Thursday, 20 July 2017

INDEX OF CURATED EXHIBITIONS AND WEEKLY COLUMN



Index of Exhibitions Curated (all with associated texts)

I thought this might be handy, now there are a few shows with entries... 




20. MAKE A MARK

at Arthouse1, 45 Grange Road, Bermondsey

Curated by Rebecca Fairman and  Paul Carey-Kent


 7 -30 July


19. THE HIGH LOW SHOW 
        
 
At Laure Genillard Gallery, London:

Susan Collis, Tom Lovelace, Sara Haq, Julie Verhoeven, Sarah Roberts, Kate MccGwir, Bronwen Buckeridge

5 May - 24 June

http://paulsartworld.blogspot.co.uk/2017/05/the-high-low-show.html



18. SHOW US YOUR PROCESS

Alexis Harding, Daniel Lergon, DJ Simpson, Jonathan Parsons, Michael Stubbs,  Neil Zakiewicz, Shane Bradford, Tom Hackney and Tony Charles.

At House of St Barnabas, Soho Sqaure, London

20 Jan - 5 June, 2017

http://paulsartworld.blogspot.co.uk/2016/12/show-us-your-process-preview.html



17. THE OTHER SIDE 

Aglae Bassens,  Emma Cousin, Jane Hayes Greenwood and Martine Poppe

At House of St Barnabas, Soho Square, London

20 Jan - 5 June, 2017

http://paulsartworld.blogspot.co.uk/2016/12/the-other-side.html



16. JOE MADEIRA: SETTING THE SCENE

Online exhibition from 1 April, 2017

http://joemadeira.com/exhibitions/setting-the-scene-guest-curator-paul-carey-kent/overview/




15. TONY CHARLES: UNPAINTING


Platform A Gallery, Middlesbrough:


10th March - 21st April, 2017
http://paulsartworld.blogspot.co.uk/2017/03/tony-charles-unpainting.html

        
14. EARS FOR THE EYES 


Alli Sharma, Clare Price, Jonny Briggs, EJ Major, Kate Lyddon, Cathy Lomax, Adam Dix, Emma Cousin, John Banting and Kelvin Okafor

At Transition Gallery, Hackney
         
11 Feb – 5 March 


http://paulsartworld.blogspot.co.uk/2017/01/ears-for-eye.html




13. ALICE ANDERSON: POST-DIGITAL


 At Union Gallery, 94 Teesdale Street, Hackney

 

12. BELLA EASTON: THESE OUTER SHELLS

Gallery Elena Shchukina, Mayfair 


25 Aug - 16 Sept 2016


http://paulsartworld.blogspot.co.uk/2016/07/bella-easton-these-outer-shells.html




11. SECRET EUROPEAN STUDIO 

Alzbeta Jaresova, Nadege Meriau, Willem Weismann, Troika,  Simona Brinkmann,
Carlos Noronha Feio


At ARTHOUSE1, Bermondsey


7-30 July 2016


http://paulsartworld.blogspot.co.uk/2016/07/secret-european-studio.html




10. THE SHAPES WE'RE IN

Alicja Dobrucka, Oona Grimes, Brian Dawn Chalkley, Frances Richardson,
Emma Cousin, Rana Begum, Selma Parlour, Natasha Kahn, Claire Macdonald,
Miriam Austin, Jennet Thomas  


At Bread and Jam, 52 Whitbread Rd, Brockley 13 - 22 Nov 2015


http://paulsartworld.blogspot.co.uk/2015/11/the-shapes-were-in_15.html



9. THE DREAM OF MODERN LIVING? Contemporary Artists Explore IKEA 

Guy Ben-Ner, Ryan Gander, Clay Ketter, Marie Karlberg, Joe Scanlan, Artists Anonymous, Michael Samuels, Sara McKillop, Frédéric Pradeau, David Rickard, Mary Griffiths, Stuart Hartley, Dominic Beattie

At Warrington Museum and Art Gallery   2 Oct - 14 Nov 2015 (NORTH Festival of Contemporary Art - Warrington is the site of the UK's first IKEA store)

http://paulsartworld.blogspot.co.uk/2015/09/the-dream-of-modern-living.html


8. COLLATERAL DRAWING BERLIN (with Bella Easton)

Marta Marce, Mark Titchner, Gordon Cheung, Artists Anonymous, Sinta Werner, Simon Mullan,  Luke Gottelier, Claudia Carr, Thoralf Knobloch, Bella Easton




7. JAMES HOPKINS: THE MIRROR'S MIRROR

At Union Gallery, London  11 Sept - 28 Nov 2015





6. WEIGHT FOR THE SHOWING

Richard Serra, Phyllida Barlow, Christian Jankowski, Nicolas Feldmeyer, Cipriano Martinez, Levi van Veluw, David Rickard, Livia Marin, Richard Schur, Liv Fontaine, Knopp Ferro.

At Maddox Arts, London: 24 April – 13 June, 2015


http://paulsartworld.blogspot.co.uk/2013/12/weight-for-showing-draft-text.html



5. THE PRESENCE OF ABSENCE

John Smith, Liane Lang,   Giorgio Sadotti, Stefana McClure,  Bronwen Buckeridge, Nika Neelova, Blue Curry, Alan Magee,   Anni Leppala, Jason Oddy,   Martine Poppe,  Ian Bruce

At BERLONI,  London: 30 Jan - 14 March 2015

http://paulsartworld.blogspot.co.uk/2015/01/the-presence-of-absence.html

4. THE COMBINATIONAL

 Susan Collis, Appau Junior Boakye-Yiadom, Suzanne Moxhay, Wil Murray, Sarah Anne Johnson and Catherine Herbert

At Studio 1.1,  London:  4-27 July 2014

http://paulsartworld.blogspot.co.uk/2014/06/the-combinational-opens-thurs-3-july.html



3. INTO AND OUT OF ABSTRACTION


Colin Crumplin, Günther Herbst, Danny Rolph

At LUBOMIROV-EASTON, London: 26 April - 21 June, 2014


http://paulsartworld.blogspot.co.uk/2012/12/into-and-out-of-abstraction.html



2, IT'S ABOUT TIME (with Christina Niederberger)


Emma Bennett, Nick Hornby, Alex Hudson, Livia Marin, Tereza Buskova,  Clarisse d’Arcimoles, Christina Niederberger, Pernile Holm Mercer, Susan Collins, Alison Gill, Andy Charalambous, Dolly Thompsett, Harald  Smykla, Nika Neelova

At ASC Gallery, London: 2 Nov - 20 Dec 2013 


http://paulsartworld.blogspot.co.uk/2013/12/its-about-time-asc-gallery-128.html



1. MARIA MARSHALL: VOLUNTARIE SERVICE

At 102 Gifford St, Kings Cross, London: 8 - 31 Oct 2013




Index of Paul’s ART STUFF on a train  - weekly column from May 2013

Most days art Critic Paul Carey-Kent spends hours on the train, traveling between his home in Southampton and his day job in Surrey. Could he, we asked, jot down whatever came into his head?



200: 'Coherence@ - DJ Roberts, Heather Phillipson

199: 'Homage to the Homages’ - Josef Albers

198: 'The Case for Swindon'

197: ‘Padding Up’ - Francis Bacon Dan Rees’ Carla Basuttil’s


196: 'Mind the Gap' - Claude and François-Xavier Lalanne, Mimi Shodeinde

195: ‘Art for Health?’ - Barts Health NHS Trust

194: ‘One Evening in London’ - William Coldstream Euan Uglow, Martin Wilner, Mat Chivers’

193: ‘All You Want for Christmas’: Studio Voltaire, Peggy Franck
192: ‘Not What But Whose’ -  David Bowie, Elton John,  Jos Knaepen
191: ‘Shore Thing‘ - Turner Prize,  Michael Dean
190: 'Plurality Please!’ - Juliette Mahieux Bartoli, Evy Jokhova
189: ‘International Smooth’ - Asian Art Week’

188: ‘One Work’ - Robert Therrien


187 ‘No Need to be Trendy’ - Juliette Losq, David Wightman


186: ‘Where Are They Now?’ - Galleries on the Move


185: ‘Super-late-ive’ - Georgia O’Keeffe, Dorothea Tanning, Araki, Tomie Ohtake


184: ‘250 heads are better than 1’


183: ‘After the Binge’ - Jerwood Drawing Prize


182: ‘Near-Death Experience’ - Gretchen Faust, Lynette Yiadom-Boakye


181: ‘Beauty Beyond the Name’ - Dansaekhwa
180: 'What's Radical?' - Kelly-Anne Davitt
179: 'How to be Neuter' - Claude Cahun

178: 'The Ethics of Dust' - Jorge Otero-Pailos

177: 'Sexy Abstracts' - Daniel Sinsel

176: 'Open to the Mix' - David Remfry

175: ‘Could Your Child Have Done That?’ - Jeff Koons, Mindy Lee

174: 'Naked in Numbers' - The Neo-Naturists, Marvin Gaye Chetwynd, Spencer Tunick

173: 'When Your Name’s Not Vital' - Not Vital


172: 'Masterpieces and Otherwise' - Luis Tomasello, ,Sadaharu Horio, SH Raza
171: 'Horse Associations'- Tania Bruguera

170: 'The Enjoyment of Death' - Dutch still life

169: 'The Art of Surprise' - Luke Gottelier, Marco Gody, Georgie Nettell

168: 'Nifty after the Dream' - John Hoyland, Howard Hodgkin

167: 'Will You Like Marmite?' - The Marmite Prize

 166: 'Embassy Art Trips' - Adriano Costa, Emily Carr

165: 'Unglittering Prizes' - Dale Lewis, Francesca Blomfield, Archie Franks

164: 'Memories of Conflict' - Martin Honert, Eugene Delacroix

 163: 'Not Quite All Night' - Des Hughes, Clare Woods

 162: 'Fantasies of Prince Crumb' - Richard Prince, Robert Crumb

161: 'From Post-nationalism to Brexit' - Guan Xiao
160: 'Another Fine Mesh' - Alice Catteneo, François Morellet,Helena Pritchard

159: ‘Posing Trumps Sliding’ - Channa Horwitz
158: 'Breasts or Eyes?' - Das Institut, Julian Simmons
157: 'Lives of the Artists' - Betty Woodman, Francesca Woodman, Knop Ferro

156: 'Education Continues' - DIS, Steven Claydon
155: 'Poetry, Art and the Sucking of Cocks' - Ariana Reines, Heather Phillipson, Oscar Tuazon
154: 'The Assistants' - Susan Collis and assistants

153: 'Accidentally Omitted'


152: 'The Point of Obsession' - Gareth Nyandoro, Lee Edwards, Maria Taniguchi


151: 'The Back of Italians' - Enrico Castellani

150: 'Corbyn's Borough' - Estorick Collection, Handel Street Projects, Tintype, White Conduit Projects
149: 'Intersect' - Park McArthur
148:Condo Beyond the Minimum’: Mathis Altmann, Nicholas Cheveldave
147: ‘Questions Not Related to Nigella’ - Saatchi Gallery
146: The London Art Fair for Beginners
145: 'City of Faces' - Alberto Giacometti, Goya
144: ‘Spirit Power In Focus – and Out’:Alec Soth, Julia Margaret Cameron,,Richard Learoyd
143:‘What Is and Is Not Present’ - Nudes at Sothebys

142: ‘Computers at Christmas’A.R. Penck, Micahel Werner, Michael Craig-Martin
141: ‘Material Advantages’ Merete Rasmussen, Roberto Almagno 

140: ‘Foregrounding the Background’ - Jim Shaw

139: Maastricht Beyond TEFAF - Levi Van Veluw

138: ‘When to Visit Tate Modern?’Abraham Cruzvillegas


137: ‘Certain Perversities’ - Jurgen Teller
136: ‘Soaring and Diving’ - Bryan Wynter
135: ‘The Monumental Intimate’ - Jonas Wood, Luke Jerram
134: ‘Solo, Group or Bugged?’ - Jo Addison, Oona Grimes
133: ‘Performance to the Exponential Max’ - Eddie Peake, Broomberg & Chanarin, Millie Brown
132 ‘Fair Ground for Snakes’ - Frieze Art Fair 2015 
131 ‘Noi Amiamo l’Italia’ - Italian art in London
130 ‘Art in Warrington? I had no Ikea…’
129 The Bad Pavilion Made Easy’ - 56th Venice Biennale
128: ‘Card Givers’
127: 'Better than the Real Thing': Barbara Hepworth, Charlotte Moth
126: ‘Farming Cornell ’ - Joseph Cornell

125: ‘The Upcurve Down in Kent’ - Lukas Morley



124: ‘Card Givers’ – artists’ cards

 123: ‘Agnes Martin’s Paths Not Taken’ - Agnes Martin

122: ‘Let’s Get Together’ - Richard Billingham

121: ‘Sylvia, Chantal, Ishbel & Felicity’ - Sylvia Sleigh / Ishbel Myerscough / Chantal Joffe

120: ‘Queen Alice’ – Alice Anderson

119: ‘The Victorian Tendency’ – Juliette Losq

118: ‘Ruby Ruby Ruby’ – Sterling Ruby

117: ‘Mirrored in Brown’s’- Michelangelo Pistoletto 116: ' These Feet Are Made for Painting' - Kazuo Shiraga / Michael Flatley



115: ‘The Famous Fives’ – paintings of five women




114: 'A Hundred Women Wanted' – Mac/Val


113: ‘Transformation’ – Francesco Clemente


112: ‘The World Museum’ – British Museum


111: ‘Book the Show vs. Show the Book’ – Marlene Dumas


110: ‘The Other End of the Journey’ – Art in Southampton


109: ‘Uncrushed Dreams’ - Brian Dawn Chalkley


108: ‘Apple Barnacle Orgasm’ - Shimabaku, Salvatore Arancio & Moussa Sar


107: ‘Grids Gone Dotty’ - Isa Genzken & Jonathan Horowitz


106: ‘Batchelor of Books’ - David Batchelor


105: ‘Game of the Name’


104: ‘Not Quite Shangri-La’ - Shezad Dawood


103: ‘Foolish at the Tate?’ - April 1


102: ‘The Use of Painting’ - Luke Gottelier


101: ‘I Fink it’s a Face’ - Graham Fink

100: ‘Sexual Services’ – Group Show at Transition


99: ‘Rugged’ - Anna Betbeze & Caroline Achaintre


98: ‘Abstraction and Tragedy’ - Doug Ashford


97: ‘Tits and Cocks and Wallpaper’- Sarah Lucas & Luc Tuymans


94: ‘Video To Go To’ - Hans Op De Beeck


93: ‘Smash ‘n’ Burn’ – Allora and Calzadilla & Jesse Hlebo


92: ‘Popova and Over’ - Yelena Popova


91: ‘The Colour in Bermondsey’ – Galleries in Bermondsey


90: ‘The Colour in Rembrandt’ - Rembrandt


89: ‘The Curators’ Egg’ – Saatchi Gallery


88: ‘100 years x 3’ – Manchester City Gallery


87: ‘Encore, Silver Paint’ - Bertrand Lavier


86: ‘Welcome to the Machine’ - Mark Selby & William Bradley.


83: ‘One Form of Being Uncontent’ - Allen Jones


84: ‘The Minimal and the Excessive’ - Richard Tuttle & Rie Nakajima


83: ‘Paris Photo without the People’ - Penelope Umbrico & Putput


82: ‘S p a c e d Out Crowded’ - Robert Longo & Richard Avedon


81: ‘Art and Almost’ - Arkady Bronnikov


80: ‘On Dashes’ - N.Dash


79: ‘Battle of the Behemoths’ - Anselm Kiefer / Gerhard Richter / Sigmar Polke / Jonas Burgert


78: ‘The Big Experience’ - William Tucker / Damien Hirst


77: ‘After the Gallery?’ Aidan McNiell


76: ‘Turnering Away from London’ – Turner Prize 2013


75: ‘Three Styles’ - Nicolas de Staël


74: ‘Thinking Inside the Box’ - Sacha Sosno / Julião Sarmento.


73 ’Red and Black and Women’ - Gilbert & George and Mary Kelly


72: ‘Five Generations’ - the Pissarro family


71: ‘Hurry along!’ - Frank Auerbach, Olafur Eliasson & Eileen Mayo


70: ‘17 = 276’ - Seventeen Gallery


69: ‘Spirit of a City’ – Liverpool Biennial inc Amelie von Wulffen


68: ‘Please Release Me’ - BANK


67: ‘The Process of Fashion’ - Alexis Harding / Morten Skrøder Lund


66: ‘Late Arrival’ - Clive Hodgson


65: '28 Years and 1.1’ - Sarah Anne Johnson


64: ‘Only Connect’ - Paul Chan / Jim Lambie


63: ‘Monitor as Star’ - The Block / Charlotte Prodger


62: ‘Constable at the Double’ - John Constable / Victor Pasmore


61: ‘Ellipso and Downpoint’ - Marc Vaux / McArthur Binyon


60: 'No Pencils in Ramsgate' - Cedric Christie / Loukas Morley


59: 'Fifty Years After Fashion' - Alan Davie / Lynn Chadwick


58: ‘Dolls Are Us’ - Laurie Simmons / Liane Lang


57: ‘Internal Cyclic Self-portrayal’ - Tom Dale / Miler Lagos


56: ’Skull Surprise’ - Zhang Huan / Rafael Gómezbarros


55: ‘Tale of the Tape’ - Alastair Gordon / Kees Goudzwaard


54: ‘Those Gallery Weekends Compared’ - Berlin vs London inc Giuseppe Penone / Wlofgang Laib


53: ‘The Name Game’ - Psuedoyms inc Georg Baselitz


52: ‘Trapezohedral’ - Albrecht Dürer / Graham Gussin / Miroslav Balka


51: ‘The Quick Fix’ - Leah Capaldi / Haim Steinbach

50: ‘Volcano in the Garden’ - Rosa Loy / Günther Uecker

49: ‘Before and After the Internet’ - Carolyn Thompson

48: ‘Positively Completed’ - Poppy Sebire / Nettie Horn / Man & Eve / WW / Bischoff Weiss / Ceri Hand


47: ‘Material Realities’ - Ephrem Solomon / Armand Boua


46: ‘The Red Room’ - Felix Vallotton / Kees Van Dongen / Uliana Apatina


45: ‘What To Wear in Town and Country’ - David Hepher


44: ‘Sculpture and Self-Forgery’ - Giorgio de Chirico


43: ‘Plagiarism Rehearst’ - Damien Hirst / Bart van der Leck


42: ‘Love in the City’ - Paula MacArthur


41: ‘The Framed Ceramic Clothing Coincidence’ - Samantha Donnelly / Jessica Jackson Hutchins


40: ‘Beattieful London’ – Dominic & Basil Beattie


39: 'LAF': Nash & Barnes-Graham


38: 'That’s New!' - Tomma Abts


37: ‘Drawn Together’ – Mary & Kenneth Martin


36: ‘Have I gone too far?’ – Honore Daumier


35: Collisions in Space – Alison Gill


34: ‘The Christmas Kiss’ - Nezaket Ekici


33: ‘Stoned’ – Bill Woodrow


32. ‘The Surprising Nude’ – Ivon Hitchens


31. ‘Good as Old?’ - Tatlin etc reconstructed


30. ‘Late Light in Venice’ – Bill Culbert / Pedro Cabrita Reis 29. ‘The Lights Staying Off’ – Martin Creed


28. ‘Obsessive, Me?’ – Peter Dreher


27: ‘Look, No Canvas’ – Jonathan Gabb


26: ‘Sex & Excess’ - Frieze / Allen Jones


25: ‘When Photos are Paintings and Paintings are Photos’ - James White-


24: ‘Gum That Stays Chewed’ - Alex Hoda


23: ‘One Thing on Top of Another’ - Hannah Maybank / Jacob Felländer


22: ‘The Big Three in Amsterdam’ – Rembrandt, Vermeer, Van Gogh


21: ‘Pierdom ‘ - Simon Roberts


20: ‘One Leg Good’ – Hans Hartung


19: ‘Where’s the Picasso Museum?’ – Pablo Picasso


18: ‘How Much To Say?’ – Information in galleries


17: ‘How to Get into a Gallery’ – Henry Moore


16: ‘Marooned With Caulfield’ – Patrick Caulfield


15: ‘Tongue Talk’ – Emma Hart / Michael Dean


14: ‘Feathers’ Light’ - Kate MccGwire


13: ‘Minimum Values’ – Martin John Callanan /Moyra Davey


12: ‘What About The Ceiling?’ - Robert Morris 
11: ‘What Isn’t There’ – Merlin James / LS Lowry 

10: ‘Weaving And The Web’ - Gerhard Richter 

 9: ‘Same Work, Different Place’ - Nina Katchadourian 

 8: ‘Basel’s Tichý Show Within The Show’ - Miroslav Tichý

7: ‘Bananas In Basel’ - Jeppe Hein / Seven Allan

6: ‘How Unique Is That?’ - Allan McCollum / Michael Landy

5: ‘Regarding the Medium’ - Rodney Graham

4: ‘Mind the Lack Of Gap’ - Sarah Adams

3: ‘The Opening Laid Bare’ – Konrad Wyrebek

2: ‘The Size of It’ - Jonathan Delafield Cooke

1: ‘Blind Stuff’ - Robert Morris - May 2013









Friday, 14 July 2017

MAKE A MARK





MAKE A MARK

Curated by Rebecca Fairman and  Paul Carey-Kent at Arthouse1, 45 Grange Road, Bermondsey


To 30 July, open Thursday to Sunday 3pm - 7pm

Part of a free artwalk, with curators and artists present, on Sat 29 July - see 
The curators of ‘Make a Mark’ have taken their cue from filmmaker and author Barry Bliss, whose recent books are influenced by his deep respect for the photojournalism of Gerda Taro, a woman whose ideological integrity and eye for detail characterized her photographs of the Spanish Civil War.

Initially, Taro teamed up with her partner Endre Friedmann using the pseudonym Robert Capa, but soon broke away creating her own pseudonym of Gerda Taro (her real name being Gerta Pohorylle) Taro’s work was widely celebrated at the time, especially the images she took at the Battle for Brunete. In July 1937, a tank struck her as it collided with the vehicle she was hitching a lift on and she tragically died of her injuries aged just 26. Over time, Taro’s achievements faded and were eclipsed by her surviving partner who continued as Robert Capa.  Capa, as we know, went on to further fame, co-founding the ground-breaking Magnum Agency.

In recent years, Taro’s own work has returned to wide respect, and using the same 1932 Leica camera used by Taro, Bliss went ‘out in the field’ - albeit a less dangerous one! - to photograph 30 contemporary women artists working in London. With a reportage approach, rather than an Art critical one, Bliss sought to reveal the women behind the work they do, with photographic portraits and artists’ comments.

Each black and white portrait is notable for its simplicity; each time, just a woman in her studio. There’s no studio paraphernalia in shot and no posed action shots ‘à la Pollock’. Direct and communicative, the photographs remove barriers; you feel like a witness. The accompanying texts, however interesting, remind you that you are a recipient. That’s the power of the photographic image, however staged it is or isn’t, we will always trust it and own it more easily, over the written word. Even though we’re so well aware in the digital age that photographic truth is a far from simple matter, we are quite simply, less encumbered by the filters through which the message travels.

Grasping the baton from Bliss, Rebecca Fairman and Paul Carey-Kent give us what could be described as a natural epilogue to Bliss’s book. In ‘Make a Mark’ at Arthouse1 the work of ten of the women from Bliss’s book is shown. Here too, the women are not allowed to remain in the wings but must further personalise the experience by nominating a personal object of their choosing.

The curators have commented that Bliss’s photographs seem to capture “the determined start of the creative process, before a mark is made.” In this exhibition we can also see the determined end of the creative process. The mark has been made!

Artists Wesite links:   Katrina Blannin, Jane Bustin, Rebecca Byrne, Claudia Carr, Emma Cousin, Sharon Drew, Roxana Halls, Selma Parlour, Carol Robertson and Yukako Shibata





Barry Bliss

For Make a Mark I photographed 30 women painters against a simple white background, wearing their ‘work’ clothes and holding their most cherished brush. I used the exact same model 1932 Leica II camera, exhibited here, as Gerda       Taro did in the Spanish Civil War. The painters follow on from the project Art as an Act of War, in which 30 photographers were captured on the same camera, turning the lens       on those usually behind it.

Barry Bliss (born London, 1952) originally studied Art and Design but then specialised in film and started to act. He went on to make films such as ‘The Waves’ (at just 17 in 1969, on Virginia Woolf’s final hours), ‘Fords on Water’ (for Channel 4 in 1983) ‘Poppies’, which premiered at the Imperial War Museums on Armistice Day 2006, and ‘Art Is’ (2013 – a musical about an upcoming female painter). He has also published the novel ‘Hand Upon Heart – The Last Templars’ (2006)


Katrina BlanninMy paintings experiment with simple systems as the means to re-examine historical colour theories and early Renaissance painting conventions. This transfers to an investigative process which asks questions of later constructivist and concrete art, in order to generate new possibilities.  Working with a series of permutations, sequences or with mirror images, rather than a single image, can bring an interesting complexity and inspire ideas about movement. My chosen object, Jeffrey Steele’s Steriomorphic Drawing, c. 2000, made from card and found bits and pieces, represents the influence on my work of our long-standing conversations about art. 

Katrina Blannin lives and works in London. Since graduating from the Royal College of Art in 1997 she has shown her work extensively in the UK and abroad, co-directed artist run project spaces, curated exhibitions and written about contemporary painting. She is currently undertaking a Painting by Practice PhD at the University of Worcester, teaches at Canterbury UCA and Camberwell UAL and works both on the editorial board and for the mentoring programme of Turps Banana.

 www.katrinablannin.com


Jane Bustin
My practice - comprising painting, ceramics, textiles, text and performance - is concerned with deconstructing the formal components of abstraction. I explore the properties and arrangement of materials, extending the links between craft, concept and movement in various research projects, including on medieval female saints, the iconic ballet dancer Nijinsky and 20th century domesticity. I see the work shown as unravelling what takes place in the private space of the studio and the home, so the red lacquer tea bowl is apt: my husband gave it to me for the studio twenty years ago, a symbol of love and generosity for both art and life.


Jane Bustin is represented by Copperfield, London, where she had a solo show in 2016. She was selected for the Whitechapel Gallery’s London Open in 2015, and has also exhibited at the Ingleby Gallery, Edinburgh; Salon 94, New York; Royal Academy, London; Walker Gallery, Liverpool and Kettle’s Yard, Cambridge.  She is a recipient of the Pollock-Krasner award.




Rebecca Byrne
My overarching concern is to explore interiority and the psychological impact of space - in particular the spaces that people animate and inhabit, the traces left behind in abandoned and re-purposed spaces, and thresholds into fantastical places that cannot exist. I repeatedly painted the room in which van Gogh lived his last months in the Auberge Revoux, and by mirroring it I was thinking about him having a looking glass view of the world, based on his own interiority. I do a lot of collages to start my paintings, and store their potential materials in the wooden cigar box.


Born in Chicago, Rebecca Byrne lives and works in London, where she completed an MA in Fine Art from The Chelsea College of Art and Design in 2012.  She was a prizewinner at the Creekside Open 2017, and recently had a solo show, linked to a residency at the Vincent Van Gogh Huis Museum, Zundert, and the Netherlands.  Recent London exhibitions include at White Conduit Projects, Unit 1 Gallery, Transition and Lubomirov / Angus-Hughes.



Claudia Carr

My work deals with ‘landscape’ by way of the groups of small objects, often organic matter, that collect and settle together on the shelves and tables in my studio.  Making the painting takes time.  Looking at the same thing for hours and often months on end has an Alice in Wonderland effect:  I feel shrunken, and the once intimate spaces between objects become cavernous and monumental.  Hopefully that ambiguity of scale is then evoked in the work itself. The geological processes that formed the object in the painting are the same processes that bring a painting into being……accretion, erosion, and the way that time embodies itself in matter.

Claudia Carr studied at the Slade School of Fine Art (BA and MA in Painting). She has had London solo shows at Browse and Darby, Whitfield Fine Art and Jessica Carlisle. Her work features in 'Nature Morte: Contemporary artists reinvigorate the Still-Life tradition' (Thames and Hudson, 2015) and will be in the 'Nature Morte' Guildhall show this September. She is a visiting lecturer at the Royal College of Art, the Royal Drawing School and Heatherley’s School of Fine Art.



Emma Cousin
My recent work has developed the leg as a stand in for the human form a personal ‘language of legs’. A ‘Sacrificial Tripod’ is a three-legged piece of religious furniture used for offerings. The tripod is the most stable furniture construction for uneven ground, and they are frequently mentioned by Homer as prizes in athletic games. This painting is about what we strive for and asks if our drives aid or constrain us more. The cheese, a cartoonic reward, plays on the idea of the mouse trap, leaving the three limbs tied together to echo the three blind mice - the ruin within one torso is a nod to this comic tragedy. 

Emma Cousin graduated from the Ruskin School of Art, Oxford in 2007. She was recently Artist in Residence in the BA Painting Studio at Wimbledon College of Art, and lectures at Sotheby's Institute. She is also a poet, and the forthcoming Ambit Magazine, Issue 229, will present a curated feature on Emma's work. In the past year she has been in several shows in London, including the two-person ‘Mudhook’ at Tintype Gallery.



Sharon Drew
Colour, process and the physicality of paint are central to my work. I want to find that point where I am only just in control of paint, letting it behave in ways that may surprise and delight me.  As I work, the paint leaves the brush in drips and trails …a brush-mark may hold or dissolve, colours separate or blend.  I become an observer of the complex illusion of light, space and movement that evolves. Containers for paint are shown with Ziggy 1 as they are an important part of my studio equipment and process: I use diluted acrylic paint and large brushes and so a traditional palette would not be practical.

Sharon Drew completed her Fine Art MA at Central Saint Martins in 2003 and is now a mentor to degree students there. She has exhibited in Paris and Singapore, and was recently artist-in-residence, with the solo show ‘Flat-Out’, at Trinity Buoy Wharf Docklands.  She was selected for 2015 & 2016 Royal Academy Summer Exhibitions and the 2015 East London Painting Prize. She has also shown with Rebecca Hossack Gallery and at Terminal 5, Heathrow Airport.



Roxana Halls


My practice questions the ways in which gender and class norms slyly intersect today to circumscribe the repertoire of legitimate actions available to women. My self-portrait, Carvery, is an investigation into the role food plays in our personal histories. It occurred to me that I almost never saw the food I associated with my youth represented in painting, as though, in contrast to its nostalgic importance to me, it were not considered of sufficient value for examination. So I chose to paint a meal as a site of self-determination: I attempt to carve a life from a laden table. My concentrated efforts are slightly undermined by the apparent awkwardness of my hands. I wanted to imply that this process, though unheroic, is not without its challenges.


Roxana Halls has had solo exhibitions at the National Theatre, the Hay Hill Gallery, London and Beaux Arts, Bath, and shown in numerous group exhibitions. Her awards include the Villiers David Prize and the Discerning Eye's Founder's Purchase Prize, and her commissions include Alan Grieve, Chairman of the Jerwood Foundation.



Selma Parlour


My paintings are meticulously rendered through soft films of transparent oil so that imagery looks drawn or printed. The titling of my Cloud series is in reference to Hubert Damisch's book 'A Theory of /Cloud/', where /cloud/ offers an alternative spatial organisation to linear perspective. In Cloud III, I use an invented vocabulary to consider painting's in/extrinsic conventions, such as: the delineation, cropping, volume and weight of shapes in space, flatness, and trompe l'œil illusion. The postcards live on my studio wall. They serve as reminders of the influence on my practice of Duccio's truncated space and Agnes Martin's consideration of the grid and transparency. 

Selma Parlour completed her PhD in Art at Goldsmiths College, London in 2014. She has held solo exhibitions at Marcelle Joseph Projects at the House of Saint Barnabas, London (2016-17); Dio Horia, Mykonos (2015); and MOT International, London (2012). Parlour was a prizewinner at John Moores Painting Prize (2016), and has just been awarded the Sunny Dupree Family Award for a Woman Artist at the Royal Academy Summer Exhibition, London. Her work is featured in Thames and Hudson’s ‘100 Painters of Tomorrow’ (2014), and collections include the Saatchi Gallery, London.  



Carol Robertson



I’ve been making circle paintings since the late ‘80s. The circle is a formation that has no beginning or end, and symbolises wholeness and completion. My recent ‘pointstars’ emerged from that purest of geometric forms. Sirius is named after one of the brightest stars in the sky. I'm currently painting 9 or 18 point star formations. I love star-gazing: one of life's most exquisite mysteries. My chosen object is a 300 million year old fossil of ferns from Radstock, Somerset. Its age and beauty is something I treasure. Unlike stars, millions of light years away, I can hold it in my hand and wonder at its evolution.

Carol Robertson lives and works in London, and shows with Flowers Gallery, including a solo show earlier this year. Her work has been exhibited extensively in the UK and Europe, also in Japan and the USA. Since 2001 she has been a Returning Fellow at the Ballinglen Arts Foundation in Ireland. In 2014 she published a book with her husband, Carol Robertson & Trevor Sutton - French Paintings in response to a series of residencies in the Midi Pyrenees region.




Yukako Shibara

My painting explores the complex interplay of light and shadow, and both physical and optical colour, questioning how we perceive objects. An integral part of my work is the colour of hidden surfaces, so that reflected colours slowly reveal themselves around each object like an aura. Pink Sisters consists of two parts -- a pared-down painting and a complex layered one.  Each work deals with a different space, and they negotiate the delicate relationship and balance between tension and harmony. The same can be said of the pair of pebbles I am showing with the diptych.

Yukako Shibata (born Hokkaido, Japan, 1972) has lived and worked in London since, where she gained an MA in painting from the Royal College of Art in 2005. Her solo exhibitions include Ethereal, Gallery MoMo, Tokyo, 2014; Colour Shadow, Lightgallery, London, 2013; and Luminescence, The Daiwa Anglo-Japanese Foundation, London, 2008; Her recent group exhibitions include the Hepworth Gallery, Wakefield, 2016; Kunstvoll Gallery, Hamburg, 2017; and Beyond at Unit 1 Gallery, London, 2017.



SCENES FROM THE OPENING

Visiting artist Aly Helyer (now showing at Lubomirov / Angus-Hughes)  seems a match for Emma Cousin's painting



And it may seem Roxana Halls dressed to match her baked beans! But actually she didn't know we were putting them in the cup which features in her painting



Carol Robertson, Jane Bustin and Katrina Blannin


Claudia Carr's rag has the dual purpose of modelling for landscapes...

     Barry Bliss
 Debbie Bliss with Sharon Drew




About Me

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Southampton, Hampshire, United Kingdom
I was in my leisure time Editor at Large of Art World magazine (which ran 2007-09) and now write freelance for such as Art Monthly, Frieze, Photomonitor, Elephant and Border Crossings. I have curated 20 shows during 2013-17 with more on the way. Going back a bit my main writing background is poetry. My day job is public sector financial management.

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