Friday 9 September, 6:30 – 8:30PM
Trusting instinct over reason is rather frowned on nowadays, the implication being that it is a lack of discipline to be tamed. But for many artists, unfettered magical thinking sits at the core of their artistic practice, allowing them to tap into hidden ideas and give some shape to things that don’t make sense. In ‘Primordial Soup’, we present four artists who each use this approach as a key part of their work: Carolein Smit, Chris Berens, James Mortimer and Sam Branton.
Continue reading ““Primordial Soup”
at the James Freeman Gallery
Carolein Smit, Chris Berens, James Mortimer, and Sam Branton
9th September to 8th October”
As a fresh graduate from The Ruskin School of Art in 1998, Elizabeth Price worked for a year in the Bodleian Library’s underground stacks. She remembers the damp, the haphazard stacking of books, the way the floors got smaller as they went further and further down beneath the cobbles of Broad Street. A book could be declared lost for twenty five years and turn up in a pile a few centimetres away from its original place. In the stacks books were arranged by size rather than subject, and Price would spend most of her shift reading books in unexpected succession.
This sense of the subterranean, along with the archival practices of collecting, collating and cataloguing, are key components of Price’s new video installation A Restoration.
After winning the Contemporary Art Society Award in 2013, Price received a commission to make an artwork in response to the collections and archives of the Pitt Rivers and Ashmolean Museums in Oxford. During the course of her research, Price became particularly interested in the work of British archaeologist Arthur Evans. After holding the position of Keeper of the Ashmolean, Evans achieved fame for the excavation of the Cretian palace of Knossos at the turn of the 20th century. He set about restoring the site with what Price calls ‘a kind of energy that is unreserved and febrile and exciting’, adding concrete pillars and filling in frescos with an ‘extraodinary’ creative license. Continue reading “Elizabeth Price’s A Restoration
Ashmolean Museum, Oxford”
23rd April – 9th May, 2015
Christopher Gee’s paintings draws the viewer in with their intimate scale, dusky colours and naive, painterly charm. In these eerie, spectral landscapes we see eclipses and comets wiz by; abandoned churches and glowing towers left as reminders; lone gaunt figures looking back knowingly; and midnight familiars, appearing and disappearing into the blackness. The viewer has the feeling of rummaging through a collection of old photographs, inspecting the images and trying to piece together what ominous events may have taken place.
‘Into The Night’ is on show at the James Freeman Gallery until the 9th May, 2015 and you can find out more about Christopher Gee in our Q&A.
Continue reading “‘Into the Night’ by Christopher Gee
On Show At The James Freeman Gallery”
The Art Circus is very pleased to announce our first print show of 2015 at the Bear Steps Gallery in Shrewsbury. Featuring a collection of Contemporary Artist’s Giclee prints from the Art Circus’ Print Gallery . Artists on show will include Ryan Humphrey, SuperfutreKid, Fipsi Seilern, Sam Branton, Marta Suuster, Christopher Gee, KEELERTORNERO, Georgia Peskett, Daisy Clark and Phaedra Peer. There will also be a parallel exhibition of Self-Published books. Continue reading “The Art Circus at the Bear Steps”
12th November – 5th December 2014
Ilona Szalay paintings will be shown in ‘It’s just a short walk to the future from here’, a group show at the Arusha Gallery in Edinburgh. Ilona’s pictures are permeated with a lonely sense of yearning and a poignant straining towards something infinite. There is an intensely visceral quality to her recent paintings, a sense of abundance and illumination. Ilona also creates video art in which she uses stop motion animation to create free-wheeling narratives of oil paint on glass. These ‘moving paintings’ exist only in recorded form as each drawing is extinguished to allow room for the next. As such the work is ephemeral and spontaneous, the images dissolving into each other and sliding across the surface of the glass. The pictures tell of metamorphosis, desire, dreams and death.
Find out more about Ilona Szalay’s work in our previous Q&A.
The Art Circus is very pleased to announce our second curated group show, ‘Replica’ on show at Blackwell’s Bookshop in Oxford. Featuring a collection of Contemporary Artist’s Giclee prints from the Art Circus’ Print Gallery . Artists on show will include Ryan Humphrey, SuperfutreKid, Fipsi Seilern, Sam Branton, Marta Suuster, Christopher Gee, KEELERTORNERO, Georgia Peskett, Daisy Clark and Phaedra Peer. Continue reading “‘Replica’
An Art Circus Curated Show
At Blackwell’s Bookshop, Oxford”
Claire Partington’s elegant and witty ceramics, ‘Goldilocks’ (shown top) and ‘Catfishing’ (lidded vases), will be on show at the Young Masters Art Prize 2014. Claire’s ceramics, inspired by European Applied Art and Design styles from the 1600’s, are meticulously hand crafted and use traditional ceramic techniques. Her figurative pieces, based on the salt glazed “bartmann” figurative bottles and court mantua dresses of the 1700’s, feature charming interchangeable heads to create curious little stories around her characters. Find out more about Claire’s ceramics in our Q&A.
The Young Masters Art Prize was set up In 2009, by gallerist Cynthia Corbett and celebrates artists who pay homage to the skill and traditions of the past and draw inspiration from the Old Masters. Artists are selected for their appropriation of an element of the established art-historical canon; either through technique, imagery or subject, whilst establishing an undeniably contemporary spin.
Young Masters is on show at The Lloyds Club from 16th September 2014 – 5th December 2014 and Sphinx Fine Art 14th October 2014 – 31st October 2014.
1st of September – 14th of September
Dulcy Lott’s new collection of photographs, titled ‘Everyone, everyone knows it’s me’, touch on the darker side of fairy tales and focus on the surreal, unsettling moments that life throws at us. It also investigates the physicality and relationships within the photographers frame.
Dulcy used local Oxford dance artists Callum Anderson, Helen Wadge and Emma Jane Grieg, as well as models from a non dance background to create the work. The nimble dancers were put into dramatic and challenging dance positions, often within quite harsh surroundings such as rusty old fences, coarse stone walls and large,abandoned shipping containers. This combination, creates a tension and unease within the viewer as well as a chance to study the elegance of the human form in such demanding poses, for that split second, before they’ve been lost.
‘Everyone, everyone knows it’s me’ is on show at Blackwell’s Coffee Shop, Oxford.
Here are some gallery shots of The Last Man exhibition at the James Freeman Gallery, along with some photos of the opening night. We had a great evening and would like to thank James Freeman, the artists involved and to everyone who came down. The show is on until the 2nd August 2014, so a few more weeks to check it out. Continue reading “Art Circus Show
‘The Last Man’ Views From The Gallery”
28 June – 9 August 2014
Successful portraits resist description in a way that other types of picture do not. A portrait is something other than just an image. Simple images aspire to tautology; “I am what I depict” they insist. Portraits make the precise inverse of this claim. Portraits suffer from the ravages of their sitters’ old age and dissolute characters.
See these two black and white images of a man’s head, face-on and in profile. The expression is inscrutable; is it fear, anger, defiance, resignation? That his name, aliases, the nature of his crime and the date of his arrest are listed on the reverse is of no help.
The mugshot and the passport photo are the most straightforward, the most concise and accurate of portraits. They are intended only for the purposes of identification. They describe their subjects fully and simply, yet they cannot be fully and simply described themselves. The only way to make a portrait comprehensible is to dissect it, dismember it, reduce it to a collection of appendages and features; here are the eyes, here is an elbow… Sally Kindberg goes further; she has obliterated the face altogether. With cheese. Continue reading “Artist Show
Mugshots: Sally Kindberg + Philadelphia PD”