art Gallery. Other solo exhibitions include Smotherland at The International 3 and Better Out Than In at Mas Art Galeria, Barcelona. Group exhibitions include: Not at this address, Bury Art Museum, 2001 and Finding the Value, York St Mary's, 2014. She is also a founder member of the artists’ collective Yiiikes! whose recent installation exhibitions/projects have taken place at Islington Mill, Salford, Bury Light Night, Bury and as part of Sounds From The Other City festival.
The past is just the future that arrived too soon, Nov–13
Oil on linen
Original size: 81 x 62 cm
The shifting double-take of Harper’s entropic Archaeology in Reverse, 2013, teeters as cognitive dissonance between the aestheticised cocoon of brain science and political and ecological realities. An analogy may be drawn with the dilemma of Beatrice and Robert in Ballard’s ‘The Drowned World’; they are reluctant to leave somewhere that feels safe but is ultimately destructive due to catastrophic changes in the weather: ‘Perhaps these sunken lagoons simply remind me of the drowned world of my uterine childhood - if so, the best thing is to leave straight away … There’s little hope of standing up to the rainstorms and malaria.’
– Text by Stephen Lee, for Art Monthly, October 2013
Recent solo shows include: The Angel of History, The Page Gallery, Seoul, South Korea, 2013; Archaeology in Reverse, Newlyn Art Gallery, Cornwall, 2013; Danese, New York, 2012.
Recent group shows include: The Looking Glass, Bernhard Bischoff and Partner, Bern, Switzerland, 2012; Latitude Contemporary Art Prize, Latitude Festival, Suffolk, 2011; John Moores Painting Prize, Walker Art Gallery, Liverpool, 2010; East End Academy, Painting Edition, Whitechapel Art Gallery, London, 2009.
The Near Far, May–13
Oil on Canvas
Original size: 48 x 60 in
Maggie Ayliffe’s recent work has developed out of research into the history and design of municipal parks in 19th century Britain. At the heart of the work is an interest in the ornamental gardens that characterise the 'people's park'. Here is an attempt to construct a truly democratic space - impossible of course - in which the different languages of painting/planting act as a social and political metaphor.
Ayliffe is the Fine Art Course Leader at the University of Wolverhampton. She studied at Hull and Manchester. Recent collaborations have been with Dr Alistair Payne, Glasgow School of Art and Brendan Fletcher, University of Salford under the title 'Conversations in Painting'.
The Spotlight Kid, 2012
Acrylic and Pumice on sacking, plastic mesh, onion sack, hessian scrim, ripstop, cloth and canvas
Original size: 47 x 39 in
Photographer: Steve Tanner
Born in St Ives and painting abstracts Anthony Frost's inspiration is more likely to come from the music of the Fall and Captain Beefheart blaring out of his studio than the lashing waves and wild expanses of the Cornish coastline (Frost contributed the sleeve artwork to the Fall albums "Extricate" "Imperial Wax Solvent" and "Re Mit"). Dominated by strong colour his paintings are often stitched, tied, and taped together as conventional canvas is combined with sailcloth, hessian, and rope. Frost attempts to investigate a visual equivalent where emotions are strong and the transfer intense. He shows nationally and internationally and has lectured at Art schools throughout Britain. Frost is represented by Beaux Arts London (paintings) and Advanced Graphics London (prints).
Recent solo exhibitions include: Sound City, Advanced Graphics, London, 2014; Painting Smoke, Zimmer Stewart Gallery, Arundel, 2014; Beaux Arts, London, 2013/11/09/07; Advanced Graphics, London, 2011, 09; Zimmer Stewart Gallery, Arundel, 2011/09 and Royal Albert Memorial Museum, Exeter, 2007. Frost’s recent group exhibitions include: Llowes Court Gallery, Hay-on-Wye Festival, 2012; 8 Artists from Cornwall, Eton Drawing Schools, 2011; Sound and Vision, ‘Tate Shots’, Tate Modern, London, 2010 and Spoilt for Choice, King’s Place Gallery, London, 2010.
Pop Star, 2013
Oil on canvas
Original size: 63 x 48
Photographer: Bartosz Beda
Bartosz Beda’s paintings explore the relation between daily life and human nature. Beda perceives humanity as like a chocolate cake, where beneath the ‘iced’ surface lies those more intriguing and challenging mixtures, with fears and social pathology. Through the application and process of painting, he cuts a piece of that cake to explore the nature of these problems. Simple yet powerful gestural strokes and mark-making, search and re-investigate solutions to bring these hidden depths to the surface.
Born in Poland in 1984, Bartosz Beda relocated to the UK in 2008 to study at the Manchester School of Art. After graduating with a BA (Hons) in Fine Art in 2011, he was selected for the 2012 Catlin Art Guide for the most promising emerging artists in the UK, and then progressed onto the Masters programme at Manchester Metropolitan University.
Recent groups shows include Schools of Art. Voll.3, Oktogon der HfBK Dresden, Germany, 2013; Petty Theft, Launch f18, New York, USA, 2013; Microarte. El tamano si importa, Galeria Liebre, Madrid, Spain, 2012; Head and Whole - Talking Heads, Abbey Walk Gallery, Grimsby, UK, 2012. He has had solo exhibitions in Poland, England and Spain, including a solo exhibition at Galeria Liebre, Madrid in 2013, and has upcoming solo exhibitions in Bogota and Los Angeles. His works are held in private collections throughout Europe, United States, and South Africa.
Liquid Life Series, 2012
Oil on canvas
Original size: 34 X 54 cm
Photographer: Scott Lawson
Karin Davie is a leading artist in the current wave of painting practices transforming the legacy of high modernism to capture the dynamics of contemporary life. Born in Toronto in 1965, the artist is a graduate of Queen’s University, Kingston, Ontario (BFA, 1987) and Rhode Island School of Design (MFA, 1989). Her work has been exhibited across North America and Europe, and was the subject of a major retrospective at the Albright-Knox Art Gallery, Buffalo in 2006. Other recent presentations of her work include: Diaz Contemporary, Toronto Canada, 2012; The Aldrich Contemporary Art Museum, Ridgefield, CT, 2008; Art Gallery of Ontario, Toronto, 2008; Artnews Projects, Berlin, 2008; the Nerman Museum of Contemporary Art, Kansas City, 2007; Mary Boone Gallery, New York, 1999, 2005 and 2007; Wetterling Gallery, Stockholm, 2006; SITE Santa Fe, New Mexico, 2004; and Projects 63: Karin Davie, Udomsak Krisanamus, Bruce Pearson, Fred Tomaselli, The Museum of Modern Art, New York, 1998. Davie lives and works in New Seattle WA & New York City.
The Bouquet, 2013
Oil on canvas
Original size: 74 x 89 cm
Photographer: Steven Ingman
Steven Ingman (b. 1984) currently lives and works in Nottingham.
Past and present living environments, memories, or places visited feature throughout Ingman’s practice. He works from a collection of onsite research mainly composing of photographs. He has a strong interest in the relationship between photography and painting. He considers the confinements of the photograph, its rules and boundaries, to attempt to discover, interpret, and then break down in the process of making a painting. It is through this imaginary versus realistic conflict that Ingman’s paintings aspire towards a universal, yet personal power.
Working with the notion of physical intimacy and a heightened response to an environment Ingman aims to look beyond the motifs of reality, to find his affinities in the sensation of environments, with the intention of unearthing the details that are missed in an initial visual engagement. He offers his personal “fresh eyed response”, bringing an ethereal, otherworldly ambiguity to the subject.
Ingman graduated with a degree in Fine Art from the University of Lincoln in 2007. Recent exhibitions and projects include: Derby City Open 2008 - First Prize Winner; 2009 Arts Council England Award; Solo show Night Light, Derby Museum and Art Gallery, 2010; British Art Show 7 - Nottingham, Leicester, 2010; Open – The Great Central Award and Attenborough shortlist; Open 2011, The Collection Lincoln; Home insecurities (group show), The Great Central Leicester, 2011; Castle Open 2012; Winner of the Great Art Award, Castle Open 2013.
Oil and encaustic on canvas
Original size: 35.5 x 26.5 cm
Photographer: Craig Barber
Craig Barber’s practice spans an array of fine art disciplines, but mainly focuses upon painting. In the past Barber used found images selected from an array of disparate locations to create paintings with an unhinged sense of time. More recent paintings have dispensed with source imagery with the aim of ‘finding’ the painting through working processes.
Barber has been a part of solo and group exhibitions at venues including Francis Kyle Gallery, London, MAC, Birmingham and Lanchester gallery, Coventry. He has performed at venues and events including the London Short Film Festival, London and The Public, West Bromwich. His paper, 'Pictorial Slippage', which considers temporality and painting, will be published in the forthcoming issue of the International Journal of Arts Theory and History. Barber is Senior Lecturer at Coventry University.
Oil and wax on canvas
Original size: 18 x 24 in
Photographer: David Ryan
David Ryan is a visual artist and writer, who is also actively involved in contemporary music. He studied at Liverpool and Coventry Polytechnics, and also on a travelling German Scholarship to Hamburg, Lubeck and Berlin.
He has exhibited at the Whitechapel Gallery (Open Exhibition), London, British Abstract Painters, Flowers West, Los Angeles, USA; Painting and Time at the Nunnery Gallery, London, British Abstract Painting 2001 at Flowers East, London, Surface Connections, Holden Gallery Manchester, Illuminate at Jasmine Studios, Hammersmith, London, Flux at London Bridge Tunnels 2005, On the Way to Things at Churchill College, Cambridge, 2006, and Transfer at Keith Talent Gallery, London, 2006.
Recent exhibitions include: Crossing Abstraction, Kunstlerhaus Bethianen, Berlin, 2009, and the Kunsthaus and Forum Konkrete Kunst, Erfurt, Germany, 2012; At the Point of Gesture, 2013 at the Lion and Lamb gallery; After Image (Emerson Gallery, Berlin 2013), and Without Edges There Would be No Middle, Pluspace, Coventry, UK, 2013. Screenings of his video works have taken place at: Konzerthaus, Berlin; Moscow Tchaikovsky Conservatoire; Issue Project Space, New York; Darmastadt Ferienkurse for Neue Musik; V22 Space, London, 2012; Logos, Ghent, 2013, and Qo2 in Brussels, Belgium, 2013. He is currently Reader in Fine Art at Cambridge School of Art.
From the Taboo Series, 2011
Acrylic paint with photograph and resin on board
Original size: 55 x 200 cm
Photographer: Terry Shave
Terry Shave has an extensive track record as an artist and arts educator and has exhibited regularly both in the UK and abroad.
Solo exhibitions include: Loaded, Ikon Gallery, Birmingham; Reloading, Real Gallery, New York; and Closer than you Think, Bonington Gallery, Nottingham. He has been included in almost 150 mixed exhibitions, most recently he was invited to exhibit in The World Artists Festival in Seoul, South Korea. Shave has also won prizes in the John Moore's painting exhibition in Liverpool and the Unilever Award in London and has curated exhibitions that explore drawing, museum collections and contemporary painting in the UK.
He is Professor of Fine Art at Nottingham Trent University, where he has initiated and developed a significant range of arts projects and artist promotion and development events. These have focused on location-specific intervention work that attempts to use art to explore socio-political and historical interpretations of sites.
Shave was a founder member of UK Young Artists and believes passionately that creative work and arts activities are key to social inclusion and society wellbeing. Supporting young artists as they emerge into a tough professional environment and encouraging the use of interdisciplinary networks is key to his role with UKYA.
I/R. 581, 2012
Oil + resin on extruded aluminium section and stainless steel
Original size: Dimensions variable, site specific
Photographer: Peter Abrahams
Eric Butcher’s work represents an attempt at the selective articulation of the surfaces of aluminium structures through the use of paint and resin. It is made through a process governed by specific rules. A thin transparent monochrome is spread across the surface of the aluminium and then stripped off, using a variety of blades and instruments drawn across the surface. This procedure is then repeated, slowly building up an accumulation of residues, the outcome of which is determined largely by the physical characteristics of the support; the imperfections of the metal surface, the burr of its edge, or the build up along the edge of the blade as it strips the surface bare. Each tiny imperfection is amplified by the process of stripping, leaving a ridge of denser colour to register its presence.
Eric Butcher studied philosophy at Cambridge University and painting at Wimbledon School of Art. His painted objects and installations are shown internationally. Recent shows include A Synthetic Kind of Love, Galerie Robert Drees, Hannover, 2013 and The Devil Finds Work for Idle Hands, Toomey-Tourell, San Francisco, 2012, a group show which he also curated. He is currently showing in A Machine Aesthetic, a group exhibition which is touring venues across the UK and which he co-curated with Simón Granell.
Lullingstone Tree #8, 2013
Watercolour on brown paper
Original size: 61 x 46 cm
Photographer: Fiona MacDonald
Fiona MacDonald’s work aims to frame and enrich the encounter between human and non-human, and between information and imagination, through interweaving factual, mythological and personal registers of knowledge. MacDonald makes paintings, sculptures, photographs, videos and drawings, brought together as interdisciplinary installations or remaining as discreet objects. Her recent research explores the possibility for a ‘feral’ art practice, including developing site-specific paintings for rural locations, and experiments in incorporating shared agency with the non-human in the production of her work. The painting from which the detail for this exhibition is taken is one of a series of works based on anthropomorphic ‘signs’ read in tree bark from the ancient trees in Lullingston Park.
Fiona MacDonald was Abbey Fellow in Painting at the British School at Rome in 2011. Her solo exhibitions include Works from the Mirrored Series, 10 Gresham Street, 2011-12; Morphology, Maddox Arts, 2009; Anthropoflora Long & Ryle, 2007 and Habitat, Phoenix Arts, Brighton, 2006.
She lives and works in Kent.
Spring night in the garden, 2013
Originally from Norway, Hanneline Visnes now lives and works in Glasgow.
In Visnes’ paintings European, Chinese and Persian patterns merge and are transformed into new and made up patterns, sometimes on their own and sometimes together with motifs like landscapes, birds, jewels or other precious objects.
To make these paintings oil paint is applied onto smooth surfaces with very thin brushes, making small brushmarks that sometimes overlap each other and sometimes line up next to each other. Often very strong colours are used, when put next to each other they become a little disharmonious and almost create an illusion of vibrating. This is a painstaking and slow process - which may be in contradiction to the wild and intense objects that they become.
Visnes has exhibited widely nationally and internationally. Recent exhibitions include: A Pointilist Sculpture Park, Arte Gianni, Frankfurt; Solid Air, Transition Gallery, London; and A Picture Show, Glasgow Museum of Modern art, Glasgow. Her work is held in a number of private and public collections including MoMA New York, UBS Zurich, and the Norwegian national collection.
Origin of Everything, 2013
Oil on Canvas
Original size: 58 x 75 cm
Photographer: Andrew Stahl
Andrew Stahl’s paintings search for the Vivid, the Miraculous and Breton’s Marvellous and approach cultural differences and connections using pictorial language, imagination and figuration. The use of the paint carries the feeling and the work suggests the fragility of the image, the dissolving of the world, sadness and joy.
Andrew Stahl has exhibited widely internationally, receiving awards including the Abbey Rome Scholarship and the Wingate Scholarship and has participated in public funded residencies in China, Thailand, Australia and Sri Lanka. His works are in many private and public collections both in the UK and abroad. Recent solo shows include: Robert Steele Gallery New York, 2010 and 2007; Matthew Bown Gallery London, 2007; Ardel Third Place Gallery, Bangkok, 2009 (Two person show with Panya Vijinthanasarn) and at 100 Tonson Gallery, Bangkok, 2006.
Recent group shows include: Celebration of British Icons, Siam Paragon Bangkok, 2013; RA Summer Exhibition, 2012; Circus Terminal (touring international show), 2012; 100 Prints, Flowers Gallery, London, 2012; Conflicts of Interest H Gallery Bangkok, 2012; and Painting of the Eighties Matthew Bown Gallerie, Berlin, 2009. In 2014 he has an exhibition with Panya Vijinthanasarn at Thavibu Gallery, Bangkok and is organising and participating in Monologue/Dialogue 3 at the B.A.C.C. Bangkok.
Andrew Stahl lives in London and is Head of Undergraduate Painting at the UCL Slade School of Fine Art in London.
Not Titled (Pink Fan), 2013
Oil on Linen
Original size: 80 x 100 cm
Photographer: Sharon Hall
Sharon Hall writes of her practice ‘My work explores certain ideas around colour interaction, both as a vehicle for representation and as a concrete thing-in-itself. The paintings are both autonomous, and yet also invite the possibility of ensemble or installation and the interaction with architecture; while they examine certain aspects of inherited modernist forms these are ‘repurposed’ in a new way.’
Hall studied at Coventry Polytechnic and the