20C

통섭예술인 2011. 8. 1. 11:34

 

 

Arif Ozakca, Untitled, 2008, il paint, tempera, gold leaf and screen print on linen, 173 x244cm.

Untitled

Arif Ozakca   Untitled 2008 Oil paint, egg tempera, gold leaf and screen print on linen 176 x 244 cm

 

Gareth Cadwallader, Dead Horse, 2010, Oil on panel, 23 x 37 cm.

    Gareth Cadwallader - Empire, 2007

 

 

Saatchi Gallery Surveys a New Crop of Young British Artists, Part II

Ximena Garrido-Lecca, The Followers, 2010, Mixed media installation, 457 x 1,169 x 27.5 cm.

Maaike Schoorel, The Cruise, 2004, oil on canvas, 122 x 172.5 cm.

 

 

Jonathan Wateridge, Group Series No.2 – Space Program, 2008, Oil on canvas, 292 cm x 390 cm.

Caragh Thuring, General Scenes of Unloading, 2008, Oil on linen, 199 x 250 cm.

Anne Hardy, Untitled VI, 2005, Diasec mounted c-type print, 120 x 150 cm.

Anthea Hamilton, The Piano Lesson, 2007, Mixed media, 200 x 500 x 400 cm.

Paul Johnson, Guide, 2007, Hand coloured paper collaged on board, 70 x 70cm.

Henrijs Preiss, No.163, 2009, Acrylic and varnish on wood, 25 x 24 cm.

Systems House, Single Screen Wall Mounted Construction I, 2006, Two-way security mirror, steel, brass, 60 x 73 x 60 cm.

Ansel Krut, Napoleon on Elba, 2008, Oil on canvas, 100 x 100 cm.

Kate Groobey, The Cutting Mat, 2010, Oil on canvas, 150 x 130 cm.

Luke Rudolf, Portrait No. 19, 2010, Acrylic and oil on canvas, 150 x 125 cm.

Robert Fry, Drawing Room Study 5, 2008, Acrylic, oil, enamel and marker pen on canvas, 198 x 163 cm.

Carla Busuttil, More Like a Toy Than A Man, 2008, Oil on canvas, 26 x 20 cm.

Alexander Hoda, Shoehorn (detail), 2008, Polystrene, latex, pva, plastic, rubber, 178 x 165 x 245 cm.

Anna Barriball, Black Wardrobe, 2003, Tape on wardrobe, 177.8 x 70 x 40 cm.

Dick Evans, Hoodie, 2006, hydroponics, wax, aluminium, steel, 205 x 51 x 153.5 cm.

Idris Khan, Every ... Bernd And Hilla Becher Spherical Type Gasholders, 2004, Photographic print, 208 x 160 cm.

Gabriel Hartley, Pout, 2010, Oil and spray paint on canvas, 260 x 200 cm.

Nicholas Hatfull, Melonebidone (Forno By The Sea), 2009, Oil and acrylic and Froot Loops on canvas, 250 x 190 cm.

Luke Gottelier, Ice Cream-Headed Birdman Fucking An Antelope, 2010, Acrylic, oil and ties on canvas, 259 x 190 cm.

Tasha Amini, Untitled, 2007, Oil on canvas, 101.5 x 76 cm.

Tessa Farmer, Swarm, 2004, Mixed media, Vitrine: 208.3 x 243.8 x 68.6 cm.

Maurizio Anzeri, Round Midnight, 2009, Embroidery on print, 62 x 45 cm.

 

 

Graham Durward, Hotmail, 2006, Oil on linen, 81.3 x 63.5 cm.

Olivia Plender, The Masterpiece Part 4 – A Weekend In The Country, 2005, 24 drawings on paper, 21 x 29.7cm.

Graham Hudson, All My Exes Live In Tesco's, 2007, Timber, steel, plastic, electric fans, lighting, paint and tape, 550 x 250 x 250 cm.

Marcus Foster, Untitled, 2010, Steel, 240 x 210 cm.

Dean Hughes, Shelves (iv), 2008, Backing card, 30 x 21 x 6.3 cms.

Spartacus Chetwynd, The Lizard, 2004, Fabric, latex, cardboard, paint, plastic and hessian, 170 x 100 x 60 cm.

Tim Ellis, United In Different Guises II, 2009, Acrylic and varnish on cotton, 73 x 46 cm.

Steve Bishop, Christian Dior – J'adore (Mountain Goat), 2008, Taxidermied goat, concrete, chalk, 170 x 105 x 144 cm (with base).

Saatchi Gallery
Duke of York's HQ
King's Road
020 8968 9331
London
Newspeak: British Art Now Part II
October 27, 2010-January 16, 2011

Newspeak: British Art Now Part II provides an expansive insight into the art being made in the UK today. Far from manifesting a visual language in decline, which the Orwellian title might suggest, the exhibition celebrates a new generation of artists for whom the stimulus of our hyper-intensified, codified, contemporary world provides a radical pathway to a host of new forms and images.

From sculpture and painting, to installation and photography, artists here employ a hybrid of traditional and contemporary techniques and materials to create a new language with which to articulate the wikified world around them. In this melting pot, east merges with west, celebrity with classicism, fantasy with obsessive formalism. This explosion of new and vigorous forms is an exciting indicator of the ongoing and future strength of contemporary art in Britain. the Saatchi Gallery opens Newspeak: British Art Now Part II, the second installment of the Gallery’s museum-scale survey of emergent British contemporary art.

Newspeak: British Art Now Part II provides an expansive insight into the art being made in the UK today. Far from manifesting a visual language in decline, which the Orwellian title might suggest, the exhibition celebrates a new generation of artists for whom the stimulus of our hyper-intensified, codified, contemporary world provides a radical pathway to a host of new forms and images.

Newspeak: British Art Now Part II provides an expansive insight into the art being made in the UK today. Far from manifesting a visual language in decline, which the Orwellian title might suggest, the exhibition celebrates a new generation of artists for whom the stimulus of our hyper-intensified, codified, contemporary world provides a radical pathway to a host of new forms and images.

Newspeak: British Art Now Part II features a selection of works by Alan Brooks, Alexander Hoda, Anna Barriball, Anne Hardy, Ansel Krut, Anthea Hamilton, Arif Ozakca, Caragh Thuring, Carla Busuttil, Caroline Achaintre, Clarisse D'Arcimoles, Dan Perfect, Dean Hughes, Dick Evans, Edward Kay, Gabriel Hartley, Gareth Cadwallader, Graham Durward, Graham Hudson, Henrijs Preiss, Idris Khan, Jaime Gili, James Howard, Jonathan Wateridge, Juliana Cerqueira Leite, Kate Groobey, Luke Gottelier, Luke Rudolf, Maaike Schoorel, Marcus Foster, Maurizio Anzeri, Mustafa Hulusi, Nicholas Hatfull, Nicholas Byrne, Nick Goss, Olivia Plender, Paul Johnson, Peter Linde Busk, Renee So, Robert Fry, Spartacus Chetwynd, Steve Bishop, Systems House, Tasha Amini, Tessa Farmer, Toby Ziegler, Tom Ellis, Ximena Garrido-Lecca.

Over a decade after Sensation and the advent of the YBAs, this new generation of artists are making work that collectively offers an arresting insight into the future of contemporary art in Britain. In Orwell's novel Nineteen Eighty-Four, Newspeak is "the only language in the world whose vocabulary gets smaller every year"; this exhibition turns that Orwellian vision on its head, showing that the range of visual languages being exploited and invented by these artists is in fact expanding and multiplying. Through sculpture, painting, photography and installation, they explore issues such as class, consumerism and the phenomenon of instant success culture, often with a distinctly British dry wit.

In October 2008, the Saatchi Gallery re-opened in the 70,000 sq. ft Duke of York’s HQ building on King’s Road in the heart of London. With free admission to all shows, the Saatchi Gallery aims to bring contemporary art to the widest audience possible. The first two exhibitions, The Revolution Continues: New Art from China and Unveiled: New Art from the Middle East, have ranked as first and third most visited shows in the UK in The Art Newspaper’s survey of 2009 attendance figures, and the Saatchi Gallery has attracted over 1.2 million visitors in its first year since relocating to Chelsea.

Participating Artists
Alan Brooks' solo exhibitions include: 2001, Mobile Home Gallery, London; 2000, Percy Miller Gallery, London, 1999, Galerie Albrecht, Munich, Germany; 1998, Marlene Eleini Gallery, London; and 1994, Wet Paint Gallery, London. Brooks says of his work, “When I was at art college I began collecting pictures of artists working in their studio or making their artworks. This collection became an addendum to my interest in the artists’ work, a research method for the development of my own practice. I collected the images from magazines, old books, newspapers, postcards, anywhere I could find them. But at the time they weren’t collected with any particular purpose in mind. About five years ago I was sifting through this archive of images and it struck me that the reasons I had been originally fascinated in say, Ensor or Dix, had become lost in time. Dix is a portrait of the German painter Otto Dix, who is well known for his gruesome depictions of WWI violence and satirical images of life in the Weimar Republic."

Alexander Hoda (Born in Canterbury, UK, 1980) lives and works in London. He attended Wimbledon College of Art 1999-2000 and Goldsmiths College 2000-2003. Solo exhibitions include: 2009, Pipedreams, Dickinson Gallery New York and Pileup, curated by Ken Mcgegor, Metro 5 Gallery, Melbourne; Alexander Hoda, curated by Nick Aikens, University of the Arts, London. He says of Shoehorn, 2008, “For this piece I wanted to have more of a scene, like the narratives within classicism and mythology, but my own. It’s like a freeze-frame of a moment. I make my sculptures by collaging found objects to form the composition and then coat the entire surfaces with rubber. This is a way to "dress up" the objects, to make them re-perform in a different environment, re-contextualise them with new meanings. The found objects and masks underneath the surfaces give the effect of an inflatable object that’s almost expanded to the point of collapse. In my work I am exploring relationships, desires, and urges, to perceive them in different contexts rather than something that’s conditioned to be guilt-laden or perverted.”

Anna Barriball (Born in Plymouth, England, 1972) lives and works in London. Recent solo exhibitions include: 2009, Frith Street Gallery, London; 2008, Projection, Institut im Glaspavillon, Berlin, Live Art Performance: More and More – Performance of Reduction, Artist Studio, Residency, Camden Arts Centre, London; and 2007, Galleri Bo Bjerggaard, Copenhagen. She says of Black Wardrobe, 2003, "Black Wardrobe is a bureau wrapped seamlessly in tape, pressed with obsessive determination to form a second skin revealing the dresser's most enigmatic crevasses. Suffocated in black, the cupboard looses its recognisable physicality, becoming a monumental void connoting absence and memory. Through prolonged physical connection with the object, Barriball unveils a mystery in the too-familiar: a synesthesia of sight and touch, where senses merge and become heightened in an elevated pursuit of beauty."

Anne Hardy (Born in United Kingdom, 1970) lives and works in London. Solo exhibitions include: 2011, Federica Schiavo Gallery, Rome, Italy, 2009, Maureen Paley, London, UK, 2008, Bellwether Gallery, New York, 2006, Maureen Paley, London. In pieces such as Cell and Untitled VI, Hardy’s dense interiors become sites of wonder and unease as seemingly miscellaneous found objects compile with an obsessive and meticulous order. Hardy’s subjects exude the not-quite-right ambience of dreamscape or madness; a sensation heightened through the unnatural intensity of artificial light. Printed in large format, Hardy’s photos give the viewer a sense of looking through a window at these spaces.

Ansel Krut's recent solo exhibitions include: 2010, Stuart Shave/Modern Art, London, Three Bald Men, Ansel Krut and Walter Swennen at domobaal gallery (September / October); 2008, Next Chicago, USA (solo project) with domobaal gallery; 2007, Ghost of a Flea, The Drawing Centre, Wimbledon; 2006, Hotel Vinegar, domobaal gallery (pocket book with an essay by Martin Herbert and a story by Miles Johnson). Ansel Krut’s Napoleon on Elba was inspired by Ingres’ 1806 painting •Portrait Of Napoleon on The Imperial Throne• which depicts the emperor with ostentatious pomp and glory. “I was thinking about portraiture and power and wanted to paint something in response to that. There was something about the painting’s title, and the paleness of Napoleon that made me think of toilet paper. Rendering him as stacked loo rolls is a reflection of the absurdity of official portraits. I worked from a model I set up in my studio: I had to buy cheap toilet paper to get the right tactile quality, and I made the turds from plasticine. The muted tones relate to the density or materiality of the paint itself, which looks slightly digested as if it has run through some sort of system. I wanted the paint to carry the same kind of messages as the image.”

Anthea Hamilton (Born in London, UK, 1978) lives and works in London. Recent solo exhibitions include: Anthea Hamilton, IBID PROJECTS, London, UK, Calypsos (with Nicholas Byrne), Studio Voltaire at Zoo Art Fair, London, UK, Spaghetti Hoops, La Salle de Bains, Lyon, France, and Anthea Hamilton, Kunstverein Freiburg, Freiburg, Germany; 2008, Gymnasium, Chisenhale Gallery, London, UK; 2007, Anthea Hamilton and Thomas Kratz, Mary Mary, Glasgow, UK, Cut-outs, Galerie Fons Welters, Amsterdam, The Netherlands, Art Statements Art Basel 38, Basel, Switzerland. She says of The Piano Lesson, “I was remaking film extracts of well-known Hollywood movies,” Anthea Hamilton says, “and these pieces, such as The Piano Lesson, started life as props. I wanted to make my own narratives, and the objects had a successful enough sense of movement or animation in themselves to render the need to make the film unnecessary. They suggest sets and characters, the cinematic or theatrical and are always composed to be seen from the front just as you would see a stage set. My work hints at particular eras, it’s not old-fashioned, but not contemporary either; they’re in their own time. This piece was particularly inspired by Fernand Leger’s 1921 painting Le Grand Déjeuner, the large feminine wavy form is taken directly from the shape of the women’s hair. Borrowing from an artist’s palette offers a method for a rich, chromatic display. I was looking at bas-reliefs, architecture or ancient Egyptian cartouche characters and hieroglyphics: they look like pictures, but are conveying specific information.”

Arif Ozakca (Born London, 1979) lives and works in London. Recent group exhibitions include: 2009, Newspeak – British Art Now, The State Hermitage Museum, St. Petersburg, Russia; 2008, Soul Stripper, Projet Midi in Brussels, with Bas de Wit, Olivier Blanckaert, Wouter Feayerts, Corrado Sassi Every Body, Kunstlaboratorium Vestfossen, Norway with a/ o Chapman Brothers,Reaspora, with. Karen Tang, Camilla Akraka , Hassan Darsi, Johannes Phokela; 2007, Reaspora, MAMA space, Rotterdam, MA show, Chelsea College of Art, London, Inauthentic S.T.O.A.G.E: Ming Wong, The Agency gallery, London. Ozakca begins each of his works with the Iznic tiles, which he silk-screens by hand onto the canvas; the slight imperfections give the aura of an unstable ground, faintly disappearing in places. The buildings with the windows that are ablaze with gold leaf, and figures are then added.

Caragh Thuring (Born in Brussels 1972) lives and works in London. Solo exhibitions include: 2009, Assembly, Simon Preston Gallery, New York, Caragh Thuring, Thomas Dane Gallery, London. Group exhibitions include; 2009/2010, Newspeak: British Art Now, The State Hermitage Museum, St. Petersburg jointly with Saatchi Gallery, London; 2009, Objects in the Forest, Visual Art at Sadler’s Wells, London (curated by Sacha Craddock). Thuring often works directly on linen canvas and leaves its bare surface visible in many places. This replicates the aesthetics of a draught or blueprint. General Scenes Of Unloading is one of two paintings of a London docklands scene that Thuring made at the same time; this canvas contains all the imagery that she didn’t include in the other painting. For Thuring, the docklands are a complete eco-system where each element has a function that is part of an interdependent network. She is interested in how machinery can exist as a created "personality" by dint of its manufacture or function. In her painting Thuring translates the scene intuitively; fragments of cranes, pipes, and security barriers become isolated and she highlights certain details while omitting others. Each separate vignette is painted in a delicate gestural way, like a cherished portrait.

Carla Busuttil (Born Johannesburg, South Africa, 1982) lives and works in London. Solo exhibitions include: 2009, Tuxed Fucks – And other curious outfits, Gimpel Fils, London. Recent solo exhibitions include: 2010, Newspeak: British Art Now, Saatchi Gallery, London, Puce Moment, Transition Gallery, London, Borders– Deutsche Bank Awards exhibition, Saatchi Gallery, London, Review Part II, Gimpel Fils Gallery, London; 2009, Between my Finger and my Thumb, curated by Kobetsvasey, Schwartz Gallery, London, Franks-Suss Collection, curated by Tamar Arnon and Eli Zagury, London, Daily Miracles, Josh Lilley Gallery, London, Jerwood Contemporary Painters Prize (toured UK). In More Like A Toy Than A Man, Busuttil’s figure stands with an exaggerated regimental posture, adorned with the caricature traits of an imperious leader: swooping aristocratic moustache and monocled-eye, effete body buttressed by the starched ornamentation of his uniform. The thick application and chiselled-like brush work give the impression of a rough-hewn effigy, a derisive image literally ‘carved’ from paint’s liquid matter. Every coarse swipe and gesture reveals a savage and boorish quality that undermines the decorum of her subject.

Caroline Achaintre (Born in Toulouse, France, 1969) lives and works in London, UK. Solo exhibitions include: 2010, Couleur Locale, Arcade, London; 2009, Novelty, Mirko Mayer, Cologne; 2008, Visor Visitor, Fake Estate, New York; 2007, Six Strings, Blow de la Barra, London. Though Achaintre’s process is highly technical and labour-intensive, she develops her work quite spontaneously. Because she has to tuft the wool from the back side of the canvas, her compositions are developed largely through intuition. The holes in the canvas allude to the unseen space behind the face; these enhance the works’ sculptural form and also give a sense of "false" presentation or apparition. Moustache-Eagle has a mystical quality: it’s both a man and a bird and suggests a state of transition. Its rich colours convey an exotic power that’s simultaneously entrancing and ominous. Achaintre considers her work as part of a tradition of tapestry; her works’ theatrical images function as both pictorial illusion and concrete (and potentially usable) object.

Clarisse D'Arcimoles (Born in Paris, 1986) lives and works in London. Solo exhibitions include: 2009, Photography, Les Ginettes, Paris. Recent group exhibitions include: 2010, Photographers’ Gallery: Fresh face and wild eyed 10, London; 20 Hoxton Gallery: Rise and Fall, Concrete and Glass 210, London; Market estate Project: The good old days, London; Changeling, Arts Bar, Camberwell, London. “The initial inspiration for wanting to do this project – In The Bath (My Mother And My Sister) – came from a photograph of my brother and I as children, naked having a bath together in a small pink bucket. When trying to re-stage this photograph I realised it would be interpreted with pornographic connotations – which was absolutely not the aim of course! When I photographed my mother and my sister in the tub my mother was unhappy about it, especially about being naked. It took a while to talk her into doing it. My sister was really big in comparison to when she was 3, and in the original picture she has such a crazy smile. To recreate a natural smile like that took a lot of persuasion.”

Dan Perfect (Born in London, 1965) lives and works in London. Solo Exhibitions include: 2010, Dan Perfect: Dæmonology, Karsten Schubert, London (Catalogue; text by John-Paul Stonard); 2008, Dan Perfect: Paintings & Drawings, Road Agent, Dallas, USA, Dan Perfect: Drawings, one in the Other, London, Dan Perfect: Paintings, Chisenhale Gallery, London, (Catalogue; texts by Martin Herbert and Simon Wallis). Perfect’s Brujo takes its title from Carlos Castenada’s 1968 book The Teachings of Don Juan, which is an anthropological thesis often associated with hippie culture; a "brujo" is a shaman or sorcerer. “All fables and stories have some purpose or resonance to them,” explains Perfect. “I like the idea of an anthropologist going out into the desert and being broken down. This painting is also influenced by Robert Bly’s writings on masculinity and ritual, expectations and inculcations. The world of the imagination is a world of magic. It’s the anthropic principle that we project our inner contents on to outer objects: canvases are objects I project on to. In this way paintings are magical things. They are powerful objects like totems or icons.”

Dean Hughes (Born in Salford, UK, 1974) lives and works in Edinburgh, UK. Hughes received a BA in Fine Art with Honors from Chelsea College of Art and Design, London. Solo exhibitions include: 2010, Sleeper, Edinburgh (forthcoming); 2008, Dicksmith Gallery, London, CUBE, Manchester (with Matthew Houlding), and Cairn, Pittenweem, Fife; 2003, Jack Hanley Gallery, San Francisco, USA. Hughes says, “How they are installed is an important aspect of the works’ process. In a sense they are like paintings hanging off pins on the wall. How they’re architecturally sited is important: their relationship to the space, floor, ceiling, and each other. They’re installed at different heights to help interrogate these relationships. It’s not a purely visual process; I’m interested in how they communicate beyond their given circumstance. I studied painting and as a student I was given a wall to work on – but never made any paintings, so I have a slightly uneasy relationship to the wall. My works are kind of sculptural, but they have a frontal view and aren’t something you can walk around.”

Dick Evans (Born Stratford Upon Avon, UK, 1976) lives and works in New York. Solo exhibitions include: 2009, Solo project, U.R.A., Istanbul, Solo project, Boyschool, London, Solo project, The Black Mariah, Ireland; 2008, Solo project, The Hidden, Maureen Paley, London; 2006, Maureen Paley, London, Solo project, Dior Homme, Hong Kong. Comprised of a sculpted hooded jumper connected to a hydroponics unit, Dick Evans’s Hoodie broaches abstraction with a multiplicity of cultural references. Using drug paraphernalia as a kind of plinth — as a foundation for altered perspective, and as a source and receptacle for the endless cycle of dripping water that perspires from the sculpture — Evans’s sweatshirt is bolstered as a totemic psychological portal. Hanging as a vacant shroud, Evans’s jacket invokes associations to both chav fashion and religious garb. Coated in wax, the draping suggestion of a figure is given a malleable tarry skin, through which embedded tubes emit sweat-like streams of water, creating an image of addiction, suffering, and catharsis. The faint sounds of "rain drops" caused by the precipitatious cycle give the piece an air of contemplative sadness.

Edward Kay (Born in Chester, UK, 1980) lives and works in London, UK. Kay received an MA in painting (2002-2005) at Royal Academy Schools, London and a BA with honors in Fine Art (1999-2002) from Ruskin School of Drawing & Fine Art, Oxford. Solo exhibitions include: 2008, The Hidden Network, Solo Exhibition, Dicksmith Gallery, London, Surfaced, two person show with Nayland Blake, Royal Acadamy Schools Gallery; 2005, Solo show, Dicksmith Gallery, London. Kay’s paintings are inspired equally by art history and kitsch. His work draws from various archetypal genres such as portraiture and still life to render scenes which have an instant familiarity yet are off-beat. Kay has incredible painting skill which allows him to shift and combine styles fluently, and his canvases convey the serene power of masterworks and the dramatic overtones of graphic illustration.

Gabriel Hartley (Born in London, 1981) lives and works in London. Solo exhibitions include: 2010, Foxy Production, New York, Liste 15, Basel, Switzerland (with Foxy Production); 2009, Gabriel Hartley, Curated by Sarah McCrory, Swallow Street, London. Hartley says, “When I made Pout I was thinking about modernist painting, African masks, and modes of abstraction. I really enjoy the energy of ‘primitivism’, but these things feel so familiar now they’re quite difficult to use. I wanted to make it feel new again, like how it was perceived in the first place: raw and dynamic. I started painting and different connotations came up, like Max Ernst and Miro’s tapestries; it’s about appropriation in some ways. I make a lot of sculpture and think about painting in a sculptural way. The work has lots of different layers and the paint becomes a material like plaster or something. I use a lot of spray paint with the oil, this gives a light source and shows the different excavations within the paint; it brings out the different layers that have been masked or covered up. I don’t usually work in grey scale, but I was thinking of totemic sculpture or tribal masks, something quite sombre and grand. It’s how we look at images of these things: in black and white photographs and old books.”

Gareth Cadwallader (Born in Swindon, 1979) lives and works in London. Solo exhibitions include: 2008, Tobias and the Angel, Hannah Barry Gallery, Peckham. Group exhibitions include: 2010, Royal College of Art Degree Show, London; 2009, Royal College of Art Interim Show, London, The Peckham Pavillion, Venice Bienalle, Venice, Wunderbar, Gallerie Kollaborativ, Berlin, The Center of the Universe at James Taylor Gallery, London, Friends of the Divided Mind, The Center of the Universe, London. Cadwallader’s Dead Horse captures a vast Alpine mountain range in mesmerizing detail. The picturesque beauty of the scene is, however, disturbed by the striking presence of a dead horse in the foreground, which suggests the calm aftermath of some unseen struggle. Cadwallader made this painting in response to specific personal experiences, but its themes of conflict and resolution may also be understood as a metaphor for the creative process of painting itself.

Graham Durward (Born Aberdeen, UK, 1966) Lives and works in New York. Durward received an undergraduate degree from Edinburgh College of Art in 1977 and a postgraduate degree in 1978. In 1986 he graduated Whitney Museum's Independent Study Program. Solo exhibitions include: 2009, Maureen Paley, London; 2007, White Room, White Columns, New York; 2001, AC PROJECTS, New York; and 1997, Marianne Boesky Gallery, New York. Durward says, “Hotmail is from an image I found on the Internet, and is part of an ongoing series of solitary men. I was attracted to people who masked their faces in a crude way using Photoshop to protect their anonymity. I saw this as a kind of primitive painting and wanted to emulate or exploit this. I’m interested in how people try to manage their own image in photographs, or use images as a kind of disguise. There is an element to my work that relates to a pre-modernist response to the contemporary world. It’s too easy to read these types of images in a moralising way and I want to contradict that. I think this portrait is melancholic, but at the same time there is a beauty to it, a poignancy.”

Graham Hudson (Born in Kent, UK, 1977) lives and works in London and Los Angeles. He recieved an MA in Fine Art Sculpture from the Royal College of Art, London, 2000-2002 and a BA in Fine Art Sculpture at Chelsea, London, 1997-2000. Solo Exhibitions include: 2011, ArtHouse Texas, Austin; 2010, CRISP, Sculpture Roof, London, ZINGERpresents, Amsterdam; 2009, Monitor, Rome, 2008, Jan Cunen Museum, Oss, Netherlands, Locust Projects, Miami. Hudson say, “All My Exes Live In Tesco’s is quite an expressive piece. You try to have a conceptual rigour, but spontaneity is important as well. I was interested in how you can make a really big thing out of nothing. I used a ladder instead of building a frame, and the gesture of it is quite reduced. I strapped cardboard boxes to it, and attached the bin liners to a fan so they filled with air and then poured paint on them. In one way it’s like a car crash mess, but also very lively and poetic. I’m interested in conservation, and this work is like a performance or instruction guide. Because I have to remake it every time it’s shown, it can never look exactly the same twice. I think of my work in relation to object production rather than a documentation of the final thing. I always video the installation of the work so there is a record of the experience and action of making it, and I hope that if it is recreated in the future it might retain its fragile and delicate quality.”

Henrijs Preiss (Born in Riga, Latvia, 1973) lives and works in London. Preiss earned an MA in Scenography from Central Saint Martins in 2001, a professional degree in Scenography from the Art Academy of Latvia in 1998, and a BA in Scenography from the Art Academy of Latvia in 1996. Solo exhibitions include: 2009, The Third Degree, Sesame Art Gallery, London; 2007, Icon Resistance, Sesame Art Gallery, London, UK; 2005, Sesame Art Gallery, London, Istaba Gallery, Riga, Latvia. Preiss thinks about his paintings in relation to theatre: his abstract shapes look like blueprints for stage settings where the viewer might imagine actors’ movements or different possible stories. Preiss’s work is influenced by a wide variety of cultural sources, from religious painting to urban architecture and computer game graphics. Preiss uses the imagery and styles of these references to make his abstract patterns. Each of his paintings is based around a central motif that suggests a mystical emblem. Preiss creates his designs to question ideas about power and belief.

Idris Khan (Born in Birmingham, 1978). Solo exhibitions include: 2005, To be continued…, Helsinki Kunsthalle, Helsinki, Finland, Regeneration – 50 Photographers of Tomorrow, Musée de l’Elysée, Lausanne, Switzerland, Young Masters, 148a St. John Street, London, Photography 2005, Victoria Miro Gallery, London, Saatchi Gallery, London; 2004, Photo Paris represented by The Photographers Gallery, Northern Gallery of Contemporary Art, Sunderland, Frieze Art Fair, London, Arttissima, Turin, Arrivals. Pump House Gallery, Battersea, London, On The Edge, Hiscox Gallery, London, Hoopers Gallery, Clerkenwell, London, Show 1 MA, Royal College of Art, Photography 2004, Royal College of Art. The Bechers took their photos as a means to document a disappearing tradition; by grouping them according to "typology" the buildings’ designs function like archetypal symbols or an architectural language. Through Khan’s translucent aggregations, structures such as ... Spherical Type Gasholders lose their commanding simplicity and rigid formalism and descend into fractured and gestural blurs. Through his photographs Khan compresses the timeline of repetition into indivisible subsuming moments and creates a poetic mutability from the fixed codes of history.

Jaime Gili (Born 1972 in Caracas, Venezuela) lives and works in London. In 2001, Gili earned a phD. from University of Barcelona and an MA 1996-98 at Royal College of Art, London. Solo exhibitions include: 2009, Solo show, Kunsthalle Winterthur, Winterthur, (CH), COMMA04, BloombergSPACE, London; 2008, Superestrellas, Riflemaker London; 2007, Jaime Gili – Superstars, Buia Gallery, New York, 2006, Jaime Gili makes things triangular at riflemaker, London. Gili’s canvases are nostalgic for the positivism of the modernist era, where the architectural development of public space and consumer appetite for mechanical goods aroused and affirmed a sense of social buoyancy and community. Gili’s paintings are inspired by the Constructivists’ ideas of bridging art and technology and his shard-like compositions are reminiscent of early 20th century Russian artists such as Ljubov Popova and Mikhail Larionov; his works also pay homage to great South American abstractionists such as Carlos Cruz-Diez, Jesus Rafael Soto and Alejandro Otero.

James Howard (Born, Canterbury, 1981) lives and works in London. Solo exhibitions include: 2010, Black Money, Peifen Fine Art, 21 Fleet Street, London, UK; 2009, Reputable Company, Sartorial Gallery, London, UK, Dirt Cheap Flights to Classy Paradise, CRATE, Margate, Kent, UK; 2008, James Howard & Mai-Lin Tan Guang Dong Heart Beating Quickly Quickly, Peles Empire, London, UK; 2007, James Howard in The Regions, Marksman Gallery, Reading, UK. Howard says, “All of the images and quite a lot of the text were hijacked from real spam emails in my junk folder. I collaged them together to make new narratives. It’s all done with Photoshop, but I also use other kinds of graphic software that’s been cracked – I try to keep my work quite faithful to how real Internet scammers do it. Spam preys on our insecurities and needs; in the privacy of our own homes everything becomes much more available and dangerous. I often make installations with monitors, but used digital prints for this work to reference the adverts in the back of magazines. It’s like the gallery space can be divided into advertising plots, with wall space sold off by the square metre. I think of this piece as a portrait of today and my work is a sort of on-going social commentary. I work with urgency to get as much of this stuff processed before it’s entirely lost: soon spam filters will be so advanced that we’ll forget what a spam email ever was.”

Jonathan Wateridge (Born in Zambia, 1972) lives and works in London. Solo exhibitions include: 2010, All Visual Arts presents Jonathan Wateridge: 2006, On a Clear Day You Can See Forever, David Risley Gallery, London; 2005, The Glass Family, one in the Other, London; 2004, Fordham Gallery, London. Wateridge says, “Astronauts have an almost symbolic status. They operate on the frontier of an effort to understand the unknown. They appeal to a child-like sense of awe and adventure yet are the ultimate display of a culture's economic power and political ideology. The title Space Program puts the emphasis more on earthly planning than it does the heroics of space manoeuvres. The ship is still under construction, these men are gathered in anticipation of future glory not in celebration of established deeds. Hence there's a certain tension in the gathering; there's pride but also reservation. Though you might initially believe the image, subtle but mischievous clues to the work’s fiction are introduced: for example, the milk bottle top or a mobile phone keypad on the ship; plumbing parts on the space suits; the astronauts are in fact friends dressed in costumes made in my studio. As soon as you are made aware of these elements, there's something mildly comic about the image but also darkly so in the sense that this would obviously be a completely doomed mission!”

Juliana Cerqueira Leite (Born in Chicago) lives and works in London. Solo exhibitions include: 2009, Up Down In Out, Trolley Gallery, London. Group exhibitions include: 2008, Beyond Body and Gesture, Orion Contemporary at Riverwide House, Mason’s Yard, London, The Future Can Wait, Truman Brewery, London, Dis-locate Festival, Ginza Art Lab, Tokyo, Ethereal, Motdar, Copenhagen, The Future Was Then…So What Now?, Scope Art Fair, New York, East Wing Collection 8, Courtauld Art Institute, London. Juliana Cerqueira Leite says, “My work is driven by an investigation into physicality and how we interact with the physical world,” says Juliana Cerqueira Leite. “For Up, I built a box that was as tall as I could reach, slightly larger than my body, and completely filled it with clay. The box was raised onto a steel platform so I could crawl under it. I dug upwards through the clay until my entire body fit inside the box and I could reach its top with my arms stretched above my head. The final piece is a plaster cast taken from the space I dug out and shows the minimum amount of space I could occupy. The wavy surface is formed by the negative grooves from the tips of my fingers pulling the clay downwards and pushing it out of the bottom of the box. The work is black because when I was inside the clay it was completely dark. I couldn’t see anything so this piece was made entirely by touch.”

Kate Groobey (Born in Leeds, 1979) lives and works in London. Exhibitions include: 2010, Royal College of Art Degree Show; 2009, Animals, Contemporary visions, Martini Arte Internazionale, Turin, Wake The Town And Tell The People, Hockney Gallery, London, Painting Interim Show, Sackler Building, London; 2008, Marmite Prize Show, Studio 1.1, London, Painting W.I.P Show, Gulbenkian Gallery, London, Sculpture and Painting Show, Howie Street, London. Kate Groobey’s figures are often pictured as if dancing or exercising. Their strangely contorted bodies suggest movement and an exaggerated flexibility. If their poses seem impossible, it’s because they are: these bodies have been reconfigured several times. Groobey begins each figure as a line drawing, made from life studies, drawn from magazines or sometimes from her own imagination. These drawings are developed as watercolour paintings, which Groobey cuts up, reassembles, and repaints. This process is repeated until Groobey is satisfied with the image. The small study is then translated as a large-scale oil painting to create the finished work. In works such as The Cutting Mat the green background and grid reference the cutting board in her studio.

Luke Gottelier (Born in 1968) lives and works in London. Solo exhibitions include: 2007, Dart Paintings, Kate MacGarry, London; 2005, Paintings of Animals and Leisure•, Outpost, Norwich; 2004, Quarters; 4 solo shows in 4 weeks, Whitechapel Project Space, London; 2003, Luke Gottelier, Kate MacGarry, London. Gottelier says, “Absurdity is important to understanding my work and here I’m jokingly thinking about the Englishness of my paintings. The ties relate to the gentleman, The City, fathers, offices, the establishment. These are all things you are supposed to defy as an artist, but which you can’t avoid. Fabric also has a rich history in the story of art from the Bayeux Tapestry to Vermeer, Chardin, Matisse, Polke, Oehlen… I’m fascinated by different styles of painting and enjoy bringing a cacophony of references together, so the different styles of tie refer to different styles of painting. I make the background paintings first but they have to have something missing in them to make the ties work; I want just the right balance of conflict and compliment. The ties left dangling at the bottom of the canvas share the process of making with the viewer, but also have a pathetic quality which counteracts the riotousness of the paintings.”

Luke Rudolf (Born in Redhill 1977) lives and works in London. Exhibitions include: 2010, Luke Rudolf, solo exhibition, Kate MacGarry London, Say What What Way, ShopAt34, London, The Library of Babel / In and Out of Place, 176 Project Space, London; 2009, TAG, From 3 to 36: New London Painting, Brown, London, Paintings In The Sky, Kate MacGarry, London, Goldsmiths MFA Show 2009, Goldsmiths College, London, Group / Grope, Area 10, London. Through his work Rudolf explores our drive for cognition: it’s human nature to identify a face, no matter how distorted or extreme the visual cues. His canvases tap into our instinctive hardwiring and describe psychological or subconscious experience. His paintings are equally seductive and violent: the fluid brushstrokes cut through by fragments of geometry suggest flesh and shrapnel. His lurid colours and highly textured surfaces are both tacky and beautiful, and convey a potentially sinister mysticism in their trippy psychedelic style. Rudolf activates our ancient instincts in a way that appeals to our contemporary sensibilities.

Maaike Schoorel (Born in Santpoort, The Netherlands, 1973) lives and works in London and Amsterdam. Exhibitions include: 2010, Art Features, Art 41 Basel, Galerie Diana Stitger; 2009, Nudes and Garden, Marc Foxx, Los Angeles; 2008, Album, Museum de Hallen, Haarlem, Nudes, Maureen Paley, London; 2007, Stilleven, Portret, Schutterstuk, Marc Foxx: West Gallery, Los Angeles. Schoorel has commented that “we are used to looking at images in high or instantaneous speed. Media such as television and the Internet present everything in a disjointed way. My paintings reveal themselves in slow time. I try to make images that have a sense of connection. For these paintings I worked from family photographs, but I was specifically interested in scenes which relate to genre painting, such as landscapes or group portraits. We are used to seeing these types of images, and my work changes the order of how we view them: once you discover one detail it will link to another, creating a sense of movement and interconnectedness.”

Marcus Foster (Born in London) lives and works in London. Exhibitions include: 2010, Degree Show, The Royal College of Art, London; 2009, RCA/Weisensee Exhibition, Weisensee University, Berlin; Survey, Ott’s Timber Yard, Tufnell Park, London, Summer Show, The Royal College of Art, London, Interim Show, The Royal College of Art, London; 2008, Degree Show, Chelsea College of Art ad Design, London, Frankly, my dear I don’t give a damn, Et Cetra Gallery Hackney, London, The Great Exhibition, Project Space, Chelsea College of Art and Design, London. Untitled is a sculpture by Marcus Foster, whose practice encompasses not only object making, but also video and photography. “A lot of my work is about place and objects within landscapes. I’m interested in buildings and structures that seem very contained, composed and have a strange kind of distance. For example, Portmeirion in Wales, where The Prisoner TV series was filmed, has the type of architecture I’m describing. It combines familiar ideas with a sense of the futuristic, shifting them into the unknown. Untitled is a hot air balloon-like form, situated in the landscape of the gallery. Hot air balloons have a sense of occasion when you see them in real life, and I wanted to convey this in the sculpture. It’s made from steel and painted in an industrial tone, so it is also reminiscent of water towers or zeppelins, a bit more dark and war-like. For me, the work evokes a strange desire; its coldness is part of its attraction.”

Maurizio Anzeri (Born in Logano, Italy, 1969) lives and works in London. Exhibitions include: 2009, I will buy the flowers myself, Riflemaker Gallery, London, Family Day, Galleria Image, Furini, Arezzo, Italy; 2006, Places, Galleria Palladio, Lugano, Svizzera. Maurizio Anzeri makes his portraits by sewing directly into found vintage photographs. His embroidered patterns garnish the figures like elaborate costumes, but also suggest a psychological aura, as if revealing the person’s thoughts or feelings. The antique appearance of the photographs is often at odds with the sharp lines and silky shimmer of the threads. The combined media gives the effect of a dimension where history and future converge. The image used in Round Midnight is an early 20th century "glamour shot" that at the time would have been considered titillating for both the girl’s nudity and ethnicity. Anzeri’s delicately stitched veil recasts the figure with an uncomfortable modesty, overlaying a past generation’s cross-cultural anxieties with an allusion to our own.

Mustafa Hulusi (Born in London, 1971) lives and works in London. Exhibitions include: 2010, Afyon, Max Wigram Gallery, London; 2009, Obliteration and Memory, Patrick Painter Inc, Los Angeles, USA, The Worshipers, Max Wigram gallery, London, The Ruins, Civic Room, London; 2008, Exstacy, Max Wigram gallery, London, Iznik-Kibris-Londra, Gallerist, Istanbul; 2007, Cennet Bahcesi, A Foundation, Liverpool, Field of Flowers, Max Wigram gallery, London. Hulusi says, “I’m interested in traditional Islamic art that entwines geometric patterns with floral motifs; the modern interpretation of that might be op art meets hyper-realist figurative paintings. Combined, they do a similar thing in creating a visual fixation that evokes metaphysical experience. There’s an art historical lineage that I’m following and I think of my work as painting archetypal "formats." There’s a "time travel" process going on: op art and hyper-realism were from the 60s and 70s and take into account photography and mass media. I skip a couple of decades to now in order to re-contextualise these modes, via skipping through centuries in the past and finding equal inspiration in Islamic tile work. I’m moving around different parts of history, mining where needs be, to describe contemporary reality. They convey as much information as possible with the slightest suggestion of gesture, and have a sense of collapse where you realise it’s not actually a photograph but a painting.”

Nicholas Hatfull (Born in Tokyo, 1984) lives and works in London. Solo exhibitions include: 2009, •Ignorant With the Suncream (Seafroot Delivery), Karsten Schubert, London; 2007, Supercafone's Autoberryblues, the Wallis Gallery, London. Group exhibitions include: 2010, Three Summer Exhibitions (with Bridget Riley and Daniel von Sturmer),
Karsten Schubert, London, Premiums, Sackler Galleries, Royal Academy, London; 2009, Royal Academy Summer Exhibition, London, Wallis Dies and goes to Paradise, Paradise Row, London. “Matisse is an important influence for me. He condenses form so much; his paintings have a feeling of joy and ease about them that I try to capture in my own work. This sense of leisure is coupled with a perverse or sinister feeling that comes from simplifying standard life imagery to these elided forms. In Melonebidone ... there’s an image of a strange building with a big leaf washed up on the beach and there are two actual Froot Loops stuck to the painting’s surface which look like shells or pebbles. I started with the yellow and green beach ball which was inspired by a melon in a late Matisse painting. "Melone" is Italian for melon, and "bidone" means "trashcan" but is also slang for a footballer who was bought for a big transfer fee but flopped. I like this idea of promise and failure in relation to my work: it has both an excitement and flatness to it.”

Nicholas Byrne (Born Oldham, 1979) lives and works in London. Exhibitions include: 2007, Nicholas Byrne, Vilma Gold, London, Tales Of Song, Marc Foxx Gallery, Why We Are Ourselves, W.S.Bartlett, London; 2006, the air line, The Reliance, London, Toutes Composition Florales, Counter, London, FDLA, The Macbeth, London. 2005, Shabu Frabu, 007•, Hollybush Gardens, London, Group show, Kenny Schachters Rove, London, Centrifuge, Tannery Arts, London. Byrne says, “I wanted to give various bodies to the template of the flame or tear-drop. The figure in Cropper has quite a flat shape like a paddle. It's held in position by bright colour, acting like an outfit or veil with a grip on the figure. When you come to it on the first reading, perhaps the figure is recognisable like an icon, refined and solid like a letter of the alphabet. But on second reading, the forms might seem to come apart or be resistant. I score into the paint which can show the history of how the painting comes together and in Cropper this has the loose impression of fabric un-peeling. There is a map-like quality of a template or diagram. I made the paintings using sign writer's brushes, so the image is threaded together and in this way it can also unravel.”

Nick Goss (Born in Bristol, 1981) lives and works in London. Exhibitions include: 2009, Daily Miracles, Josh Lilley Gallery; 2008, Saatchi online at Concrete and Glass festival, Beach Blanket and Babylon, October, Alexandre Pollazzon Presents, Alexandre Pollazzon Ltd, London, UK, October, Falling out of the Apple Tree, Wilde Gallery, Berlin, July 11th to August 9th, Through a Glass, Darkly, Kenny Schactner ROVE gallery, Lincoln House 33-34 Hoxton Square London N1 6NN. 26th April-24th May; 2007, The Islanders, Nettie Horn Gallery, Vyner Street, London, 12th October-11th December, DLA New Graduates Prize, London, April 24th, (Selected as overall Winner). In Domino Foyer, Goss’s harlequin patterned terrain gives an air of grandeur to his deteriorating scene. The obscure angle of its vantage point places the viewer as a vulnerable witness to a carnival-esque wreck that appears to be both growing out of and collapsing into the backdrop. The ‘landscape’, which originated as a photograph of the artist’s kitchen taken with the camera positioned on the floor, becomes a duplicitous setting that confuses interior and exterior space. This idea of inbetween-ness — the intervention of the epic and intimate, psychological and physical, past and future — is echoed in the canvas’s surface through Goss’s painting technique. His planes of dreary colour, erased and eroded, become an unstable ground, where brush strokes defy gravity and float as independent manifestations. Minute details are rendered with crystalline effect, their intensity heighted by a craquelure pixilation that connotes virtual reality.

Olivia Plender (Born in England, 1977) is an artist and Co-Editor of Untitled Magazine. Exhibitions include: 2007, Information, Education, Entertainment, Marabou Parken, Stockholm; 2006, The Folly of Man Exposed or the World Turned Upside Down, Frankfurter Kunstverein, Frankfurt; 2005, The Medium and Daybreak, Castlefield Gallery, Manchester, A Public Meeting to Address the Phenomenon of Materialization, Man in the Holocene, London (performance); 2002, Rationalise, Standardise, Mechanise Plattform Gallery, Berlin. Olivia Plender uses the format of the comic book as an alternative mode of distribution for art, capitalising on its inexpensive accessibility as a means to challenge cultural ideals. The Masterpiece series is an expansive critique of originality; the drawings are conceived as a by-product of artistic process and not actual artworks in themselves. Appropriating her title from Emile Zola’s novel about Cezanne, Plender’s The Masterpiece 4 explores the concept of Romanticism and authors a complex fiction examining the concept of artist-as-genius. Her protagonist is an archetypical painter — tortured by his creativity, exploited by a cruel world — who is invited from 1960s London to a weekend in the country. The plot unfolds as a Byronic epic cum Hammer House horror, delving her champion into a world of psychedelia and occult as a metaphoric parody of artistic strife. Drawing reference from 19th century technical manuals and b-movie film stills, Plender’s graphic narratives are designed with the stylised glamour of pulp fiction covers. Her vignette images intertwine as surreal pastiche, adding a psychological complexity to her illustrated story.

Paul Johnson (Born in London, 1972) lives and works in London. Johnson earned an MA in Fine Art, 2000-2003, at Royal Academy Schools, London and a BA with honors in Fine Art, Painting from Glasgow School of Arts. Exhibitions include: 2010, Self-Healing Soldiers, solo presentation, Armory, New York; 2009, Ascension into Unselfishness, Ancient & Modern, London, When We're Gone Destroy Everything, one in the Other, London; 2008, Sensitive Chaos, Mizuma Gallery, Tokyo; 2005, The Glass Family, one in the Other, London. Johnson says, “I think of my portraits as a constructed family: one leads to the other, and though related they become increasingly disparate. They’re like dream scenarios, and nod to a tradition of romanticism and the Pre-Raphaelites. The girl in Guide is from a photograph of a murderess, though in the painting she looks quite innocent. I called it Guide in reference to the disc motifs — the badge on her chest and the auras around her head — it’s like she’s being guided by some other force, where reality and imagination become confused. The shape of the aura comes from a lid my friend in Texas found on the road. It has a formal but broken quality. I like the virtual aspect of how it came from the ground, to the Internet, to another country, to become something completely new in the painting.”

Peter Linde Busk (Born in Copenhagen, Denmark, 1973) lives and works in Berlin, Germany. Busk earned a postgraduate degree in Fine Art, 2006-9 at the Royal Academy of Arts, London. In 2008, Gasthoererschaft zum Studium fur Freie Kunst, w. professor Peter Doig, Kunstakademie Duesseldorf, Duesseldorf. In 2004, he earned a BA in Fine Art (exchange stay), Hunter College of Art, New York. In 2002-2006, he earned a BA in Fine Art, The Slade School of Fine Art, London. Exhibitions include: 2010, Bold as a lunatic troupe of demons in drunken parade, Gallery Christina Wilson, Copenhagen, Full Catastrophe Living, Ancient and Modern, London; 2009, Hey, that’s no way to say goodbye, (Postgraduate Diploma Degree show), The Royal Academy Schools Show 2009, Royal Academy of Arts, London, Full Catastrophe Living, Ancient and Modern, London; 2008, And all I ever wanted was everything, Art Copenhagen (solo presentation with Galleri Christina Wilson), Forum, Copenhagen.

Renee So (Born in Hong Kong, 1974) lives and works in London. Exhibitions include: 2009, Renee So, Kate MacGarry, London; 2008, Renee So, Uplands Gallery, Melbourne; 2003, Close Knit, Craft Victoria, Melbourne, Close Knit II, Studio 12, Gertrude Contemporary Art Spaces, Melbourne. So’s sculptures are defined by their process of making as much as by their fictional personas. Their scale is limited by what fits in her kiln, and though they look old, the slippery surface of the clay’s moulding gives them a slick modern finish. Ezra bears all the traces of So’s physical handling in his cut geometric layers and casual pock marks; his oversized moustache droops with the frozen weight of wet clay. By sharing her process with the viewer, So reveals her sculptures in a theatrical way, presenting their fantasy as our own willful suspension of belief and desire to participate in their makeshift make-believe.

Robert Fry (Born in London, 1980) lives and works in London. Exhibitions include: 2009, Atelier 2, Moscow, Russia, Alexia Goethe Gallery, London, Newspeak – British Art Now, The State Hermitage Museum, St. Petersburg, Russia, Minnie Weisz Studios, London.

Spartacus Chetwynd (Born 1973) lives and works in London. Exhibitions include: 2008, Galerie Giti Nourbakhsch with Esther Teichmann, Phantasie Fotostudio, Berlin, Spany Chaffinche’s Film Festival, Studio Voltaire, London, Solo show, Massimo de Carlo, Milan, Italy, Help! I’m trapped in a Muzuzah Factory, Le Consortium, Dijon, France; 2007, Migros Museum (solo), Zurich, Galerie Giti Nourbakhsch (solo), Berlin, A Comedy of Errors (g/p), Artspace, Sydney, Sparky Chatroom’s Film Club, Studio Voltaire, London. Chetwynd celebrates occasions in cultural history that exemplify extremist behaviour and belief. Her work cites instances that blur genius and madness to expose the raw zeal, aspiration, and creativity of utopian vision. The Lizard, The Mole, and The Stick Insect were all made as costumes for a performance about wildlife conservation. Chetwynd’s play was inspired by Joy Adamson, author of Born Free, a true story about Elsa, an orphaned lion cub that Adamson adopted, raised, and re-habituated back into the wild. Though Adamson is acclaimed as a pioneer of conservation practice, her fervent love of animals made her unable to relate to humans: she was murdered by one of her employees who mutilated her body to make it look as if she was killed by a lion. “I started making animals because you can’t have a production about this type of person without that environment.” Chetwynd explains.

Steve Bishop (Born in Toronto, Canada, 1983) lives and works in London. Exhibitions include: 2009, Instant Distance / Distant Instance, Outpost Gallery, Norwich, UK, Some Thing To Believe In, Pianissimo, Milan, Italy: 2008, Simply Read, Supplement Gallery, London. Christian Dior – J’Adore (Mountain Goat) and Jean Paul Gaultier – Classique (Arctic Fox) are two of a series of three works. “All three involved copying the form of figurative perfume bottles. I liked that they were a dual image: on one hand it’s a bottle, on the other it’s a figure. I saw the taxidermy and the concrete bottle as two figures melding into each other, and also as two objects overlapping. Taxidermy is as much of an object as a coffee cup or any other thing. But they were white and there’s an idea of purity involved, and when you see the fur matted and embedded in concrete it’s quite jarring.”

Systems House (Born in Kent, 1974) lives and works in London. From 2004-2006 Systems House earned an MA in Fine art at Goldsmiths College University of London and from 1994-1997 he earned a BA in Fine are at Nottingham Trent University. Exhibitions include: 2009, Sculpture Roof, Crisp London Los Angeles, London, UK, Martin Fletcher Systems House, Gallery 333, Exeter, UK; 2008, Martin Fletcher Systems House, Galleri S.E, Bergen, Norway; 2007, Martin Fletcher Systems House, Galerie Michael Janssen, Berlin. Martin Fletcher’s pseudonym Systems House sounds more like an IT corporation or online security company than a lone artist; this inference of anonymous power is inherent to his work. Systems House’s sculptures draw similar connotations to communication and surveillance technologies. Single Screen Wall Mounted Construction I looks like a monitor or solar panel, and is made from two-way mirror. Its sleek design is both elegant and sinister, and places viewers in a position of uncertainty: are you watching or being watched?

Tasha Amini (Born in London, 1970) lives and works in London. Amini earned a BA with honors in Painting at Central St. Martins 1992-95. Exhibitions include: 2009, Tasha Amini – Worry Beads, Tanja Pol Galerie, Munich; 2008, Tasha Amini, D’Amelio Terras, New York, Tasha Amini – Excellent Women, Kate MacGarry; 2005, Tasha Amini, Jack Hanley Gallery, Los Angeles, Tasha Amini – Dying Back, Kate MacGarry, London.Dora Marr was a surrealist photographer who was Picasso’s lover for ten years. Untitled is inspired by a photograph Marr took of Picasso. Amini renders this scene as a multitude of undulating lines, their endless repetition and skewed perspective reverberate an uneasy power. In her painting Amini has transformed Picasso’s body to that of a woman to further add to the sense of ambiguity.

Tessa Farmer (Born in Birmingham, UK, 1978) lives and works in London. Exhibitions include: 2008, Spencer Brownstone Gallery, New York; 2007, Little Savages, Natural History Museum, London, Infestation, Assembly: Art in the bar, Chapter Arts Centre, Cardiff, 2006, The Terror, Firstsite, Colchester. Made from desiccated insect remains, dried plant roots, and other organic ephemera, Tessa Farmer’s tiny sculptures give a glimpse into the world of fairies. No story book land of Tinkerbells, Farmer’s Swarm envisions the purveyors of mischief and magic as an actual species, as animalistic and Darwinian as any other. Exchanging Victorian romanticism for the darker pragmatism of science, Farmer evidences her specimens as fearsome skeletal fiends, plausible “hell’s angels” of a microscopic apocalypse. Posed in dramatic battle formations, Farmer’s menagerie wages war against garden variety pests; each figure, painstakingly hand crafted and adorned with real insect wings, stands less than 1 cm tall.

Toby Ziegler (Born in London, UK, 1972) lives and works in London. Exhibitions include: 2008, Toby Ziegler: The Liberals, Simon Lee Gallery, London, U.K., Toby Ziegler: Danish Pastry / Rose of Mohammed, Parkhaus im Malkastenpark, Düsseldorf, Germany, Toby Ziegler: The Subtle Power of Spiritual Abuse, Patrick Painter Inc, Los Angeles, US (cat.); 2007, Toby Ziegler, Longside Gallery, Yorkshire Sculpture Park, Wakefield, UK; 2006, Toby Ziegler, Simon Lee Gallery, London, UK.

Tom Ellis (Born in Chester, 1981) lives and works in London. Ellis earned an MA Fine Art, The Royal Academy Schools, 2006-2009. He earned a BA with honors in Fine Art, Liverpool School of art, 2000-03. Exhibitions include: 2010, A Foundation For Exchange, Primopiano, Lugano, Switzerland. Tom Ellis’s unique approach to art-making crafts a ubiquitous logic from the haphazard and coincidental. By drawing mental and tactile relations between materials and subtly altering their forms, Ellis highlights a sensitive interlacing between artifice and natural order. In Ellis’s work found objects such as plates, vases, and Christmas tree ornaments are reconfigured to become assemblages of totemic significance. His practice revolves around his idea that “a being has a primeval desire to want to belong to something greater than oneself. This ‘wanting to belong’ manifests itself in both the production and consumption of cultural artefacts. Whether in isolation or as a collection, artefacts are dependent on a creator, mediator and audience. My work juxtaposes a culturally diverse collection of objects questioning their value and original purpose. The viewer is forced to engage in the notions of value, authorship and display.” Ellis often treats his readymade components with slight interventions, such as faux finishing bric-a-brac so they appear as more stately materials, or editing motifs to co-relate to other objects in the group. Through these minute alterations Ellis strives to engender his work. Conceiving each piece as male or female, he fabricates an instinctive harmony or ‘genetic bonding’ through the objects’ aesthetic handling. In his museological presentation, paintings are completed on pillowcases, and elaborate stands are designed at both plinth and kitchen countertop height, some replicate Victorian plant stands; blurring the domestic and exotic, their familiar scaling becomes a template of karmic measurement. His sculptures, which stand in as archaic transmitters, receive and refract all the various elements from their mysterious towers: Chinoiserie and Delft pottery, Viking shields, alchemical orbs, and trade union-like banners, prized relics both real and fake, all speaking the same cryptic language of universality and timelessness.

Ximena Garrido-Lecca (Born in Lima, Peru, 1980), From 2003-2004 Garrido-Lecca earned an MA Fine Art, Byam Shaw School of Art – University of the Arts, London. From 2001-2002 she completed a Post-Graduate Course Fine Art, Byam Shaw School of Art, London. From 1997-2001, she earn a BA Fine Art, Catholic University of Peru, Lima. Her solo exhibitions include: 2010, The Followers, Civic Room, London. Ximena Garrido-Lecca’s The Followers is a lovingly crafted reproduction of a burial wall — or nichos — from her native Peru where it is customary to adorn graves with flowers, photographs and objects to accompany the dead into the afterlife. Each niche renders not only a portrait of a deceased person — of their humble luxuries and predilections — but also a portrait of a people annihilated by colonialism. Garrido-Lecca is a strong advocate for the revival of Peru’s indigenous culture, and often makes reference to European art traditions to critique and rebalance history. She conceives The Followers in relation to still life paintings, subverting their Christian interpretation as vanitas or death warnings with traditional Peruvian values which celebrate the cult of the dead. Amidst the baroque decorations, catholic iconography, and kitsch bijoux, the buoyant spirit of an ancient culture becomes intensely and triumphantly evident.

Toby Ziegler, The Liberals (3rd Version), 2008, Cardboard, gesso and pins, Part 1: 323 x 220 x 120 cm Part 2: 279 x 220 x 105 cm.

Caroline Achaintre, Moustache-Eagle, 2008, Hand tufted wool, 235 x 150 cm.

Juliana Cerqueira Leite, Up (detail), 2008, Plaster and acrylic polymer, polyeurethane rigid foam, 210 x 47 x 45 cm.

Renee So, Otto, 2008, Ceramic, 29.5 x 23.2 x 21.5 cm.

Nicholas Byrne, Cropper, 2010, Oil on linen, 140 x 70 cm.

Jaime Gili, Trikalinou, 2006, Acrylic on canvas, 235 x 122 cm.

Peter Linde Busk, Man Dressed As God, 2009, Acrylics, crayons and colour pencil on linen, 178 x 76 cm.

Alan Brooks, Dix, 2006, Pencil on paper, 29.7 x 21 cm.

James Howard, Untitled, 2007, 46 digital prints, Dimensions variable.

Nick Goss, Domino Foyer, 2009, Oil on canvas, 180 x 300 cm.

Jonathan Wateridge, Jungle Scene With Plane Wreck, 2007, Oil on canvas, 272 x 400 cms.

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