Wednesday 12th March to Saturday 12th April, 2014
Leyden Gallery will be hosting an exhibition of new oil paintings by Jake Wood-Evans this spring, showing alongside lithographs by Henry Moore.
”Jake Wood-Evans’ work lives with and aspires to classical standards, and his paintings are tense with one of art’s classic disputes: the conflict between truth and beauty. His instinct has always been to make something wonderful for the eye; and his shows are shocking partly because of the sheer overflowing gorgeous technique they display. These oils are alive, and paying homage to their ancestors. A flash of Turner’s light, the glint of a Velasquez eye; Richter’s ‘technological’ blurring: aesthetic high points from the history of art are here. Dangerous company to keep, perhaps, but these paintings are triumphantly realized. More
My practice is almost entirely analogue. There is a small digital aspect but if I had to break it down I would say my process is 85% analogue and 15% digital. Everything starts from a 4×5 or 6×4.5 film negative, which is then edited in a way where I can influence the actual emulsion of the negative. I use various consistencies and dilutions of rubbing alcohol and inks to achieve the final result.
I am constantly working and re working images, so I often end up with half a dozen or so of the same negative but worked in various different ways and techniques. So then it is difficult to decide what is working and what isn’t, what do I like and what do I hate. It is often a fine line for me what is and isn’t working. The fun part is seeing what effects and alterations work with the image rather than simply to it. It is very important to me that anything I do to the negative works with the final print, so it actually seems as if the subject is fading away, dissolving, disintegrating etc. More
Where was ‘Black pool’ (Shown above) taken and what happened there?
‘Black Pool’ is a small harbour on the East Lothian coast. I’d seen it and noted that when low tide coincided with low evening light, water was replaced by shadow. I see this as a key picture as it uses shadow, landscape and light to create a transition from one void to another.
Do you have the scenes in mind and then seek them out to photograph?
I tend to set some parameters of what I’m looking for, for instance certain types of shadow and light, geometry or scale, Then I choose locations as a stage for these. More
21st February – 15th March 2014
”In Ryan Mosley’s third solo exhibition at Alison Jacques Gallery his narratives within narratives and worlds within worlds feel even more transgressive and irreverent than those we’ve previously been invited to explore. Rich with art-historical devices and painted asides, his vocabulary is now unmistakably Mosleyan, and his characters not only veer well beyond the boundaries of societal norms, but are willing us to get lost with them.
In the large painting, Audubon’s Last Aviary, a skull whose entire torso is constructed from its falling beard conspires with a humanoid spearhead and a vine-stem-face in a yellowing cave. They are surrounded by a flock of abandoned and undiscovered subspecies of bird – hunchbacked and monochrome as if their subterranean existence has made colour, flight and even birdsong distant redundancies. Elsewhere, two courtiers – also with only skulls for faces but resplendent in afros and harlequin-chequered garments – are held in some pre-Quattrocento heraldic pose, carrying boules as orbs and standing within a living coat of arms which is itself part giant skull, part disturbing Botticelli-twin-fantasy. More
Sam Branton’s new drawings will be on show with the James Freeman Gallery at London’s Affordable Art Fair. Sam’s new work returns to previous themes of baroque-esque scenes invaded by his signature bizarre and menacing creatures. The new drawings are on a much smaller scale – around 12 x 18 cm. – but with the same amount of detail as seen in previous larger scale works.
The work plays on the uncanny with the odd twists. The more one returns to the work, the more the themes of the scene changes. Sweet may turn to sinister and vice versa, leaving the viewer perturbed. By working on a much smaller scale, the little rectangle of colour, hung in the corner may go unnoticed, but when investigated, the viewer catches a glimpse into a perverse and somewhat embarrassing little happening. More
Friday 28th – 2 March 2014
Art14 London is returning to the Olympia Grand for its second year with last year’s Art13, attracting over 25,000 visitors. Art14 will offer a platform for 180 galleries from 40 countries, showcasing over 700 artists, from emerging talents to modern masters. The Fair will feature a range of media including painting, sculpture, photography, editions and more. Last year’s fair stood out as one to pay attention to by showing an impressive array of skilfully made, edgy and exciting work, a rare combination in the contemporary art world. Take a look at some of the highlights from Art13.
Art14 have kindly given the Art Circus a 2 for 1 ticket offer for our readers, so If you’re heading down to the fair, go to Art14 and quote ‘ARTCIRCUS’.
17th Jan – 2nd Mar 2014
Magic Block seeks to explore these relations, specifically highlighting artists working in Chile over the last 35 years. The example of Chile offers a compelling view onto the power plays of visibility and disappearance. The dictatorship of Pinochet, from 1973 to 1989, brought forward a difficult structure under which many artists struggled. And even now, in recalling its current traces. In doing so, questions of what was permissible or not lent to experimental approaches, and often the issue of what can be shown, and how or what can be seen, provided a challenging backdrop to the arts. This led to performative, ephemeral and conceptual approaches, inspiring artists to work directly in public space, while also turning inward to the experiences of private life, to gauge the politics of silence and silencing.
Turners View is a contemporary view from the spot in Hunston near Chichester where Joseph Turner painted Chichester Canal in 1828. Studies made for this work expose the reasons why you should never trust a painting as a true representation of reality. Turner has the sun setting to the left of the cathedral, but the viewer is looking north, also a ship as large as in Turners work would not have been able to sail there. Today the view towards the cathedral is obscured by telegraph wires and is not as peaceful as the painting suggests due to heavy traffic just yards away from this spot. More
Nina Fowler will be exhibitng a solo show of new drawings and sculptures to celebrate the opening of Galerie Dukan‘s new exhibition space in Leipzig, Germany. We caught up with Nina to find out about the new work and how it portrays the price of fame and the consequences of our dreams.
Where does the title ‘The Lure of Collapse’ comes from?
I wanted to think of a title that threaded all the work together as this exhibition has a spread of drawings and sculptures from various different series. A novel I read about an artist having a nervous breakdown inspired the title. I was thinking about how often it seems easier to give up rather than to keep going. At the same time I wanted the title to refer to our interest in the scandals that surround the rich and famous – the sadistic way in which we follow a celebrity’s fall from grace through the eyes of the media. For example, the largest work in the exhibition “Jean (Knockers III)” portrays the film actress Jean Harlow being escorted from the funeral of her husband. He committed suicide soon after their wedding as he felt he could not live up to the expectations of being married to a superstar. She was devastated and once again had to pay a grave cost for her fame. The brass sculptures hanging heavily from her chest represent this struggle between the idol and her devotees.
How did art school help in the development of your practice?
There is a relatively independent environment in art schools where I can concentrate on my art work without much social interference. Moreover, communication with teachers and other students definitely helps me to improve on my work and ideas, as well as to understand some of the art techniques and materials which I have not tried before. Experience in art schools contributes to my artistic development.
It looks like you work changed quite dramatically since 2012 and 2013, what inspired this body of work?
In the years 2012-2013, my art has entered a new phase where I began to form my own creative style, and my artistic behavior began to become more targeted. My works were greatly affected by POP art and contemporary illustration, which is why the popular style seen in my works is closely related to public appreciation of aesthetics. More