Art Circus Spotlight
‘Landscape with Trees’ by Jacqueline Jackson

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I work in the tradition of artists who explore meaning and memory in the physical or living environment. My intention is to suggest the shapes and textures of different kinds of landscape, thereby creating a mood or emotion that can be freely interpreted by the viewer. Made using diluted acrylic on canvas, this painting is an imagined narrative scene. Rather than replicating what I can see, my work aims to confront the mental imprint or echo of the inner landscape that we all have embedded in our personal and collective memories.

For some, the painting is a fragile, tranquil and poetic reflection but for others it may suggest anxiety and even a post-catastrophic world. My paintings are created to provoke a mood or have a sense of movement as their focus. I paint from memory so each painting has resonances of different places and times I have lived in or visited, rather than from precise photographic references. Many viewers have felt a recognition response to the painting, indicating they find a resonance for them that is important in some way.

I am increasingly interested in how human interactions have, and are, affecting the nature/culture/ecology of place. “Landscape with Trees” has an absence of human activity that may suggest utopian or, in certain circumstances, dystopian dreamscapes of the future. It can also be seen as an expression of the sublime or romantic landscape, which in this case contains an undercurrent of unease. It should suggest ‘to the finite a glint of the infinite’. 1

I painted this work a year ago and in my current practice I am building on this to create projects that are developed through research into the landscape, but which are informed by the history and narrative of a place. As well as this investigation, I am continuing to explore imaginary landscapes in paint, and working with drawings and etchings for an artist’s book.

“Landscape With Trees” (2013) was selected for the Clyde Community Award 2013–14 from my Fine Art degree show at Chelsea College of Art and Design. It is now on exhibition at the Clyde & Co. offices in central London until June 2014. It was sold to private buyers at auction last year.

1 “[Caspar David] Friedrich’s art was one that gave ‘profound meaning to the commonplace, an aura of the mysterious to the ordinary, the distinction of the unknown to what is perfectly familiar and to the finite a glint of the infinite’”. (Introduction, Matthew Hargraves, exhibition catalogue for ‘A Dialogue with Nature’, Courtauld Gallery, March 2014)

See more paintings by Jacqueline Jackson

‘The Wine-Dark Sea, pt 2′
On Show at Mark Powell Bespoke, London

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‘Memory is not a storage place but a story we tell ourselves in retrospect. As such, it is made of storytelling materials: embroidery and forgery, perplexity and urgency, revelation and darkness.”

Vermillion Hook, a collective of young London-based artists conclusion to its exhibition ‘The Wine-Dark Sea’, an exploration of memory through portraiture and figurative drawing. The show continues to ask whether a medium as scientifically exacting as photography and the immediate capture of perfect likeness can truly express something as malleable and evocative as human memory.The show brings together work by Eleanor Watson (shown 2nd) Luke Francis Haseler, Sean Rohr, Christian Newell, Luca Indraccoio, Ed Haslam, Milo Hartnoll, Meri Karhu.

‘The Wine Dark Sea pt2′ is on shown from the 11th – 30th April and can be seen at Mark Powell Bespoke, 2 Marshall Street, London, W1F 9BA

‘Diamond Bullet’ at the James Freeman Gallery, London

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”The mind is a jungle. Kurtz knew it; most artists do too. Set off in exploration, and very soon you find yourself consumed by the penumbra, scrambling about to find something familiar to cling onto. Trying to get to grips with such an environment is no small task, and in Diamond Bullet we are pleased to bring together three British artists who use their painting to step up to that challenge: Simon Burton, Orlanda Broom (shown top), and Irene Godfrey (shown just about).”

‘Archaeologies’ with The Contemporary London
On Show at the Griffin Gallery, London

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23rd April – 25th May 2014

The Contemporary London, in partnership with Griffin Gallery, and curated by Michelle Medjeral-Thomas. brings together new works by Vasilis Avramidis (shown top), Jess Littlewood (shown below), Reginald Aloysius and Susanne Moxhay.

”Archaeologies presents alternative landscapes that invite us into uncanny private new worlds of imagination, fantasy and marked human absence. Both Avramidis and Aloysius create intensely detailed and skillfully delicate lush environments, where architecture is entangled with wild vegetation and the traditional and modern are meshed together. In contrast Littlewood and Moxhay’s post-Apocalyptic isolated spaces confront the viewer with a silent timelessness of cultivated order and the struggle for the ideal. With each of the works the viewer stumbles onto moments where they are forced to question the narratives of what has just happened and what events are yet to take place.

Archaeologies celebrates and interrogates images of opulence, fantasy, the remote, romantic and beautiful, architecture, sci-fi, failed empires, loss, history and transience. Where ‘place’ is usually established by the presence of humanity, these worlds are marked by a footprint of human absence and the reminance of material culture that strives to imbue its identity. These uncanny worlds transport and transcend, creating an imagined window of escapism from which to contemplate the human mark and its histories.”

Griffin Gallery can be found at The Studio Building, 21 Evesham Street, London, W11 4AJ

Lauren Kelly‘s ‘Digesting the Devoured’
Presented by Bosse & Baum in Kings Cross

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Bosse & Baum present ‘Digesting the Devoured’ Lauren Kelly’s biggest solo exhibition to date in a film studio space in Kings Cross, which showcases new site-specific commissions of large-scale sculpture that will expand to fill the space. The winner of The International Women’s Erotic Art Prize 2013 works with sculpture and installation, focusing on investigating the power of fetish. Influenced by Eva Hesse’s and Louise Bourgeois’ interest in bodily forms, Kelly’s work flirts with ideas of fertility and fecundity, while her repetitive forms allude to body parts. More

Chiaroscuro Woodcuts at the Royal Academy, London

raThe Royal Academy have brought together 150 of the rarest and most exquisite examples of Chiaroscuro woodcuts works from two of the finest collections in the world. Featuring independent works or work based on the designs of the greatest Renaissance artists such as Parmigianino, Raphael and Titian. Visitors will be able to see how this pioneering 16th-century printing technique breathed new life into well-known biblical scenes and legends; from Perseus slaying the Medusa to Aeneas Fleeing Troy, and the Miraculous Draught of Fishes.

”Chiaroscuro – literally ‘light-dark’ – describes the effects of contrasting light and shadow in a work of art. You might have heard the term used to describe Renaissance drawing or painting, from masters like Leonardo or Caravaggio. The lesser-known chiaroscuro woodcut was invented in the early sixteenth century when printmakers began use woodblocks and ink to imitate the painterly effects of light and shadow. The method enabled printmakers to create subtle gradations of tone, used to suggest three-dimensional volume and depth.” More

Art Circus Spotlight
‘Family Snaps’ by Tim Fawcett

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I have always painted the human figure, I wouldn’t call them portraits in the traditional sense as I’m not interested in displaying likeness, personality or mood, I leave that to the viewer to decide.i think our first language is visual, based on facial expression and recognition. We learn to recognise and interpret emotion this way before we learn verbal communication. We grow up learning to almost rely on this form of subconscious communication.

My aim then is to rewind and undo this process by removing the visual detail we rely upon. Combine this with my fascination with social dynamics and emotional turmoil often hidden behind grinning family snaps and you have a clue as to the rationale behind my work. The classic happy family on holiday frozen in time and our outward portrayal of domestic bliss is the focus of my investigations and visual interpretations. What does the viewer identify with and remember about their childhood then think again a little deeper. More

Dan Attoe’s ‘Landscapes With Water’ at Peres Projects, Berlin

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Dan Attoe paints mystical and eerie fictitious landscapes, populated with tiny figures expressing distinctive character traits of the artist and how he would like to embrace the environments he creates. For this body of work, Attoe has revisited several landscapes he has previously explored, playing with different elements and discovering new possibilities for the characters in the scene.

Attoe says “These paintings are a series of landscapes that I’ve been kicking around in my head and in my drawings for a while. Some come from places that I’ve lived in and have personal relationships with, like the North Shore of Lake Superior, the rivers and waterfalls of Washington state and Idaho, and the coast of the Northwestern U.S. Others exist some place in popular culture or in some kind of collective visual vocabulary. With this body of work, I’m playing with the character of these places and trying to make images that have some kind of deeper meaning.” More

Art Circus Spotlight
‘Subversion’ by Will Adams

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My architecture work is about distorting and reinventing the representation of structures that have surrounded me my whole life. ‘Subversion II’ comes from photographing the same building sixteen times on a single frame to distort the representation of architecture. This has been influenced by the way Gordon Matta-Clark’s building cuts completely recreate how architecture is experienced. Due to repeatedly cocking and releasing the shutter, the camera has moved between each exposure, leaving the image with sixteen slightly different viewpoints. The result is that the representation of the building is put under a lot of stress, as the process softens the sharp lines and break up the grids that dominate architecture.

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Camel’s Final Wish Is To Have Bones Perfectly Carved Into Bicycle

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Algerian artist Adel Abdessemed’s ‘la chine est proche’, translated from french as ‘china is near’ is a full-scale gentlemen’s bicycle. Superbly carved from camel bone with lovely details from the ridges on the tires to the break cables. The bone bike sculpture is delicate yet durable, and plays with a historical and cultural influence from Chinese artisans who use the material to craft jewelry and charms. (Via)

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