‘Itinerant Ones’ is the first solo UK exhibition for the Paris-born, New York- based painter Jules de Balincourt. Known for his carefully constructed paintings that move effortlessly between abstraction and figuration, the imagined and the real, this new body of work sees De Balincourt moving away from direct references to current social, political or popular culture, and instead depicting a world in which indications of specific place or time are absent. Although the works are diverse in subject matter, throughout the exhibition a poetics of free-association lends the images a certain universal familiarity.
De Balincourt’s process involves various techniques – including stencilling, masking, abrading and watercolour-like oil washes – creating an apparently seamless vision. Exhibited across two floors of the gallery, the paintings here range in scale from the tablet-sized Boardwalk Barter a reminiscence from the artist’s earlier years selling his work in Venice, California, to one of his signature, immersive flower-like explosions, which can be read as either the conceptual origin or the end point of all other work.
In works such as the cityscape High and Low, the acid-bright leisure scene BBQ sur l’herbe, and the painting from which the show takes it’s title, Itinerant Ones, De Balincourt zooms out of specific culture into a more global gaze. Juxtapositions of works such as Firepeople and Visionquest, where figures come together in hopes of spiritual enlightenment, with Alex, an intimate portrayal of a friend on the beach, locate De Balincourt’s interest in both personal and social depictions of humanity.
This body of work takes the viewer on a journey – an escape – into a realm populated by small communities gathering, converging, or seeking solace or refuge. They may appear cradled by a strange nature, or searching for protection from an ambiguous threat. De Balincourt’s scenes come to signify a desire for leisure or reprieve from within a vulnerable and ever-changing landscape, whether physical or psychological. He paints a restless world both in form and content, perhaps suggesting that we are instead the itinerant ones of the show’s title.
‘Itinerant Ones’ is on show until the 20th December. For more info please visit the Victoria Miro
Chinese artist Cai Guo Qiang has created three spectacular installations for “Falling Back to Earth”, on show at the Queensland Gallery of Modern Art in Australia. The centerpiece consists of 99 replicas of wild animals, all circled around a water pool and sharing a drink with each other. Also on show is ”Head On 2006,” featuring 99 wolves leaping through the air and crashing into a glass wall!
“A representation or reproduction in black and white or in varying tones of only one colour.”
In photography ‘monochrome’ may also refer to sepia images, displaying tones from light tan to dark brown or cyanotype (“blueprint”) images, and early photographic methods such as daguerreotypes, ambrotypes, and tintypes, each of which may be used to produce a monochromatic image.
In the early days of photography, photographers had no choice but to take pictures in black and white, as it was the only available medium. In 1936 the invention of Kodachrome enabled use of colour, but black and white photography continued to flourish, many photographers regarding it as the purest form of photography. Colour can be seen as a distraction, taking attention away from texture, tonal contrast, shape, form and lighting.
The two works on show by Daniel Shiel are from a collection of photographs taken in New Mexico. They relate to how memories of locations or settings are though of as a series of views or particular details that cannot be represented as a single images. The resulting collage pieces combine to form a broader sense perspective and a deeper feeling of the atmosphere of two native American settlements.
Artists on show also include David Sault, Chris Bailey, Jon Simmons, Cowling Pinnacle, Limestone Pavement, Geoff Rushton, Mike Shepherd, Henry Meyer, Sarah Mcdade, Keith Craven, Lis Holt and Christine Cummings
Monochrome is on at the Mill Bridge Gallery until 21st December 2013.
The process of painting overtakes the process of thinking. Spatial figuration leaps over the linearity of reason and encompasses it. A chaos which belongs to the cosmos and patterns of infinite variance, but also contains an essential oneness. It is first a mirror that reflects the dense complexities that inhabit body, mind and soul, and those which surround them; it is then a synthesis and a figuration of some perceivable order, of cause and effect, of tensions and harmonies, of continuity in time and space, of infinite depths and constant transformation.
This body of work first came about as a discovery of a new space; I first found it whilst drawing a space I couldn’t recognize as somewhere I had “visited” before; This drawing sang to me about echoes and a space that is shattered by time. I tend to think of this recent body of work in terms of music- the landscape almost floats in space where light and shadow take on the identity of form, making up a composition of rhythms that reverberate but also diverge and spin out into other dimensions. Light and dark pushed towards the edge of colour tell of the flows of being and becoming, the unfolding narratives of perception and the impossibility of emptiness, stillness or nothingness. Key is the relationship to water, in figuration and imaginative embodiment, its essential presence as a transformative and reflective substance. More
5th December – 20th December 2013.
Miguel Laino has won a portrait showdown competition on SaatchiOnline, with his striking piece “Didier” (shown above). The painting will be exhibited along with the other 9 finalists at the Griffin Gallery in London form The 30 semi-finalists were selected by Rebecca Wilson, Chief Curator, Saatchi Online and Director, Saatchi Gallery, and Rebecca Pelly-Fry, Director, Griffin Gallery. The 10 finalists, including the winner and runner-up, were chosen by the artist Chantal Joffe. More
How did you get the idea for the piece?
I knew that I wanted to make a sculpture that would essentially be a soft force that would supersede a hard structure. I wanted to make something beyond my own body, something unmanageable, to the point of being ridiculous. A ravenous, voluptuous form with an insatiable desire.
Much of my work investigates the power of the fetish, the anthropomorphic and hints at organic and bodily properties. I find that where the work plays with opposites lies the tension and often juxtapose softer materials against harder surfaces, always considering the points of contact where two surfaces touch. Where welded steel structures add a functional rawness and nakedness that heightens the softer cosmetic palette of pinks, ivories, and flesh tones. A kind of dressed and undressed. More
20th November – 20th December 2013
”It Means It Means! is a ‘drawn group exhibition’ staged in two locations simultaneously – once as a fiction, once as a fact. The first location is the Museum of Art Onomatopoeia on ‘The Island’, a fictional realm that has provided the backdrop to Charles Avery’s artistic and philosophical investigations since 2005. The second location is Pilar Corrias, London.
Curator Tom Morton has been given plans of The Island’s Museum, for which he has devised a show of real works by real artists, from Antoine Watteau to Tino Sehgal, which may only be witnessed through a series of drawings made by Charles Avery and presented at Pilar Corrias. An example of what André Malraux termed a ‘Musée Imaginaire’, ‘It Means It Means!’ explores what constitutes a site for artistic/curatorial production, and the artist/curator relationship. It is an exhibition that contains an exhibition, and a series of artworks that contains a series of artworks. The real, here, is displaced into the fictional, and the fictional into the real. More
Nigel Cooke’s four new paintings, recently shown at Modern Art, create layered images of atmospheric landscapes with suggestions of architecture, vegetation and abstract shapes, inhabited by ghostly figures and closely painted objects that include books, watches, eyeballs, and decaying fruit. Cooke’s paintings use techniques and motifs that often articulate references to painters and painting’s history. Throughout his work, Cooke depicts an open narrative of intellectual pursuit, creative endeavour, and human folly.
“Our modern illusions of progress and sophistication are destroyed by the humiliations of the creative process generally, and for me the complexities of the painting process specifically” – Nigel Cooke. More
Do you come from a creative family?
Yes. My mother used to be a skilled calligrapher, and my father is a dab hand at painting. Most of my relatives are fairly artistic, one notable being John Hamilton Mortimer, a neoclassical painter who went completely mad and died young. I’ve inherited a drawing of his of King Lear, in which the maniacal Lear is depicted with his enormous windswept beard and huge glaring eyes. I remember being horrified of this drawing when I was a child, and of later loving it. I’m guessing that a love of art is in my blood, though I’ll forgo the madness.
You said you began studying the History of Art at the age of sixteen. The influences are clearly evident in your paintings. Do you feel studying the Art History is an important process for an artist to go through? How do you think it helps with an artist’s practice?
Well, the most important thing is simply to express yourself. But if art is your oxygen, then there’s nothing more interesting than to study the great artists in depth. It’s helpful in that you can examine just how and why mankind has expressed itself over time, and just what dizzying pinnacles of creativity we’re capable of. We can then strive to build on that, and to eventually create even greater works of art. More
20th November 2013 – 16th March 2014
Saatchi’s new exhibition ‘Body Language’ brings together a group of contemporary artists, consisting of twelve painters, two photographers and five sculptors. all who use the human figure in their practice. Artworks of note include (starting from top) Jansson Stegner’s seductive, slender New York cops, Makiko Kudo’s Monet/Manga inspired dreamscapes, Helen Verhoeveno’s lots of people in a room, Michael Cline’s Grosz-esque ‘saints and sinners’, Alexander Tinei’s creepy smiley lady with accordion (shown left) Amy Bessone’s glazed masks (shown right) and Andra Usutra’s squashed mummified jogger with sperms. More