tag:blogger.com,1999:blog-5379102093639681322024-03-05T10:53:28.666+00:00Zavier Ellis International Gallerist (CHARLIE SMITH LONDON), Curator (THE FUTURE CAN WAIT / PROJECT PAPYROPHILIA / YOUNG GODS), Artist, Collector, Lecturer, Publisher, PolymathZavier Ellis AKA Charlie Smithhttp://www.blogger.com/profile/06488449222938263361noreply@blogger.comBlogger236125tag:blogger.com,1999:blog-537910209363968132.post-34740614262758505772021-12-21T15:25:00.003+00:002021-12-21T15:25:37.837+00:00PROJECT PAPYROPHILIA 2.2 | www.projectpapyrophilia.com<p><br /></p><p>We present our exclusive work on paper Christmas release, with 21 contemporary artists working across media from A4-A2 for just £250-£750. Exclusively on <a href="http://www.projectpapyrophilia.com">www.projectpapyrophilia.com</a> </p><p><br /></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="http://www.projectpapyrophilia.com" imageanchor="1" style="margin-left: 1em; margin-right: 1em;" target="_blank"><img border="0" data-original-height="1194" data-original-width="1666" height="229" src="https://blogger.googleusercontent.com/img/a/AVvXsEgqdWLHKYQ47OzzhcNvV21pLFF6wBrwCpLaa22APQiRgym-6e8_hAV12XtTYl3_4U9nsisIDI7MeX0EW9AFnhd-tvn5J2v6rc-K_ujclBxO-0OilNxpH9_cuNamxuXPsdB1A9uJV68c9_QPdV-ItJOIOgN-8WQnX2-PLoLTb0LWNXfJwMypoGB2WC_x=s320" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><i><span style="font-size: x-small;">Peter Ashton Jones 'The Dustpan and Brush', 2021 Pastel, conte, charcoal on paper 21x30cm</span></i></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="http://www.projectpapyrophilia.com" imageanchor="1" style="margin-left: 1em; margin-right: 1em;" target="_blank"><img border="0" data-original-height="1055" data-original-width="1500" height="225" src="https://blogger.googleusercontent.com/img/a/AVvXsEjB7Y5wP-NtCXp7GVz3-rylhjEMy_W-vONhIqxCn3qjqldUXWxuaLWjCIZmwSFKTR13TJzV0oFNnFmrsaCsIsvcyjQy1iOGwYDBmacjjOSICtuMwqUZxgsouUbXpnVYohHIHD4HSmr1OBKAYIjtDiiBH4iLC2HUog3E_h9YQtJke0wsroJC6J5hicIa=s320" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-small;"><i>Kiera Bennett ‘STUDIO SHAPES 48', 2020 Oil pastel on paper 29.7x42cm</i></span></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="http://www.projectpapyrophilia.com" imageanchor="1" style="margin-left: 1em; margin-right: 1em;" target="_blank"><img border="0" data-original-height="1500" data-original-width="1097" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEgZ4PKfNUOLWrYcnPyhecbb8U3R-hg6z4jBWrzEOfptO12FnJi_ZMktbAw09BG-vawgG78SzitvA0DqScnpIo3fUDbNiaOnxQQrp7ina8aG5gonZdHB93WHGTe1B-oFnFkqWIB9kNqaHopVDsj03PbtSaR5_00QESVdyERWfvZFkLHA-yi6bFUNGoRe=s320" width="234" /></a></div><div class="separator" style="clear: both; text-align: center;"><i><span style="font-size: x-small;">Michael Boffey 'Frayed Shroud Light', 2021 Silver gelatin on watercolour paper 29.7x21cm</span></i></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="http://www.projectpapyrophilia.com" imageanchor="1" style="margin-left: 1em; margin-right: 1em;" target="_blank"><img border="0" data-original-height="2066" data-original-width="2964" height="223" src="https://blogger.googleusercontent.com/img/a/AVvXsEhAH-H8kDyNjx5BxYgcKkPiRjqlqQKnbsABBzdSCkvU7K03Be8b_g7pcK13e1k4HPxt_mjXtKepU7TYxb6Iyg6OtfRDfK7HjU_ruOHyEchahSNGZ2Q4VcGzhTpzLfo4mMy4T4ceVt3iOGPHIWPvWWcSddR-uFut3p7Z1ytZMV0sbPMZPSCnc_6M_W2S=s320" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-small;"><i>Adam Dix 'Face to Face', 2020 Ink on Langton hot press paper 18x25cm</i></span></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="http://www.projectpapyrophilia.com" imageanchor="1" style="margin-left: 1em; margin-right: 1em;" target="_blank"><img border="0" data-original-height="1280" data-original-width="960" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEhZFg_WOoBJ062wS1YaKht7YiJjjGARYKXswnMlmnYJ0eKXLe4aOScSSUY4zXay0l_7Qd3LrD2bxtkcU5P7kVmp37bIw5t1XivD_6OmrRN7-j-icAkFeMOFb10p4Xow85o02U7MOPOLLL9m2S3jonYXGHqSpveS3b2AIo80y1UazMQxXwTqm5aUe_pd=s320" width="240" /></a></div><div class="separator" style="clear: both; text-align: center;"><i><span style="font-size: x-small;">Graham Dolphin 'Continuous Composition', 2021 Ink on paper 42x29cm</span></i></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="http://www.projectpapyrophilia.com" imageanchor="1" style="margin-left: 1em; margin-right: 1em;" target="_blank"><img border="0" data-original-height="3492" data-original-width="2510" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEiOG4V46k4yb8n0UMRuA6cg3V3gqsRnF45013vVKqshyrY5IcR1sqrAvDlhVs4leUXCjVCDQNV-FGxzdPyZrrJyK1b5b6Q0wPYFFhCECJWoyRwpp5let9zVBE_UJQydD0aesRp7WJYQH3eGLxDDUGl6YPTeZ0RRduxCnbB4XjNVuzyivWVJiOQMQlkr=s320" width="230" /></a></div><div class="separator" style="clear: both; text-align: center;"><i><span style="font-size: x-small;">Zavier Ellis 'Liberté XXVII', 2021 Acrylic, emulsion, spray paint, oil bar, collage, transfer on paper 59.4x42cm</span></i></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="http://www.projectpapyrophilia.com" imageanchor="1" style="margin-left: 1em; margin-right: 1em;" target="_blank"><img border="0" data-original-height="1908" data-original-width="1373" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEjXbZ2WPBcLWME2K28i4USY3QRJjxErB_vzYw08VOJ6TyFpKEQy2qAbsQDtgl38QmSL6RL8HXK0ZVS4dzYCY4WpLAc1bDe1fwR6K_gTrlMZONkl-iGXDYivHUslZz0bOBnYW6v6KMtVjA8OoYZOlyXjZ_qxEaap3nZJ1z0GwRHCT2BWuYRyQnko4NBg=s320" width="230" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-small;"><i>Sarah Jane Hender 'Clown Face', 2021 Oil on digital print 59.4x42cm</i></span></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="http://www.projectpapyrophilia.com" imageanchor="1" style="margin-left: 1em; margin-right: 1em;" target="_blank"><img border="0" data-original-height="3528" data-original-width="2596" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEiJ-5jWnbPWOeOir8zETRUbHZa1o1Le7YK-FyMBP7PLxYynSdkUkKntDPhf9XEdfUZ2Jb79NCXXY1RtxZ76DmvJO0tx8zvjCLk12Vq_wkaDh8UyE7d58mKB70dIALnS9wklrNxCC6m1TjO8dFUb2GH48JWT1VEHGjTAYG96Mnvo4ejF7Ve9ZxWgu97i=s320" width="235" /></a></div><div class="separator" style="clear: both; text-align: center;"><i><span style="font-size: x-small;">Lisa Ivory 'Somniloquist', 2021 Oil on Arches paper 31x23cm</span></i></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="http://www.projectpapyrophilia.com" imageanchor="1" style="margin-left: 1em; margin-right: 1em;" target="_blank"><img border="0" data-original-height="3656" data-original-width="2611" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEiPzrrEweXGpLnISimibSX9Zk_y8jegAtA80J-_nsFjVX9WpJNVYBCLOMZmckmik0jSbo5JiDDwFaN4Ek7-QuCMgEtnY0c8TqUwbAMucFShP3sj4JGuulhxqcP-CQoSoCnHLxTgvma6L75PU2d3dSELE5cTc5oJGl3LKf48NqrmAqKKnD8Afsf8k_M4=s320" width="229" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-small;"><i>Sam Jackson 'Chronicles 354-X', 2021 Spray paint, ink, pencil on paper 59.4x42cm </i></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-small;"><i><br /></i></span></div><div class="separator" style="clear: both; text-align: center;"><a href="http://www.projectpapyrophilia.com" imageanchor="1" style="margin-left: 1em; margin-right: 1em;" target="_blank"><img border="0" data-original-height="2000" data-original-width="1601" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEj3U4YBV6xsctWnryVaZXW392I1mOD3JOEJqIUyWgBtgcHt3Exaf8xv6yVawBwopxOWZl4wgW83cto_RoqPQ30vKl0usUMWnIQFdQ3j2lO28Q42mLOq9LLD--AXjQ0KONEZwu9hQ1xI76vywj81SoFvD3ig2nMwHWnKoZpSJ6ptPxW5lX6vyd6nrMoX=s320" width="256" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-small;"><i>Simon Keenleyside 'Two tree island and moon 103', 2021 Spray paint, ink, mono woodcut on 70gsm Japanese Awagami Kozo paper 38x30cm</i></span></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="http://www.projectpapyrophilia.com" imageanchor="1" style="margin-left: 1em; margin-right: 1em;" target="_blank"><img border="0" data-original-height="2929" data-original-width="3989" height="235" src="https://blogger.googleusercontent.com/img/a/AVvXsEgsyxKqr6uZ198WgC1_f42vQOCijKLrb5JXyXB9OX_Af1XlNdvhSKjBQIACjKVByrBWbCOGG4_qx8eZgexoL0m9ApLcaVS72uwgp3fUbSc-WWfR-N3f1fNeu7wK4BoXMjujFoy0SPa9H0wbG-umdnUOysrPtPZTfG-fH-SpJFwWO07YRgkloAkLpY8J=s320" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><i><span style="font-size: x-small;">Melissa Kime 'Snow Angels', 2021 Acrylic, oil pastel, gouache, charcoal on paper 21x29.7cm</span></i></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="http://www.projectpapyrophilia.com" imageanchor="1" style="margin-left: 1em; margin-right: 1em;" target="_blank"><img border="0" data-original-height="1757" data-original-width="1236" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEjSvjbyzHpdza6hQe3ft7-kMXTmo9T2ZBBrQIwZBptfcnQWjpdpaRTRFBfwEUbQ8iIJ4Wi7BXf6LoE4MACxiobLxLClZ-MBfrBql4u-CW1YI44EcFowVoJfcuSbI16UsapTC45BPqdGdF4vospH63O-5CGBqB-Lc9SsNaQ3RnVDqzljk-jcgamBoyFB=s320" width="225" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-small;"><i>Hugh Mendes 'Paula Modersohn-Becker', 2021 Pencil, coloured pencil, collage on paper 29.7x21cm</i></span></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="http://www.projectpapyrophilia.com" imageanchor="1" style="margin-left: 1em; margin-right: 1em;" target="_blank"><img border="0" data-original-height="1887" data-original-width="1181" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEgLIvpaOt7emLSJpGDlLVPU8wmpzNv1ShT3XPSFlakgxd_GrsEYkW3G7k-mCm_cMOdqRtNXYVx9REoAgi8GAGeBEb8XN-J8r1CTYjT4bJp3mh13OBOVQTmgepPUChY3FmBVUBVKYB6-BpS-Q2_FrABhNsQoFTFu6LpPY15gxeHLakWNAningvUkRiaN=s320" width="200" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-small;"><i>Richard Moon 'Study for Augur Series no. 25', 2021 Water soluble graphite on paper 28.5x18cm</i></span></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="http://www.projectpapyrophilia.com" imageanchor="1" style="margin-left: 1em; margin-right: 1em;" target="_blank"><img border="0" data-original-height="3330" data-original-width="2313" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEgI3DNRQurw5NCHZBuzFDk7IqlfundNU2rqVAUCdZ6OEJg7lo0Ct3vBz40gi7HKLvH6DYhyMJZMtz3VkMbECqpt6PAblp7BZ-xZap59EE3xVoaaNhcROQzXpwrGrDqK123qkoD3eU3zNnzX4xT5-V5IT-w1Au1olEbTEY0ZZ0GwXRz_nFpPfAdEM5e4=s320" width="222" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-small;"><i>Alex Gene Morrison ‘HEX 27', 2021 Acrylic, spray paint, watercolour and ink on paper 59.4x42cm</i></span></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="http://www.projectpapyrophilia.com" imageanchor="1" style="margin-left: 1em; margin-right: 1em;" target="_blank"><img border="0" data-original-height="3388" data-original-width="2364" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEi_-4_CP-tMO-VNCpqOWDPwkOck7_Vxf6Zzvmz_8MAXm2oJxxRD3O1p06V3Ixth_nYkPiRWV3bb7ZKyvYCIQuttcbesukAAszT1sfDiRdHmazEpns4t7n_QaL1Trk_M_TqoppX84LOOUvUsArqYhebZKFTvl-WklsKFgF4YFj6KvbrMDYCZiOE1YVWx=s320" width="223" /></a></div><div class="separator" style="clear: both; text-align: center;"><i><span style="font-size: x-small;">Michael Scoggins 'COVID19_BLM DRAWING #33 (trump is cancer)', 2021 Graphite and coloured pencil on paper 28x18cm </span></i></div><br /><p><br /></p>Zavier Ellis AKA Charlie Smithhttp://www.blogger.com/profile/06488449222938263361noreply@blogger.com0tag:blogger.com,1999:blog-537910209363968132.post-42376025388466085082021-10-14T13:05:00.001+01:002021-11-10T13:10:28.191+00:00Graham Dolphin, Zavier Ellis, Sam Jackson | Repetition | the depot x CHARLIE SMITH LONDON | 14 - 24th October 2021<div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-RW_Ffc9V5Uw/YYvEduNXXlI/AAAAAAAAdhA/VJ7g5Goa_T4Ow3DO-an1NfWLswG32rlzACLcBGAsYHQ/s2048/Ellis%252C%2BZavier%2B%2527Revolt%2BRepeat%2527%252C%2B2021%2BOil%252C%2Bacrylic%252C%2Bemulsion%252C%2Bpencil%252C%2Bcollage%2Bon%2Bboard%2B270x200cm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1487" height="320" src="https://1.bp.blogspot.com/-RW_Ffc9V5Uw/YYvEduNXXlI/AAAAAAAAdhA/VJ7g5Goa_T4Ow3DO-an1NfWLswG32rlzACLcBGAsYHQ/s320/Ellis%252C%2BZavier%2B%2527Revolt%2BRepeat%2527%252C%2B2021%2BOil%252C%2Bacrylic%252C%2Bemulsion%252C%2Bpencil%252C%2Bcollage%2Bon%2Bboard%2B270x200cm.jpg" width="232" /></a></div><br /><p>The inaugural collaboration between the depot_ and CHARLIE SMITH
LONDON, Repetition brings together in dialogue the works of Graham
Dolphin, Zavier Ellis and Sam Jackson. </p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-Ep_8OGa0bT8/YYvEMkGF7iI/AAAAAAAAdg4/TTk9UDpkjWIui36RTsHbO2Z5uHCgP5N2QCLcBGAsYHQ/s2048/Dolphin%252C%2BGraham%2B%2527Back%2BTo%2BBlack%2B%2528LP%2529%2527%252C%2B2021%2BInk%2Bon%2Bcover%2B47x34.5cm%2B%2528Framed%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="2048" height="320" src="https://1.bp.blogspot.com/-Ep_8OGa0bT8/YYvEMkGF7iI/AAAAAAAAdg4/TTk9UDpkjWIui36RTsHbO2Z5uHCgP5N2QCLcBGAsYHQ/s320/Dolphin%252C%2BGraham%2B%2527Back%2BTo%2BBlack%2B%2528LP%2529%2527%252C%2B2021%2BInk%2Bon%2Bcover%2B47x34.5cm%2B%2528Framed%2529.jpg" width="320" /></a></div><p></p><p>Opening October 2021, the depot_ and CHARLIE SMITH LONDON present together in
dialogue the works of Graham Dolphin, Zavier Ellis and Sam Jackson. A core element within each
artist’s practice, the exhibition collates their shared interest in repetition in its multiple forms - from
Graham Dolphin’s shrines to lost pop culture icons, Sam Jackson’s utilisation of the repetitive
language of subconscious thoughts and Zavier Ellis’ exploration of the cyclical nature of revolution.
Each artist emphasises the power of language and meaning through repetition. However, they also
disrupt it, allowing the audience to interpret freely. Exhibiting together for the first time, the three
artists are internationally acclaimed, with works held within major institutions and private collections
around the world.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-MfjgbaW5awo/YYvEqOkGgjI/AAAAAAAAdhE/8CH5osZQIEgWMe92lU94GQJIQPeLFLaHQCLcBGAsYHQ/s1250/Jackson%252C%2BSam%2B%2527The%2Bshadow%2Bof%2Bhuman%2Bexperience%2527%252C%2B2021%2BOil%252C%2Bspray%2Bpaint%252C%2Bmarker%252C%2Bpencil%2Bon%2Bboard%2B64x132cm.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="609" data-original-width="1250" height="183" src="https://1.bp.blogspot.com/-MfjgbaW5awo/YYvEqOkGgjI/AAAAAAAAdhE/8CH5osZQIEgWMe92lU94GQJIQPeLFLaHQCLcBGAsYHQ/w375-h183/Jackson%252C%2BSam%2B%2527The%2Bshadow%2Bof%2Bhuman%2Bexperience%2527%252C%2B2021%2BOil%252C%2Bspray%2Bpaint%252C%2Bmarker%252C%2Bpencil%2Bon%2Bboard%2B64x132cm.png" width="375" /></a></div><br /><p><br /></p><p><br /></p>Zavier Ellis AKA Charlie Smithhttp://www.blogger.com/profile/06488449222938263361noreply@blogger.com0tag:blogger.com,1999:blog-537910209363968132.post-85310440506161485332021-09-08T12:37:00.002+01:002021-11-10T13:02:55.960+00:00Hugh Mendes | A Retrospective: It was 20 years ago today… | Wednesday 8 – Sunday 12 September 2021 <p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-Np7zBx5Krjc/YYvAMS-iVeI/AAAAAAAAdgE/w2DsLA_Da8sK8PVaQEHW2CNJtBU-oMSTACLcBGAsYHQ/s2048/Mendes%252C%2BHugh%2B%2527World%2BNews%2B2010%2527%252C%2B2010%2BOil%2Bon%2Blinen%2B35x25cm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1474" height="320" src="https://1.bp.blogspot.com/-Np7zBx5Krjc/YYvAMS-iVeI/AAAAAAAAdgE/w2DsLA_Da8sK8PVaQEHW2CNJtBU-oMSTACLcBGAsYHQ/s320/Mendes%252C%2BHugh%2B%2527World%2BNews%2B2010%2527%252C%2B2010%2BOil%2Bon%2Blinen%2B35x25cm.jpg" width="230" /></a></div><br /><p></p><p class="MsoNormal" style="margin-right: 2.8pt;"><span style="color: black; mso-bidi-font-size: 10.0pt; mso-bidi-font-style: italic;">CHARLIE SMITH LONDON is
delighted to present a Hugh Mendes retrospective exhibition at The Truman
Brewery in Brick Lane, London. Consisting of over 100 paintings and spanning 20
years of work, the exhibition will provide a fascinating overview of Mendes’
career. He is known for political and obituary paintings, where he adopts the
visual language of newspapers and renders in trompe l’oeil.</span></p>
<p class="MsoNormal" style="margin-right: 2.8pt;"><span style="color: black; mso-bidi-font-size: 10.0pt; mso-bidi-font-style: italic;">The day of 9/11 in 2001 was a
significant one for Mendes, the events of which came to fundamentally inform
his practice. Timed to coincide with the 20<sup>th</sup> anniversary of that
fateful day, Mendes will also conduct a ‘Meditation for Peace’ at 2pm on
September 11<sup>th</sup>. In his own words: <span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span></span></p>
<p class="MsoNormal" style="margin-right: 2.8pt;"><span style="color: black; mso-bidi-font-size: 10.0pt; mso-bidi-font-style: italic;">“In the summer of 2001, I was
studying for my MA in Fine Art at City & Guilds of London Art School. In my
studio, I was incorporating newspaper clippings into still life paintings, and
was working on a memorial piece to mark the 20<sup>th</sup> anniversary of John
Lennon being shot in New York: ‘20 Years Ago Today’. It juxtaposed a painted
newspaper clipping with another object, in this case a green apple, relating to
Apple Records.<o:p></o:p></span></p><p class="MsoNormal" style="margin-right: 2.8pt;"><span style="color: black; mso-bidi-font-size: 10.0pt; mso-bidi-font-style: italic;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-xoEV2aeDexM/YYvAb0fQ2OI/AAAAAAAAdgM/0HktJJYVB888n0LvljgH49umfCEl5pPYQCLcBGAsYHQ/s2048/Mendes%252C%2BHugh%2B%2527It%2Bwas%2B20%2BYears%2Bago%2BToday%2B%2528Lennon%2BMemorial%2529%2527%252C%2B2001%2BOil%2Bon%2Blinen%2B33x23cm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1531" height="320" src="https://1.bp.blogspot.com/-xoEV2aeDexM/YYvAb0fQ2OI/AAAAAAAAdgM/0HktJJYVB888n0LvljgH49umfCEl5pPYQCLcBGAsYHQ/s320/Mendes%252C%2BHugh%2B%2527It%2Bwas%2B20%2BYears%2Bago%2BToday%2B%2528Lennon%2BMemorial%2529%2527%252C%2B2001%2BOil%2Bon%2Blinen%2B33x23cm.jpg" width="239" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><p></p>
<p class="MsoNormal" style="margin-right: 2.8pt;"><span style="color: black; mso-bidi-font-size: 10.0pt; mso-bidi-font-style: italic;">That summer, I was also
following the contested US election between Al Gore and George W. Bush. They
were recounting endlessly in Florida and arguing over ‘hanging chads’.
Eventually, they fraudulently declared Bush as the winner. Walking down Brick
Lane one afternoon, I spotted a piece of newspaper on the pavement, featuring
an image of an Arab with a Kalashnikov gun and some Arabic looking text. Back
in the studio, I juxtaposed this clipping with an image of Al Gore and George
Bush: ‘Gore Really did Win Florida’. <o:p></o:p></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-96gQrXocgMw/YYvAqSPJXbI/AAAAAAAAdgU/fSYGeGMhkwMtijrxF4Debb60-fQdWRXqACLcBGAsYHQ/s2128/Mendes%252C%2BHugh%2B%2527Bush_Gore%2BBin%2BLaden%2B%2528Diptych%2BSecond%2BVersion%2529%2527%252C%2B2021%2BOil%2Bon%2Blinen%2B25x35cm.jpg.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="771" data-original-width="2128" height="116" src="https://1.bp.blogspot.com/-96gQrXocgMw/YYvAqSPJXbI/AAAAAAAAdgU/fSYGeGMhkwMtijrxF4Debb60-fQdWRXqACLcBGAsYHQ/s320/Mendes%252C%2BHugh%2B%2527Bush_Gore%2BBin%2BLaden%2B%2528Diptych%2BSecond%2BVersion%2529%2527%252C%2B2021%2BOil%2Bon%2Blinen%2B25x35cm.jpg.png" width="320" /></a></div>
<p class="MsoNormal" style="margin-right: 2.8pt;"><span style="color: black; mso-bidi-font-size: 10.0pt; mso-bidi-font-style: italic;">I hung both of these paintings
in my MA graduation show, which opened on September 11<sup>th</sup>. That
afternoon, while my show was being marked, I idly turned on the TV at home, to see
the second plane flying into the Twin Towers in New York…</span></p>
<p class="MsoNormal" style="margin-right: 2.8pt;"><span style="color: black; mso-bidi-font-size: 10.0pt; mso-bidi-font-style: italic;">All hell broke out.</span></p>
<p class="MsoNormal" style="margin-right: 2.8pt;"><span style="color: black; mso-bidi-font-size: 10.0pt; mso-bidi-font-style: italic;">The next day, that same image of
the Arab with a gun was in all the newspapers as it was the relatively unknown
Osama Bin Laden. It was a chilling coincidence.</span></p>
<p class="MsoNormal" style="margin-right: 2.8pt;"><span style="color: black; mso-bidi-font-size: 10.0pt; mso-bidi-font-style: italic;">I found myself propelled into
making multiple paintings relating to 9/11, the ensuing ‘War on Terror’, and
the wars in Afghanistan and Iraq. My first solo show, post MA, featured 20 of
these paintings and was called ‘Into Manhattan’s Memory’.</span></p>
<p class="MsoNormal" style="margin-right: 2.8pt;"><span style="color: black; mso-bidi-font-size: 10.0pt; mso-bidi-font-style: italic;">Now, 20 years later, to mark the
anniversary of 9/11 and my graduation, I am returning to Brick Lane with
CHARLIE SMITH LONDON to present a retrospective including over 100 paintings.</span></p>
<p class="MsoNormal" style="margin-right: 2.8pt;"><span style="color: black; mso-bidi-font-size: 10.0pt; mso-bidi-font-style: italic;">During the last 20 years my work
has continued to follow political global events, while increasingly focusing on
obituaries, and especially those of artists. They epitomise a particular way of
recording history, through the lives of individuals. But all referencing the
world as viewed through newsprint, and subsequently through the painted image.
This has led me to reflect on history through the lives of artists, and to
meditate on the role of the artist in society. This necessarily includes my own
role as an artist and my place in a long and glorious lineage. <o:p></o:p></span></p>
<p class="MsoNormal" style="margin-right: 2.8pt;"><span style="color: black; mso-bidi-font-size: 10.0pt; mso-bidi-font-style: italic;"><o:p></o:p></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-eMRcNAeXC6g/YYvB6syvITI/AAAAAAAAdgg/fBqeqXz2QRooxTR_KVRGsgPk224jAN2mQCLcBGAsYHQ/s2048/Mendes%252C%2BHugh%2B%2527Obituary_Jean-Michel%2BBasquiat%2527%252C%2B2018%2BOil%2Bon%2Blinen%2B35x35cm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="2016" height="320" src="https://1.bp.blogspot.com/-eMRcNAeXC6g/YYvB6syvITI/AAAAAAAAdgg/fBqeqXz2QRooxTR_KVRGsgPk224jAN2mQCLcBGAsYHQ/s320/Mendes%252C%2BHugh%2B%2527Obituary_Jean-Michel%2BBasquiat%2527%252C%2B2018%2BOil%2Bon%2Blinen%2B35x35cm.jpg" width="315" /></a></div><p></p>
<p class="MsoNormal" style="margin-right: 2.8pt;"><span style="color: black; mso-bidi-font-size: 10.0pt; mso-bidi-font-style: italic;">My artist obituary paintings
have included many of my teachers, as well as mentors. The most recent
development has been using and remaking the self-portraits of many of these
artists as invented obituaries in a newspaper format—as if Rembrandt had an
obituary in ‘The Guardian’ newspaper. It has been a particularly fascinating
process to consider the styles and techniques of so many artists, as well as
reconsidering how they viewed themselves. <o:p></o:p></span></p><p class="MsoNormal" style="margin-right: 2.8pt;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-2aLwqpxZncI/YYvCLrYMXbI/AAAAAAAAdgo/cjVm2b1NLA0QJo3UCwbscVsKRareA8NyQCLcBGAsYHQ/s2048/Mendes%252C%2BHugh%2B%2527Obituary_Rembrandt%2BVan%2BRijn%2527%252C%2B2019%2BOil%2Bon%2Blinen%2B40x30cm_Cropped.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1530" height="320" src="https://1.bp.blogspot.com/-2aLwqpxZncI/YYvCLrYMXbI/AAAAAAAAdgo/cjVm2b1NLA0QJo3UCwbscVsKRareA8NyQCLcBGAsYHQ/s320/Mendes%252C%2BHugh%2B%2527Obituary_Rembrandt%2BVan%2BRijn%2527%252C%2B2019%2BOil%2Bon%2Blinen%2B40x30cm_Cropped.jpg" width="239" /></a></div><p></p>
<p class="MsoNormal" style="margin-right: 2.8pt;"><span style="color: black; mso-bidi-font-size: 10.0pt; mso-bidi-font-style: italic;">10 years ago, I made a work on
paper, where I wrote out in pencil all 3,000 names of the people who died on
9/11. This piece is now part of the Sammlung Annette und Peter Nobel in Zurich.
Writing out the names took six weeks at about 6 hours per day, every day, and
75 names per day—it was perhaps the most meditative piece of work I have made.</span></p>
<p class="MsoNormal" style="margin-right: 2.8pt;"><span style="color: black; mso-bidi-font-size: 10.0pt; mso-bidi-font-style: italic;">As part of this exhibition, on
the actual 20-year anniversary day of Saturday 11<sup>th</sup> September 2021,
I will hold a memorial event where I will conduct a ‘Meditation for Peace’,
available to join via Zoom and in association with the nearby London Buddhist
Centre. I have taught meditation there for many of the last 20 years and
continue to do so. It will also be linked to Townsend Gallery in New York and
local Buddhist groups there. I will also read out the names of people who died
on that day for 11 minutes, echoing similar events which take place in New York
every year to pay respect, as well as to reflect.</span></p>
<p class="MsoNormal" style="margin-right: 2.8pt;"><span style="color: black; mso-bidi-font-size: 10.0pt; mso-bidi-font-style: italic;">We find ourselves currently in
somewhat unprecedented times, facing ongoing wars, a refugee crisis,
potentially catastrophic climate change and a global pandemic. I hope this
retrospective exhibition and event will provide an opportunity to think about
global developments over the last 20 years and to reflect on our roles within
it.” <o:p></o:p></span></p>Zavier Ellis AKA Charlie Smithhttp://www.blogger.com/profile/06488449222938263361noreply@blogger.com0tag:blogger.com,1999:blog-537910209363968132.post-58700192081232989382021-07-29T12:27:00.001+01:002021-11-10T12:37:36.680+00:00Simon Keenleyside & Richard Moon | Primeval | Thursday 29 July – Sunday 8 August 2021<p> </p><p class="MsoNormal" style="margin-right: 2.8pt;"><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-e27OdXaVlNM/YYu71mAolPI/AAAAAAAAdfc/s0gG8KbwR6sE6x1fdxd6_y5NWrUIrjqYACLcBGAsYHQ/s1200/Keenleyside%252C%2BSimon%2B%2527Time%2Bof%2Bno%2Breply%2527%252C%2B2007-21%2BOil%2Bon%2Blinen%2B90x102cm.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1074" data-original-width="1200" height="286" src="https://1.bp.blogspot.com/-e27OdXaVlNM/YYu71mAolPI/AAAAAAAAdfc/s0gG8KbwR6sE6x1fdxd6_y5NWrUIrjqYACLcBGAsYHQ/s320/Keenleyside%252C%2BSimon%2B%2527Time%2Bof%2Bno%2Breply%2527%252C%2B2007-21%2BOil%2Bon%2Blinen%2B90x102cm.jpeg" width="320" /></a></div><span style="color: black; mso-bidi-font-size: 10.0pt; mso-bidi-font-style: italic;"><br /></span><p></p><p class="MsoNormal" style="margin-right: 2.8pt;"><span style="color: black; mso-bidi-font-size: 10.0pt; mso-bidi-font-style: italic;">CHARLIE SMITH LONDON is
delighted to introduce Simon Keenleyside and Richard Moon in ‘Primeval’ at 28
Shelton St, Covent Garden, London. Combining the finely painted monochromatic
figuration of Richard Moon with Keenleyside’s vividly fluorescent landscapes,
the exhibition explores nostalgia, the mythological and the uncanny. <span style="mso-spacerun: yes;"> </span></span></p>
<p class="MsoNormal" style="margin-right: 2.8pt;"><span style="color: black; mso-bidi-font-size: 10.0pt;">Simon Keenleyside is known for his vibrantly incandescent
landscapes that are both dreamlike and hallucinogenic. Returning to the same
location repeatedly, Keenleyside embraces the familiar whilst searching for
difference within it. He looks to uncover the strange and unfamiliar, navigating
a course between the sublime and the uncanny, but also beauty. As the artist
states:</span></p>
<p class="MsoNormal" style="margin-right: 2.8pt;"><span style="color: black; mso-bidi-font-size: 10.0pt; mso-bidi-font-style: italic;">“I want a sense of complicated
beauty that is not just seductive or elegant but one that is fraught with
anxiety and desires.”</span></p><p class="MsoNormal" style="margin-right: 2.8pt;"><br /><span style="color: black; mso-bidi-font-size: 10.0pt; mso-bidi-font-style: italic;"><o:p></o:p></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-3Qx0HdtnklQ/YYu71qQWRCI/AAAAAAAAdfg/ai7_wlZL4XwIXcai7pXuX04dk_gFy65owCLcBGAsYHQ/s1200/Keenleyside%252C%2BSimon%2B%2527Loved%2Babandoned%2Bplaces%2527%252C%2B2009-21%2BOil%2Bon%2Blinen%2B40x35cm.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1064" height="320" src="https://1.bp.blogspot.com/-3Qx0HdtnklQ/YYu71qQWRCI/AAAAAAAAdfg/ai7_wlZL4XwIXcai7pXuX04dk_gFy65owCLcBGAsYHQ/s320/Keenleyside%252C%2BSimon%2B%2527Loved%2Babandoned%2Bplaces%2527%252C%2B2009-21%2BOil%2Bon%2Blinen%2B40x35cm.jpeg" width="284" /></a></div><p></p>
<p class="MsoNormal" style="margin-right: 2.8pt;"><span style="color: black; mso-bidi-font-size: 10.0pt;"><o:p> </o:p></span></p>
<p class="MsoNormal" style="margin-right: 2.8pt;"><span style="color: black; mso-bidi-font-size: 10.0pt;">Evoking mystery and wonderment by way of higher reality, Keenleyside
paints topologies that are both physical places and psychical states. </span></p>
<p class="MsoNormal" style="margin-right: 2.8pt;"><span style="color: black; mso-bidi-font-size: 10.0pt;">Richard Moon’s paintings explore nostalgia and its tendency
to alter the factual recollection of memory—clouding it with selective
interpretations and ultimately distortions of truth. Largely painted in the monochromatic
hues of vintage photography (itself a subject and aid to nostalgia), Moon’s
paintings evoke periods in history that in turn might suggest specific events.</span></p><p class="MsoNormal" style="margin-right: 2.8pt;"><br /><span style="color: black; mso-bidi-font-size: 10.0pt;"><o:p></o:p></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-4beGnYn9WMo/YYu714yVKhI/AAAAAAAAdfk/b__qZ-Cr0ZIk9jM9md3mRs4j-6T_gZgnwCLcBGAsYHQ/s1617/Moon%252C%2BRichard%2B%2527Augur%2BIV%2527%252C%2B2021%2BOil%2Bon%2Blinen%2B55x35cm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1617" data-original-width="992" height="320" src="https://1.bp.blogspot.com/-4beGnYn9WMo/YYu714yVKhI/AAAAAAAAdfk/b__qZ-Cr0ZIk9jM9md3mRs4j-6T_gZgnwCLcBGAsYHQ/s320/Moon%252C%2BRichard%2B%2527Augur%2BIV%2527%252C%2B2021%2BOil%2Bon%2Blinen%2B55x35cm.jpg" width="196" /></a></div><p></p>
<p class="MsoNormal" style="margin-right: 2.8pt;"><span style="color: black; mso-bidi-font-size: 10.0pt;">Subjects include politically loaded flags such as the American
Confederate flag; broken porcelain figures; hybrid creatures with human heads;
and still lives with subtle but incongruous gothic motifs sewn into the tablecloth.
In combination, Moon’s paintings weave their way through historical,
mythological and political implications, questioning the very notion of truth
and whether we can ever really be certain of a concrete, stable reality.</span></p><p class="MsoNormal" style="margin-right: 2.8pt;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-s8pKMJtmaNg/YYu8xwwB-MI/AAAAAAAAdf8/kG77zjoXpI4G1wLG10bMUY6YGyJuASu1QCLcBGAsYHQ/s1909/Moon%252C%2BRichard%2B%2527Guston%2BII%2527%252C%2B2020%2BOil%2Bon%2Blinen%2B79x59cm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1909" data-original-width="1417" height="320" src="https://1.bp.blogspot.com/-s8pKMJtmaNg/YYu8xwwB-MI/AAAAAAAAdf8/kG77zjoXpI4G1wLG10bMUY6YGyJuASu1QCLcBGAsYHQ/s320/Moon%252C%2BRichard%2B%2527Guston%2BII%2527%252C%2B2020%2BOil%2Bon%2Blinen%2B79x59cm.jpg" width="238" /></a></div><br /><p></p>
<p class="MsoNormal" style="margin-right: 2.8pt;"><span style="color: black; mso-bidi-font-size: 10.0pt;">Together, Keenleyside and Moon invite us towards an
unworldly territory that originates in reality, but which is sublimated through
two very specific lenses. They are primal visions that confront us with otherness,
timelessness and absence.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>Zavier Ellis AKA Charlie Smithhttp://www.blogger.com/profile/06488449222938263361noreply@blogger.com0tag:blogger.com,1999:blog-537910209363968132.post-90744187324974904842021-07-15T12:10:00.002+01:002021-11-10T12:26:58.864+00:00Sam Jackson | Collaborators | 15 July – Sunday 25 July 2021<p> <br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-_4p2RpOIVyU/YYu5cPDu4-I/AAAAAAAAde8/Itx4VXuFQSognfrwOJO4bwgPqVNPxlcKgCLcBGAsYHQ/s1731/Jackson%252C%2BSam%2B%2527From%2BHere%2BTo%2BWhere%2527%252C%2B2020%2BOil%252C%2Bspray%2Bpaint%252C%2Bmarker%2Bon%2B%2Bboard%2B32x22.5cm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1731" data-original-width="1181" height="320" src="https://1.bp.blogspot.com/-_4p2RpOIVyU/YYu5cPDu4-I/AAAAAAAAde8/Itx4VXuFQSognfrwOJO4bwgPqVNPxlcKgCLcBGAsYHQ/s320/Jackson%252C%2BSam%2B%2527From%2BHere%2BTo%2BWhere%2527%252C%2B2020%2BOil%252C%2Bspray%2Bpaint%252C%2Bmarker%2Bon%2B%2Bboard%2B32x22.5cm.jpg" width="218" /></a></div><p></p><p class="MsoNormal" style="margin-right: 2.8pt;"><span style="color: black; mso-bidi-font-size: 10.0pt; mso-bidi-font-style: italic;">CHARLIE SMITH LONDON is
delighted to announce Sam Jackson’s extensive one person exhibition
‘Collaborators’ at 28 Shelton Street, Covent Garden, London.</span></p>
<p class="MsoNormal" style="margin-right: 2.8pt;"><span style="color: black; mso-bidi-font-size: 10.0pt; mso-bidi-font-style: italic;">In this exhibition Jackson
presents us with a magnum opus—almost fifty portraits of people with whom he
has collaborated during his fifteen-year career: curators, gallerists, writers,
tutors, photographers, filmmakers, fashion designers, event organisers, artists
and collectors; for example, Edward Lucie-Smith, Glen Luchford, Paul Gorman,
Giles Deacon, Sacha Craddock, Kay Saatchi, Derek Ridgers, Paul Bayley, Christine
Coulson, Darryl de Prez and Guinevere van Seenus. Additionally, the exhibition
will include a collaborative diptych with artist, musician and Radio 1 DJ
Daniel P. Carter, where each artist has alternately worked on a portrait of the
other. <span style="mso-spacerun: yes;"> </span></span></p><p class="MsoNormal" style="margin-right: 2.8pt;"></p>
<p class="MsoNormal" style="margin-right: 2.8pt; text-align: center;"><a href="https://1.bp.blogspot.com/-1iOMhSbXtU4/YYu5gAzgtNI/AAAAAAAAdfE/iE2BjOJhJKgSFkYm38JUGPXrrQGSTWzIQCLcBGAsYHQ/s1731/Jackson%252C%2BSam%2B%2527When%2Ba%2Bminute%2Bseems%2Blike%2Ba%2Blifetime%2527%252C%2B2021%2BOil%252C%2Bspray%2Bpaint%252C%2Bink%252C%2Bpencil%2Bon%2Bboard%2B32x22.5cm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1731" data-original-width="1181" height="320" src="https://1.bp.blogspot.com/-1iOMhSbXtU4/YYu5gAzgtNI/AAAAAAAAdfE/iE2BjOJhJKgSFkYm38JUGPXrrQGSTWzIQCLcBGAsYHQ/s320/Jackson%252C%2BSam%2B%2527When%2Ba%2Bminute%2Bseems%2Blike%2Ba%2Blifetime%2527%252C%2B2021%2BOil%252C%2Bspray%2Bpaint%252C%2Bink%252C%2Bpencil%2Bon%2Bboard%2B32x22.5cm.jpg" width="218" /></a></p><p class="MsoNormal" style="margin-right: 2.8pt;"><span style="color: black; mso-bidi-font-size: 10.0pt; mso-bidi-font-style: italic;">Jackson is well known for his
paintings of anonymous subjects who have been adorned or defaced with signs and
symbols; frenetically scrawled text; and roughly hewn graffiti that doubles as
tattoo. But here we are offered subjects who we might know or know of—cultural
influencers who shape the things that we see, read or hear, whether discreetly
or directly. Jackson interviewed each subject to draw out their own cultural
influences—literature or songs, for example, which have a meaningful personal
resonance—and this in turn informs the text that he deploys. In 2019 Graham
Crowley—artist, writer, curator, tutor and a subject in this exhibition—stated:</span></p><p class="MsoNormal" style="margin-right: 2.8pt;"></p><div class="separator" style="clear: both; text-align: center;"></div><p></p>
<p class="MsoNormal" style="margin-right: 2.8pt;"><span style="color: black; mso-bidi-font-size: 10.0pt; mso-bidi-font-style: italic;">“Whenever I reflect on Sam
Jackson’s work there’s something tantalisingly insoluble – strange to say – but
I’m never quite sure if I’ve dreamt them. An infectious form of collective
amnesia perhaps?”</span></p><p class="MsoNormal" style="margin-right: 2.8pt;"><br /><span style="color: black; mso-bidi-font-size: 10.0pt; mso-bidi-font-style: italic;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/--OMWXhgpKbU/YYu5ZJ9GnMI/AAAAAAAAde4/bC9IwVZhsFsoorybd5bxBHxyIzVYYWmOACLcBGAsYHQ/s1729/Jackson%252C%2BSam%2B%252760%2BSeconds%2Bof%2BSolitude%2Bin%2BYear%2BZero%2527%252C%2B2020%2BOil%252C%2Bspray%2Bpaint%252C%2Bink%252C%2Bpencil%2Bon%2Bboard%2B32x22.5cm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1729" data-original-width="1181" height="320" src="https://1.bp.blogspot.com/--OMWXhgpKbU/YYu5ZJ9GnMI/AAAAAAAAde4/bC9IwVZhsFsoorybd5bxBHxyIzVYYWmOACLcBGAsYHQ/s320/Jackson%252C%2BSam%2B%252760%2BSeconds%2Bof%2BSolitude%2Bin%2BYear%2BZero%2527%252C%2B2020%2BOil%252C%2Bspray%2Bpaint%252C%2Bink%252C%2Bpencil%2Bon%2Bboard%2B32x22.5cm.jpg" width="219" /></a></div><p></p>
<p class="MsoNormal" style="margin-right: 2.8pt;"><span style="color: black; mso-bidi-font-size: 10.0pt; mso-bidi-font-style: italic;">But in this exhibition Jackson explores
something closer to collective memory. As well as exploring shared influences
and stored memories, he is keen to emphasise the meaningful nature of
collaborating and meditates on the process and the interactions within the
‘painter’s journey’:</span></p>
<p class="MsoNormal" style="margin-right: 2.8pt;"><span style="color: black; mso-bidi-font-size: 10.0pt; mso-bidi-font-style: italic;">“Conversations could stop and
begin again with periods of time between them. I often think about how life
continues and these pockets of shared encounters—sometimes brief, sometimes
profound—have all in some way shaped my outlook on my painting and my life as a
painter. And how I sit within these varying worlds—the artworld, art school,
writers, collectors, curators, family and friends”.<o:p></o:p></span></p>
<p class="MsoNormal" style="margin-right: 2.8pt;"><span style="color: black; mso-bidi-font-size: 10.0pt; mso-bidi-font-style: italic;"><o:p> </o:p></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-3W3Djif1x0E/YYu5-mlMP4I/AAAAAAAAdfU/FvJMxdnaiXE_-lOLRRsyL7djso5P3ej7QCLcBGAsYHQ/s1730/Jackson%252C%2BSam%2B%2527Blue%2Bhere%2Bis%2Ba%2Bshell%2Bfor%2Byou...%2527%252C%2B2021%2BOil%252C%2Bspray%2Bpaint%252C%2Bink%252C%2Bmarker%252C%2Bpencil%2Bon%2Bboard%2B32x22.5cm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1730" data-original-width="1181" height="320" src="https://1.bp.blogspot.com/-3W3Djif1x0E/YYu5-mlMP4I/AAAAAAAAdfU/FvJMxdnaiXE_-lOLRRsyL7djso5P3ej7QCLcBGAsYHQ/s320/Jackson%252C%2BSam%2B%2527Blue%2Bhere%2Bis%2Ba%2Bshell%2Bfor%2Byou...%2527%252C%2B2021%2BOil%252C%2Bspray%2Bpaint%252C%2Bink%252C%2Bmarker%252C%2Bpencil%2Bon%2Bboard%2B32x22.5cm.jpg" width="218" /></a></div><br /><p></p>
<p class="MsoNormal" style="margin-right: 2.8pt;"><span style="color: black; mso-bidi-font-size: 10.0pt; mso-bidi-font-style: italic;">There is always a diaristic
element to Jackson’s work and it is often unclear whether his disruptive, written
outpourings are biographical or autobiographical. Being so redolently informed
by personal encounters and exchanges, this collection might represent Jackson’s
most authentic synthesis of self and other to date. <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>Zavier Ellis AKA Charlie Smithhttp://www.blogger.com/profile/06488449222938263361noreply@blogger.com0tag:blogger.com,1999:blog-537910209363968132.post-1571972446308254152021-05-07T15:45:00.001+01:002021-05-10T12:07:12.221+01:00Emma Bennett | All Aflame | 7-17th May 2021<p> </p><p class="MsoNormal" style="margin-right: 2.8pt;"><span style="color: black; mso-bidi-font-size: 10.0pt; mso-bidi-font-style: italic;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="color: black; mso-bidi-font-size: 10.0pt; mso-bidi-font-style: italic;"><a href="https://1.bp.blogspot.com/-SGaPdkt4HVk/YJf0LnLdIfI/AAAAAAAAXFM/a8FFuRi3nRoVAS6uHDdbjtiXo-kfJ_oqgCLcBGAsYHQ/s2048/Bennett%252C%2BEmma%2B%2527Father%2527s%2Bfather%2527%252C%2B2020%2BOil%2Bon%2Bgreyboard%2B21x29.7cm.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1450" data-original-width="2048" src="https://1.bp.blogspot.com/-SGaPdkt4HVk/YJf0LnLdIfI/AAAAAAAAXFM/a8FFuRi3nRoVAS6uHDdbjtiXo-kfJ_oqgCLcBGAsYHQ/s320/Bennett%252C%2BEmma%2B%2527Father%2527s%2Bfather%2527%252C%2B2020%2BOil%2Bon%2Bgreyboard%2B21x29.7cm.jpg" width="320" /></a></span></div><span style="color: black; mso-bidi-font-size: 10.0pt; mso-bidi-font-style: italic;"><br />CHARLIE SMITH LONDON is excited
to announce an outstanding solo exhibition of new work by Emma Bennett near to
its previous gallery site in Shoreditch at 64 Charlotte Road. New work will be
presented on the ground floor, accompanied by a retrospective in the basement. </span><p></p><p class="MsoNormal" style="margin-right: 2.8pt;"><span style="color: black; mso-bidi-font-size: 10.0pt; mso-bidi-font-style: italic;"><o:p></o:p></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-vlgRKjrGO74/YJkTvLuvPaI/AAAAAAAAXHE/sybnt4TFeBEBuALbPK0__lZANPJ5e5H9QCLcBGAsYHQ/s2048/Bennett%252C%2BEmma%2B%2527And%2BI%2BFollow%2527%252C%2B2020%2BOil%2Bon%2Boak%2Bpanel%2B25x20cm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1637" height="320" src="https://1.bp.blogspot.com/-vlgRKjrGO74/YJkTvLuvPaI/AAAAAAAAXHE/sybnt4TFeBEBuALbPK0__lZANPJ5e5H9QCLcBGAsYHQ/s320/Bennett%252C%2BEmma%2B%2527And%2BI%2BFollow%2527%252C%2B2020%2BOil%2Bon%2Boak%2Bpanel%2B25x20cm.jpg" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><span style="color: black; mso-bidi-font-size: 10.0pt; mso-bidi-font-style: italic;"><br /></span><p></p>
<p class="MsoNormal" style="margin-right: 2.8pt;"><span style="color: black; mso-bidi-font-size: 10.0pt; mso-bidi-font-style: italic;">This group of paintings were made
in a turbulent year for Bennett, which began with several journeys back and
forth between London and Wales to visit her poorly father. Visits to the
hospital bedside and then, after his death, to the old family home resonated
with a wistfulness that is familiar to the artist, whose primary interests
include those of memory, time and transience. Upon returning to London, and during
the Covid pandemic, these paintings were made.</span></p><p class="MsoNormal" style="margin-right: 2.8pt;"><span style="color: black; mso-bidi-font-size: 10.0pt; mso-bidi-font-style: italic;"><o:p></o:p></span></p><div class="separator" style="clear: both; text-align: center;"><span style="color: black; mso-bidi-font-size: 10.0pt; mso-bidi-font-style: italic;"><a href="https://1.bp.blogspot.com/-izQzv_jYgFo/YJf0SoHaPiI/AAAAAAAAXFQ/919n-Y5IDJEdNuZL7Cm-y-mAV5BVI7aDwCLcBGAsYHQ/s1280/Bennett%252C%2BEmma%2B%2527And%252C%2BAfterwards%2527%252C%2B2009%2BOil%2Bon%2Bcanvas%2B160x130cm.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1280" data-original-width="1039" height="320" src="https://1.bp.blogspot.com/-izQzv_jYgFo/YJf0SoHaPiI/AAAAAAAAXFQ/919n-Y5IDJEdNuZL7Cm-y-mAV5BVI7aDwCLcBGAsYHQ/s320/Bennett%252C%2BEmma%2B%2527And%252C%2BAfterwards%2527%252C%2B2009%2BOil%2Bon%2Bcanvas%2B160x130cm.jpg" /></a></span></div><p></p>
<p class="MsoNormal" style="margin-right: 2.8pt;"><span style="color: black; mso-bidi-font-size: 10.0pt; mso-bidi-font-style: italic;">Bennett adopts enduring </span><span lang="EN-US" style="color: black; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt; mso-bidi-font-style: italic;">motifs </span><span style="color: black; mso-bidi-font-size: 10.0pt; mso-bidi-font-style: italic;">including fruit, flowers, drapes, hanging
hare, mirrored reflections and ascending stairs, bestowing them with astounding
emotional resonance. The artist states: </span>“It is the fragments of still life painting that
dominate these images, with clusters of flowers infused with love. Within the
endless space of the black grounds, I wanted the compositions to be a guide
that leads you, as if following a family line. The figurative elements that
coexist here reflect on our relationships with family and significant others –
those who inspire us and those who have diminished us.”</p><p class="MsoNormal" style="margin-right: 2.8pt;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-34slXWyt2Gs/YJf0YV9J_EI/AAAAAAAAXFU/w2tovm4nAVEnvaNDE_sbwfz3Ou4OtAtDQCLcBGAsYHQ/s2048/Bennett%252C%2BEmma%2B%2527Cluster%2527%252C%2B2020%2BOil%2Bon%2Boak%2Bpanel%2B25x20cm.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1633" height="320" src="https://1.bp.blogspot.com/-34slXWyt2Gs/YJf0YV9J_EI/AAAAAAAAXFU/w2tovm4nAVEnvaNDE_sbwfz3Ou4OtAtDQCLcBGAsYHQ/s320/Bennett%252C%2BEmma%2B%2527Cluster%2527%252C%2B2020%2BOil%2Bon%2Boak%2Bpanel%2B25x20cm.jpg" /></a></div><p></p>
<p class="MsoNormal" style="margin-right: 2.8pt;"><span style="color: black; mso-bidi-font-size: 10.0pt; mso-bidi-font-style: italic;">Fire is another motif that
Bennett has explored in recent years: </span>“<span lang="EN-US">Still life and fire have coexisted for some time in
my paintings as I’ve attempted to hold the flame and the flammable in a
precarious balance or on the point of combustion. Here there are multiple
fires: for a lost spark can ignite a memory of a past flame. White heat
threatens to scorch the fruit that encircles it.”</span></p><p class="MsoNormal" style="margin-right: 2.8pt;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-PHNPCm5maqc/YJf0jrxkveI/AAAAAAAAXFk/8kpfItaXRsQlGsdeZljtuQW-sfp4XSVgQCLcBGAsYHQ/s2048/Bennett%252C%2BEmma%2B%2527Pure%2BPossibility%2527%252C%2B2019%2BOil%2Bon%2Boak%2Bpanel%2B20x25cm.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1639" data-original-width="2048" src="https://1.bp.blogspot.com/-PHNPCm5maqc/YJf0jrxkveI/AAAAAAAAXFk/8kpfItaXRsQlGsdeZljtuQW-sfp4XSVgQCLcBGAsYHQ/s320/Bennett%252C%2BEmma%2B%2527Pure%2BPossibility%2527%252C%2B2019%2BOil%2Bon%2Boak%2Bpanel%2B20x25cm.jpg" width="320" /></a></div><p></p>
<p class="MsoNormal" style="margin-right: 2.8pt;"><span style="color: black; mso-bidi-font-size: 10.0pt; mso-bidi-font-style: italic;">Bennett emphasizes that nature
is preeminent. She meditates on individual events that have a long-lasting
legacy, transcending the lives of those who live through them as well as the
imaginations of those who follow. </span></p><p class="MsoNormal" style="margin-right: 2.8pt;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-4hnD8V-M55A/YJf0oBRyK0I/AAAAAAAAXFs/w3QvBtE3xf8ayJMvqmJRP0h5giKBCJx_ACLcBGAsYHQ/s1155/Bennett%252C%2BEmma%2B%2527June%2Bor%2BJuly%2527%252C%2B2020%2BOil%2Bon%2Bgreyboard%2B21x29.7cm.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="820" data-original-width="1155" src="https://1.bp.blogspot.com/-4hnD8V-M55A/YJf0oBRyK0I/AAAAAAAAXFs/w3QvBtE3xf8ayJMvqmJRP0h5giKBCJx_ACLcBGAsYHQ/s320/Bennett%252C%2BEmma%2B%2527June%2Bor%2BJuly%2527%252C%2B2020%2BOil%2Bon%2Bgreyboard%2B21x29.7cm.jpg" width="320" /></a></div><p></p>Zavier Ellis AKA Charlie Smithhttp://www.blogger.com/profile/06488449222938263361noreply@blogger.com0tag:blogger.com,1999:blog-537910209363968132.post-61134220013314838972021-04-21T14:56:00.001+01:002021-05-10T12:05:25.064+01:00Project Papyrophilia | Peter Ashton Jones, Kiera Bennett, Michael Boffey, Cecilia Bonilla, Adam Dix, Graham Dolphin, Zavier Ellis, Sam Jackson, Simon Keenleyside, Melissa Kime, Hugh Mendes, Richard Moon, Alex Gene Morrison, Michael Scoggins, Dominic Shepherd, Richard Wathen | April 2021<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-S2kI9vGlf3Q/YJfo2fGtXsI/AAAAAAAAXBc/VKBETOA30hc-TAQpczQE32UOd8QOv1eSwCLcBGAsYHQ/s2048/Kime%252C%2BMelissa%2B%2527egg%2Bcollecting%2Bshadowed%2Bby%2Bthe%2Bpresence%2Bof%2Bthe%2Bguarding%2Bstones%2527%252C%2B2021%2BAcrylic%252C%2Bwatercolour%252C%2Boil%2Bbar%252C%2Bpencil%2Bon%2Bpaper%2B21x29.7cm.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1490" data-original-width="2048" src="https://1.bp.blogspot.com/-S2kI9vGlf3Q/YJfo2fGtXsI/AAAAAAAAXBc/VKBETOA30hc-TAQpczQE32UOd8QOv1eSwCLcBGAsYHQ/s320/Kime%252C%2BMelissa%2B%2527egg%2Bcollecting%2Bshadowed%2Bby%2Bthe%2Bpresence%2Bof%2Bthe%2Bguarding%2Bstones%2527%252C%2B2021%2BAcrylic%252C%2Bwatercolour%252C%2Boil%2Bbar%252C%2Bpencil%2Bon%2Bpaper%2B21x29.7cm.jpeg" width="320" /></a></div> <p></p><p class="MsoNormal" style="margin-right: 2.8pt;"><span style="color: black; mso-bidi-font-size: 10.0pt; mso-bidi-font-style: italic;">CHARLIE SMITH LONDON is
delighted to announce the launch of its new bespoke work on paper website </span><a href="https://sable.madmimi.com/c/20527?id=3253917.9637.1.0ec513006cfc682b58e0fc78ff004a23" target="_blank"><b><span color="windowtext" style="mso-bidi-font-size: 10.0pt; mso-bidi-font-style: italic;">projectpapyrophilia.com</span></b></a><span color="windowtext" style="mso-bidi-font-size: 10.0pt; mso-bidi-font-style: italic;">.<br /><br /></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-Tnhu5dgRGqY/YJfpbh-pvnI/AAAAAAAAXB0/BPDDcKQ8KhkAhoyjYqYO7l4oNts_dMcCQCLcBGAsYHQ/s2048/Scoggins%252C%2BMichael%2B%2527COVID_BLM%2BDRAWING%2B%252324%2B%2528The%2BMoney%2BGuy%2529%2527%252C%2B2021%2BGraphite%2Band%2Bcoloured%2Bpencil%2Bon%2Bpaper%2B27.9x17.8cm%2B%2528hires%2529.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1374" height="320" src="https://1.bp.blogspot.com/-Tnhu5dgRGqY/YJfpbh-pvnI/AAAAAAAAXB0/BPDDcKQ8KhkAhoyjYqYO7l4oNts_dMcCQCLcBGAsYHQ/s320/Scoggins%252C%2BMichael%2B%2527COVID_BLM%2BDRAWING%2B%252324%2B%2528The%2BMoney%2BGuy%2529%2527%252C%2B2021%2BGraphite%2Band%2Bcoloured%2Bpencil%2Bon%2Bpaper%2B27.9x17.8cm%2B%2528hires%2529.jpeg" /></a></div><p></p>
<p class="MsoNormal" style="margin-right: 2.8pt;"><span style="color: black; mso-bidi-font-size: 10.0pt; mso-bidi-font-style: italic;">Conceived during the first
lockdown by gallery director, independent curator and practicing artist Zavier
Ellis, PROJECT PAPYROPHILIA experienced a hugely successful first year.
Dedicated to work on paper only and priced at just £250 per piece, several
hundred pieces were sold globally during its first phase, from first time
buyers to prominent private collectors. <span style="mso-spacerun: yes;"> </span></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-LKRiD0Cxw6g/YJfo3PMqrvI/AAAAAAAAXBg/yiYmIkJXBWE4dk16LaZqbyeQB3mUbCZ7ACLcBGAsYHQ/s1600/Shepherd%252C%2BDominic%2B%2527Spring%2BEquinox%2527%252C%2B2021%2BWatercolour%252C%2Boil%2Bpastel%252C%2Boil%2Bbar%252C%2Bsoft%2Bpastel%2Bon%2Bpaper%2B30x21cm.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1115" height="320" src="https://1.bp.blogspot.com/-LKRiD0Cxw6g/YJfo3PMqrvI/AAAAAAAAXBg/yiYmIkJXBWE4dk16LaZqbyeQB3mUbCZ7ACLcBGAsYHQ/s320/Shepherd%252C%2BDominic%2B%2527Spring%2BEquinox%2527%252C%2B2021%2BWatercolour%252C%2Boil%2Bpastel%252C%2Boil%2Bbar%252C%2Bsoft%2Bpastel%2Bon%2Bpaper%2B30x21cm.jpeg" /></a></div><p></p>
<p class="MsoNormal" style="margin-right: 2.8pt;"><span style="color: black; mso-bidi-font-size: 10.0pt; mso-bidi-font-style: italic;">Our initial second phase offering
will follow the same principle of unique pieces at £250 each. Our inventory
will consist of three new, unseen pieces by each of 16 artists, including project
curator Zavier Ellis and new addition Richard Wathen.</span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-lzGopIp0WGE/YJfpjJsX5nI/AAAAAAAAXB4/YCg8x5LlKW8CHqsEQOkH89rsROr9QGAXACLcBGAsYHQ/s2048/Wathen%252C%2BRichard%2B%2527Taraxacum%2527%252C%2B2021%2BWatercolour%2Bon%2Bpaper%2B36x26cm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1504" height="320" src="https://1.bp.blogspot.com/-lzGopIp0WGE/YJfpjJsX5nI/AAAAAAAAXB4/YCg8x5LlKW8CHqsEQOkH89rsROr9QGAXACLcBGAsYHQ/s320/Wathen%252C%2BRichard%2B%2527Taraxacum%2527%252C%2B2021%2BWatercolour%2Bon%2Bpaper%2B36x26cm.jpg" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><span style="text-align: left;">We also look forward to
introducing you to special sections including Featured Artist, Collector's
Choice, Curator's Choice and Q&A, where you will find selections and analysis
by Ellis and inaugural guest collector Werner Grub.</span></div><p class="MsoNormal" style="margin-right: 2.8pt;"><span style="color: black; mso-bidi-font-size: 10.0pt; mso-bidi-font-style: italic;"><o:p></o:p></span></p><div class="separator" style="clear: both; text-align: center;"><span style="color: black; mso-bidi-font-size: 10.0pt; mso-bidi-font-style: italic;"><a href="https://1.bp.blogspot.com/-U_ykX4dWs4w/YJfo2dryFmI/AAAAAAAAXBY/W2kPAmBxn9gTIxSCeFb6gvhEidZrwmMWgCLcBGAsYHQ/s1496/Bennett%252C%2BKiera%2B%25E2%2580%2598Studio%2BShapes%2B29%2527%252C%2B2020%2BOil%2Bpastel%2Bon%2Bpaper%2B21x29.7cm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1051" data-original-width="1496" src="https://1.bp.blogspot.com/-U_ykX4dWs4w/YJfo2dryFmI/AAAAAAAAXBY/W2kPAmBxn9gTIxSCeFb6gvhEidZrwmMWgCLcBGAsYHQ/s320/Bennett%252C%2BKiera%2B%25E2%2580%2598Studio%2BShapes%2B29%2527%252C%2B2020%2BOil%2Bpastel%2Bon%2Bpaper%2B21x29.7cm.jpg" width="320" /></a></span></div><p></p>Zavier Ellis AKA Charlie Smithhttp://www.blogger.com/profile/06488449222938263361noreply@blogger.com0tag:blogger.com,1999:blog-537910209363968132.post-46315220898847163242021-02-24T15:12:00.001+00:002021-05-10T12:03:55.932+01:00Hugh Mendes | In Focus: Love in the time of Covid | Feb-Mar 2021<p class="MsoNormal" style="margin-right: 2.8pt;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-4rlup7sDrzg/YJfspRXL3CI/AAAAAAAAXDc/N8DN4lbJ5mog5FgCFS8YCCl-ungbtqjrgCLcBGAsYHQ/s2000/Mendes%252C%2BHugh%2B%2527Woodman_lockdowns%2527%252C%2B2020%2BInk%252C%2Bpencil%252C%2Bcoloured%2Bpencil%2Bon%2Bdigital%2Bprint%2B29.7x21cm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2000" data-original-width="1415" height="320" src="https://1.bp.blogspot.com/-4rlup7sDrzg/YJfspRXL3CI/AAAAAAAAXDc/N8DN4lbJ5mog5FgCFS8YCCl-ungbtqjrgCLcBGAsYHQ/s320/Mendes%252C%2BHugh%2B%2527Woodman_lockdowns%2527%252C%2B2020%2BInk%252C%2Bpencil%252C%2Bcoloured%2Bpencil%2Bon%2Bdigital%2Bprint%2B29.7x21cm.jpg" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><span style="color: black; mso-bidi-font-size: 10.0pt; mso-bidi-font-style: italic;">CHARLIE SMITH LONDON is
delighted to present a solo exhibition of new work by Hugh Mendes.</span><p></p><p class="MsoNormal" style="margin-right: 2.8pt;"><span style="color: black; mso-bidi-font-size: 10.0pt; mso-bidi-font-style: italic;"><o:p></o:p></span></p><div class="separator" style="clear: both; text-align: center;"><span style="color: black; mso-bidi-font-size: 10.0pt; mso-bidi-font-style: italic;"><a href="https://1.bp.blogspot.com/-i6ms7Qxcu3s/YJftk2FktmI/AAAAAAAAXD4/WHBqGplBxXwILnPFa1S7hJ7DBxx3770tgCLcBGAsYHQ/s1080/Mendes%252C%2BHugh%2B%2527Obituary_John%2BLewis%2527%252C%2B2020%2BOil%2Bon%2Blinen%2B30x20cm_INSTA.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1080" height="320" src="https://1.bp.blogspot.com/-i6ms7Qxcu3s/YJftk2FktmI/AAAAAAAAXD4/WHBqGplBxXwILnPFa1S7hJ7DBxx3770tgCLcBGAsYHQ/s320/Mendes%252C%2BHugh%2B%2527Obituary_John%2BLewis%2527%252C%2B2020%2BOil%2Bon%2Blinen%2B30x20cm_INSTA.jpg" /></a></span></div><p></p>
<p class="MsoNormal" style="margin-right: 2.8pt;"><span style="color: black; mso-bidi-font-size: 10.0pt; mso-bidi-font-style: italic;">Mendes is well known for his ongoing
series of obituary paintings, which in recent years have focused on artists. But
in the early stages of his career Mendes’ practice responded entirely to political
events. Mendes began making oil paintings of newspaper pages in 2001 when he
found a scrap of an Arabic newspaper in Brick Lane, east London. Blowing onto
his feet, he picked up a picture of a turbaned man aiming a Kalashnikov, which
he later made into a painting that formed part of a diptych, the other being a
portrait of George W. Bush. Scheduled to be shown at Mendes’ MA final show,
opening on September 11th 2001, the artist had portentously paired Bush with a
Kalashnikov aimed at him by the then relatively unknown Osama Bin Laden. This
became the precursor of one of Mendes’ two obsessions: the first being The War
on Terror, a ten-year retrospective of which was exhibited at Kenny Schachter /
ROVE; and the second being an unyielding recreation of newspaper Obituaries.</span></p><p class="MsoNormal" style="margin-right: 2.8pt;"><span style="color: black; mso-bidi-font-size: 10.0pt; mso-bidi-font-style: italic;"><o:p></o:p></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-5C9TgPsMnEw/YJfsopR4E0I/AAAAAAAAXDQ/iKLYbHUHA7Uo9UlsoIjLYykJlWY9x1W0gCLcBGAsYHQ/s2000/Mendes%252C%2BHugh%2B%2527Trump_disinfectant%2527%252C%2B2020%2BInk%252C%2Bpencil%252C%2Bcoloured%2Bpencil%2Bon%2Bdigital%2Bprint%2B27x18.5cm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2000" data-original-width="1357" height="320" src="https://1.bp.blogspot.com/-5C9TgPsMnEw/YJfsopR4E0I/AAAAAAAAXDQ/iKLYbHUHA7Uo9UlsoIjLYykJlWY9x1W0gCLcBGAsYHQ/s320/Mendes%252C%2BHugh%2B%2527Trump_disinfectant%2527%252C%2B2020%2BInk%252C%2Bpencil%252C%2Bcoloured%2Bpencil%2Bon%2Bdigital%2Bprint%2B27x18.5cm.jpg" /></a></div><p></p>
<p class="MsoNormal" style="margin-right: 2.8pt;"><span style="color: black; mso-bidi-font-size: 10.0pt; mso-bidi-font-style: italic;">During this fateful last year,
Mendes has found himself responding once again to the tumultuous events that we
have witnessed, specifically the Covid pandemic and the Black Lives Matter
movement. As Mendes states: </span>“People have noted that these
events have had the most significant global impact since 9/11 and the
subsequent fallout. I spent several days in hospital suffering from what was
thought to be Covid related symptoms affecting my heart. I was rushed off in an
ambulance with my heart lurching from 220bpm to 30bpm. I thought I might die,
but my response was to make work on paper from my hospital bed, relating to
Covid headlines…”</p><p class="MsoNormal" style="margin-right: 2.8pt;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-mENkPds-z0Q/YJfsooP4-pI/AAAAAAAAXDU/jkfnT-KwJPArCpf5lGjEmGUgMryZ1ge2ACLcBGAsYHQ/s2000/Mendes%252C%2BHugh%2B%2527Rauschenberg%2Bfight%2527%252C%2B2020%2BInk%252C%2Bpencil%252C%2Bcoloured%2Bpencil%2Bon%2Bdigital%2Bprint%2B26.8x17.7cm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2000" data-original-width="1346" height="320" src="https://1.bp.blogspot.com/-mENkPds-z0Q/YJfsooP4-pI/AAAAAAAAXDU/jkfnT-KwJPArCpf5lGjEmGUgMryZ1ge2ACLcBGAsYHQ/s320/Mendes%252C%2BHugh%2B%2527Rauschenberg%2Bfight%2527%252C%2B2020%2BInk%252C%2Bpencil%252C%2Bcoloured%2Bpencil%2Bon%2Bdigital%2Bprint%2B26.8x17.7cm.jpg" /></a></div><p></p>
<p class="MsoNormal" style="margin-right: 2.8pt;"><span style="color: black; mso-bidi-font-size: 10.0pt; mso-bidi-font-style: italic;">Death has always been a dominant
factor within Mendes’ oeuvre, from his direct engagement with obituaries to the
more oblique symbolism of memento mori in still life painting. Death, and the
political, have always been intertwined in the artist’s life. He was born on
Armistice Day in 1955 in the British Military Hospital at Hostert, Germany,
which ten years earlier served as a Nazi experimentation and death camp during
the war. His mother worked as a nurse and was one of the first people to enter
the Belsen concentration camp. She never fully recovered from the experience
and suffered a consequential and untimely death when Mendes was 7 years old.
His father worked with British intelligence during the war as a code breaker
and interrogator of Nazi officers. After the war he became a newspaper editor,
and significantly, after his death in 1998 Mendes found a collection of
newspapers and clippings that covered important world events. Upon his father’s
death, Mendes spent several hours with his body over two days and subsequently
painted his portrait as a corpse. In this exhibition, then, Mendes returns to early
methodologies and interweaves death, the political and love:<o:p></o:p></span></p><p class="MsoNormal" style="margin-right: 2.8pt;"></p><p class="MsoNormal" style="margin-right: 2.8pt;"><span style="color: black; mso-bidi-font-size: 10.0pt; mso-bidi-font-style: italic;"><o:p> </o:p></span></p><div class="separator" style="clear: both; text-align: center;"><span style="color: black; mso-bidi-font-size: 10.0pt; mso-bidi-font-style: italic;"><a href="https://1.bp.blogspot.com/-_7GmPmgjfOU/YJftGTjFVKI/AAAAAAAAXDw/8Nhxnks9f7kA8B3FCeBZYaqL6qU5FXDXgCLcBGAsYHQ/s2000/Mendes%252C%2BHugh%2B%2527Derek%2BChauvin_%2BGeorge%2BFloyd%2B%2528death%2Bby%2Bknee%2529%2527%252C%2B2020%2BOil%2Bon%2Blinen%2B35x25cm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2000" data-original-width="1421" height="320" src="https://1.bp.blogspot.com/-_7GmPmgjfOU/YJftGTjFVKI/AAAAAAAAXDw/8Nhxnks9f7kA8B3FCeBZYaqL6qU5FXDXgCLcBGAsYHQ/s320/Mendes%252C%2BHugh%2B%2527Derek%2BChauvin_%2BGeorge%2BFloyd%2B%2528death%2Bby%2Bknee%2529%2527%252C%2B2020%2BOil%2Bon%2Blinen%2B35x25cm.jpg" /></a></span></div><span style="color: black; mso-bidi-font-size: 10.0pt; mso-bidi-font-style: italic;"><br /></span><p></p>
<p class="MsoNormal" style="margin-right: 2.8pt;"><span style="color: black; mso-bidi-font-size: 10.0pt; mso-bidi-font-style: italic;">“All my paintings come from a
place of love in response to death, in the form of obituaries and what are
often very difficult political events. The obituary paintings in particular are
attempts to honour the subjects out of respect and love. They are loving
memorials.”</span></p><p class="MsoNormal" style="margin-right: 2.8pt;"><br /><span style="color: black; mso-bidi-font-size: 10.0pt; mso-bidi-font-style: italic;"><o:p></o:p></span></p><div class="separator" style="clear: both; text-align: center;"><span style="color: black; mso-bidi-font-size: 10.0pt; mso-bidi-font-style: italic;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuNWXNt00onuCevfJdJ-42L4DR6rchbJ87aBLE2aP8zZRRhgU3NxYmWLkbt7wsgNxDJXBoQvMruGuer3FkZMFwV1FLO4bshvTp6iulkB0bolzW-XyRAYO7PXjR3srK3-DwHqi1Xz5Xl-gt/s2000/Mendes%252C+Hugh+%2527Kara+Walker%2527%252C+2020+Oil+on+linen+35x25cm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2000" data-original-width="1428" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuNWXNt00onuCevfJdJ-42L4DR6rchbJ87aBLE2aP8zZRRhgU3NxYmWLkbt7wsgNxDJXBoQvMruGuer3FkZMFwV1FLO4bshvTp6iulkB0bolzW-XyRAYO7PXjR3srK3-DwHqi1Xz5Xl-gt/s320/Mendes%252C+Hugh+%2527Kara+Walker%2527%252C+2020+Oil+on+linen+35x25cm.jpg" /></a></span></div><p></p><span style="color: black; mso-bidi-font-size: 10.0pt; mso-bidi-font-style: italic;"></span><p></p>Zavier Ellis AKA Charlie Smithhttp://www.blogger.com/profile/06488449222938263361noreply@blogger.com0tag:blogger.com,1999:blog-537910209363968132.post-10196133781292472802020-12-11T14:04:00.001+00:002021-05-10T12:03:06.321+01:00Concha Martínez Barreto | Letters I didn’t write | Dec-Jan 2021<p class="MsoNormal" style="margin-right: 2.8pt;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-8RcnQyK4Akg/YJfcV6hbeHI/AAAAAAAAW_0/45swZIWRHkoKowljIl2uGUWUNDZqMBjfQCLcBGAsYHQ/s1200/Martinez%2BBarreto%252C%2BConcha%2B%2527Glacier%2527%252C%2B2020%2BPhotograph%2Bon%2B350%2Bg.%2BHahnem%25C3%25BChle%2BBaryta%2Bpaper%2B93x110cm.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="777" data-original-width="1200" src="https://1.bp.blogspot.com/-8RcnQyK4Akg/YJfcV6hbeHI/AAAAAAAAW_0/45swZIWRHkoKowljIl2uGUWUNDZqMBjfQCLcBGAsYHQ/s320/Martinez%2BBarreto%252C%2BConcha%2B%2527Glacier%2527%252C%2B2020%2BPhotograph%2Bon%2B350%2Bg.%2BHahnem%25C3%25BChle%2BBaryta%2Bpaper%2B93x110cm.png" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div>CHARLIE SMITH LONDON is
delighted to present Spanish artist Concha Martínez Barreto in her debut one-person
exhibition in London.<o:p></o:p><p></p><p class="MsoNormal" style="margin-right: 2.8pt;"><o:p> </o:p>Martínez Barreto, the gallery’s
most recent addition to the roster, presents us with a stunning collection of
paintings, drawings, photography, sculpture and a diptych formed of erased antique
letters. This diptych, titled ‘A letter to the son and a letter to the daughter’,
is a critical work in the exhibition. The letters, originally written in 1943
by a mother to her son, represent a mode of communication that is rarely
employed today, and which is both intimate and enduring. However, Martínez
Barreto apparently disrupts both their permanence and the original intention by
personally erasing sections of text. In doing so, she creates new meaning and
arguably reveals a hitherto undisclosed subtext, whilst adopting another’s
reinterpreted words as her own. </p><p class="MsoNormal" style="margin-right: 2.8pt;"><br /><o:p></o:p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-9ioNTRUO9a8/YJfccSEqmeI/AAAAAAAAW_4/hRTxjXOIHAoXVBJkJfIGwTpMqYYcCk5pgCLcBGAsYHQ/s1400/Martinez%2BBarreto%252C%2BConcha%2B%2527Sleeping%2BChild%2527%252C%2B2020%2BPhotograph%2Bon%2B350%2Bg.%2BHahnem%25C3%25BChle%2BBaryta%2Bpaper%2B93x110cm.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="906" data-original-width="1400" src="https://1.bp.blogspot.com/-9ioNTRUO9a8/YJfccSEqmeI/AAAAAAAAW_4/hRTxjXOIHAoXVBJkJfIGwTpMqYYcCk5pgCLcBGAsYHQ/s320/Martinez%2BBarreto%252C%2BConcha%2B%2527Sleeping%2BChild%2527%252C%2B2020%2BPhotograph%2Bon%2B350%2Bg.%2BHahnem%25C3%25BChle%2BBaryta%2Bpaper%2B93x110cm.png" width="320" /></a></div><p></p><p class="MsoNormal" style="margin-right: 2.8pt;">Martínez Barreto’s work in other
media might be considered similarly. Her strategy is to appropriate collected
imagery and objects and to reinterpret by recontextualizing them. Martínez
Barreto’s monochromatic paintings are derived from a combination of found anonymous
imagery that is then rendered entirely personalised. Her paintings continually epitomise
the uncanny and carry hidden meanings that might be interpreted variously,
dependant on the story of the viewer as well as the story of the artist.</p><p class="MsoNormal" style="margin-right: 2.8pt;"><o:p></o:p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-HXKtD0DlvkQ/YJfc32f9vSI/AAAAAAAAXAE/h-NbzfkhinAGYzxqryPvEjMHAaZL6zqzQCLcBGAsYHQ/s1600/Martinez%2BBarreto%252C%2BConcha%2B%2527S_t%2B25%2527%252C%2B2020%2BOil%2Bon%2Blinen%2B40x50cm.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1280" data-original-width="1600" src="https://1.bp.blogspot.com/-HXKtD0DlvkQ/YJfc32f9vSI/AAAAAAAAXAE/h-NbzfkhinAGYzxqryPvEjMHAaZL6zqzQCLcBGAsYHQ/s320/Martinez%2BBarreto%252C%2BConcha%2B%2527S_t%2B25%2527%252C%2B2020%2BOil%2Bon%2Blinen%2B40x50cm.jpg" width="320" /></a></div><br /><p></p><p class="MsoNormal" style="margin-right: 2.8pt;">The sculptural work ‘Bird’ is a
deeply autobiographical piece. Martínez Barreto has often adopted birds as
motifs to signify innocence and fragility. In this example, an outsized sparrow
carved from linden wood lies recumbent, subtly humanized in its form and
directly in its painted eyes, which recalls the ancient tradition of Egyptian
statue making. Also referencing the Catholic sculptural tradition of Spain and
the pietà, Martínez Barreto’s bird is not about life or death but rather the feeling
of being alive and dead at the same time. It represents vulnerability but also
resilience.<o:p></o:p></p><p class="MsoNormal" style="margin-right: 2.8pt;"><o:p> </o:p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzbgI2Y77sLILH8siONT7Efcx5HgIYo_Rd6lsr6o8Ph_j5GyOd5SN7QysXb37XlWW3yJfOEQ9WEKDI92jCdmYfRS8mHgM8NU27O7rno-XwJhuoJXFFRcGP3MblrYGush2zdAdcrjz2Q1mk/s1600/Martinez+Barreto%252C+Concha+%2527S_t+31%2527%252C+2020+Oil+on+linen+40x50cm.jpg" style="margin-left: 1em; margin-right: 1em;"></a><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzbgI2Y77sLILH8siONT7Efcx5HgIYo_Rd6lsr6o8Ph_j5GyOd5SN7QysXb37XlWW3yJfOEQ9WEKDI92jCdmYfRS8mHgM8NU27O7rno-XwJhuoJXFFRcGP3MblrYGush2zdAdcrjz2Q1mk/s1600/Martinez+Barreto%252C+Concha+%2527S_t+31%2527%252C+2020+Oil+on+linen+40x50cm.jpg" style="margin-left: 1em; margin-right: 1em;"></a><a href="https://1.bp.blogspot.com/-wOB8SlW9v9o/YJfdLu-9OZI/AAAAAAAAXAU/VR9zjQeFCc4BRZoHwUvRuMGEHZOKg2GVACLcBGAsYHQ/s1400/Martinez%2BBarreto%252C%2BConcha%2B%2527Bird%2527%252C%2B2020%2BLinden%2Bwood%2B128x108x35cm%2B%25283%2529.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1400" data-original-width="1050" height="320" src="https://1.bp.blogspot.com/-wOB8SlW9v9o/YJfdLu-9OZI/AAAAAAAAXAU/VR9zjQeFCc4BRZoHwUvRuMGEHZOKg2GVACLcBGAsYHQ/s320/Martinez%2BBarreto%252C%2BConcha%2B%2527Bird%2527%252C%2B2020%2BLinden%2Bwood%2B128x108x35cm%2B%25283%2529.png" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><img border="0" data-original-height="1280" data-original-width="1600" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzbgI2Y77sLILH8siONT7Efcx5HgIYo_Rd6lsr6o8Ph_j5GyOd5SN7QysXb37XlWW3yJfOEQ9WEKDI92jCdmYfRS8mHgM8NU27O7rno-XwJhuoJXFFRcGP3MblrYGush2zdAdcrjz2Q1mk/s320/Martinez+Barreto%252C+Concha+%2527S_t+31%2527%252C+2020+Oil+on+linen+40x50cm.jpg" width="320" /></div><br /><p></p><p class="MsoNormal" style="margin-right: 2.8pt;">The exhibition is completed by
two drawings and a series of photographs. Both sets of work embrace the
familiar, which is subverted by fragmentation. Misplaced or missing drawn
elements; or small vintage photographs inserted into apertures within larger
appropriated photographic images unsettle and disorientate. In ‘The Tunnel’ a
woman lies on a bed smiling. A photograph of a tunnel is substituted for part
of her face and the tunnel renders her eye socket skull-like. The subject
becomes deathly and the tunnel suggests a journey toward the interior self.</p><p class="MsoNormal" style="margin-right: 2.8pt;"><o:p><br /></o:p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-LrevWMD9P04/YJfdwfrINEI/AAAAAAAAXAg/xtmDUbdRa4cVSNT1ST8PfA6Ix-T7LvynQCLcBGAsYHQ/s1200/Martinez%2BBarreto%252C%2BConcha%2B%2527The%2BTunnel%2527%252C%2B2020%2BPhotograph%2Bon%2B350%2Bg.%2BHahnem%25C3%25BChle%2BBaryta%2Bpaper%2B93x110cm.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="776" data-original-width="1200" src="https://1.bp.blogspot.com/-LrevWMD9P04/YJfdwfrINEI/AAAAAAAAXAg/xtmDUbdRa4cVSNT1ST8PfA6Ix-T7LvynQCLcBGAsYHQ/s320/Martinez%2BBarreto%252C%2BConcha%2B%2527The%2BTunnel%2527%252C%2B2020%2BPhotograph%2Bon%2B350%2Bg.%2BHahnem%25C3%25BChle%2BBaryta%2Bpaper%2B93x110cm.png" width="320" /></a></div><br /><p></p><p class="MsoNormal" style="margin-right: 2.8pt;">In totality Martínez Barreto’s
work is redolent with implied narrative and disguised autobiography. Indeed, the
exhibition as a whole and each individual piece within can be considered a
letter that Martínez Barreto did not write.<o:p></o:p></p><p>
<br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-sbt-ricjr-0/YJfdLTzQAbI/AAAAAAAAXAQ/dG0z8wxWMmIkrVuQLvy15Kt3eyx_ikLswCLcBGAsYHQ/s1400/Martinez%2BBarreto%252C%2BConcha%2B%2527Eyes%2BWaiting%2527%252C%2B2020%2BAcrylic%2Band%2Bgraphite%2Bon%2Bpaper%2B65x53cm.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1400" data-original-width="1140" height="320" src="https://1.bp.blogspot.com/-sbt-ricjr-0/YJfdLTzQAbI/AAAAAAAAXAQ/dG0z8wxWMmIkrVuQLvy15Kt3eyx_ikLswCLcBGAsYHQ/s320/Martinez%2BBarreto%252C%2BConcha%2B%2527Eyes%2BWaiting%2527%252C%2B2020%2BAcrylic%2Band%2Bgraphite%2Bon%2Bpaper%2B65x53cm.png" /></a></div><p></p>Zavier Ellis AKA Charlie Smithhttp://www.blogger.com/profile/06488449222938263361noreply@blogger.com0tag:blogger.com,1999:blog-537910209363968132.post-25036132720602988652020-09-18T15:38:00.001+01:002021-05-10T12:01:54.918+01:00Geraldine Swayne | Annunciation | Sept-Oct 2020<p class="MsoNormal" style="margin-right: 2.8pt;"><span style="color: black; mso-bidi-font-size: 10.0pt; mso-bidi-font-style: italic;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="color: black; mso-bidi-font-size: 10.0pt; mso-bidi-font-style: italic;"><a href="https://1.bp.blogspot.com/-NqWBWPV83zw/YJfzI816U1I/AAAAAAAAXEs/ZvNw60CdODYCoaqhNa6wWgOPWZlG2avogCLcBGAsYHQ/s1329/Swayne%252C%2BGeraldine%2B%2527Bad%2BServant%2527%252C%2B2020%2BOil%2Bon%2Bcanvas%2B91.5x121cm_lo.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="1329" src="https://1.bp.blogspot.com/-NqWBWPV83zw/YJfzI816U1I/AAAAAAAAXEs/ZvNw60CdODYCoaqhNa6wWgOPWZlG2avogCLcBGAsYHQ/s320/Swayne%252C%2BGeraldine%2B%2527Bad%2BServant%2527%252C%2B2020%2BOil%2Bon%2Bcanvas%2B91.5x121cm_lo.jpg" width="320" /></a></span></div><span style="color: black; mso-bidi-font-size: 10.0pt; mso-bidi-font-style: italic;"><br /><br /><br />CHARLIE SMITH LONDON is
delighted to present Geraldine Swayne in her first solo exhibition at the
gallery, which was originally scheduled for March 2020 and postponed due to the
Covid pandemic.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span><p></p>
<p class="MsoNormal" style="margin-right: 2.8pt;"><span style="color: black; mso-bidi-font-size: 10.0pt; mso-bidi-font-style: italic;"><o:p> </o:p></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-FRpQ-9oooxw/YJfzQ0QtR2I/AAAAAAAAXE4/mbVy2mSvbyIRoD0WlQB8hFHM62ul26jnACLcBGAsYHQ/s2048/DSCF8531.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1365" data-original-width="2048" src="https://1.bp.blogspot.com/-FRpQ-9oooxw/YJfzQ0QtR2I/AAAAAAAAXE4/mbVy2mSvbyIRoD0WlQB8hFHM62ul26jnACLcBGAsYHQ/s320/DSCF8531.JPG" width="320" /></a></div><p></p>
<p class="MsoNormal" style="margin-right: 2.8pt;"><span style="color: black; mso-bidi-font-size: 10.0pt; mso-bidi-font-style: italic;">Swayne is well known for her
intimate portrait and figure paintings in enamel on copper or aluminium. Her
subjects engage in everyday activities – listening to music; sewing; putting on
lipstick; drinking. Sometimes they are clothed, and often they are unclothed –
sitting, lying, having sex, or being spanked. Engaging in everyday activities.</span></p><p class="MsoNormal" style="margin-right: 2.8pt;"><span style="color: black; mso-bidi-font-size: 10.0pt; mso-bidi-font-style: italic;"><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p><div class="separator" style="clear: both; text-align: center;"><span style="color: black; mso-bidi-font-size: 10.0pt; mso-bidi-font-style: italic;"><a href="https://1.bp.blogspot.com/-0TIac8xtFss/YJfzQ2sxNRI/AAAAAAAAXE0/GEwI9YdkRoEQvjxxh-HVaCQN-9zbg5L7QCLcBGAsYHQ/s2048/Swayne%252C%2BGeraldine%2B%25E2%2580%2598Model%2Band%2BYellow%25E2%2580%2599%252C%2B2020%2BEnamel%2Bon%2Bcanvas%2B61x46cm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1544" height="320" src="https://1.bp.blogspot.com/-0TIac8xtFss/YJfzQ2sxNRI/AAAAAAAAXE0/GEwI9YdkRoEQvjxxh-HVaCQN-9zbg5L7QCLcBGAsYHQ/s320/Swayne%252C%2BGeraldine%2B%25E2%2580%2598Model%2Band%2BYellow%25E2%2580%2599%252C%2B2020%2BEnamel%2Bon%2Bcanvas%2B61x46cm.jpg" /></a></span></div><p></p>
<p class="MsoNormal" style="margin-right: 2.8pt;"><span style="color: black; mso-bidi-font-size: 10.0pt; mso-bidi-font-style: italic;">In this exhibition, recalling
earlier work, Swayne effortlessly scales up to combine small paintings with
larger paintings. Her subjects are derived from various sources, including 18<sup>th</sup>
century ceramics; anonymous vintage photographs; a cache of photographs found
in a serial killer’s lock up; and her own iPhone pictures. The identity of the
subject, therefore, is often unimportant, or at least less important than the
feeling conveyed. It is the emotional and psychological register to which
Swayne responds, and then mediates. As she has previously stated: </span>“I paint atmospheres. The
insinuated, unspoken and unspeakable evidence of the human personality. The
bodies and faces of the subjects I choose reflect an interior mystery, and I
try to amplify this riddle in the rendition of the subject.”</p><p class="MsoNormal" style="margin-right: 2.8pt;"><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-Maesh9vEL7E/YJfzQyabYkI/AAAAAAAAXEw/BScN8WdRoAsUeQRzvXN2FpFOmhUYvC6KACLcBGAsYHQ/s2048/Swayne%252C%2BGeraldine%2B%25E2%2580%2598Naples%2BYellow%25E2%2580%2599%252C%2B2020%2BOil%2B%2526%2Bacrylic%2Bon%2Bcanvas%2B102x76cm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1540" height="320" src="https://1.bp.blogspot.com/-Maesh9vEL7E/YJfzQyabYkI/AAAAAAAAXEw/BScN8WdRoAsUeQRzvXN2FpFOmhUYvC6KACLcBGAsYHQ/s320/Swayne%252C%2BGeraldine%2B%25E2%2580%2598Naples%2BYellow%25E2%2580%2599%252C%2B2020%2BOil%2B%2526%2Bacrylic%2Bon%2Bcanvas%2B102x76cm.jpg" /></a></div><p></p>
<p class="MsoNormal" style="margin-right: 2.8pt;"><span style="color: black; mso-bidi-font-size: 10.0pt; mso-bidi-font-style: italic;">Technically, Swayne’s style is
uniquely fluid and transfers expertly from miniature through to
monumental.<span style="mso-spacerun: yes;"> </span>And her approach to her
practice as a whole is instinctive. Underlying her work is an ongoing exploration
of humanity, subtly played by presenting us with, at face value, the familiar. But
Swayne loads the unfamiliar into the familiar; and extraordinary into the
ordinary, as if conveying messages or annunciations from elsewhere that are
channelled from the macro, via the micro, and vice versa.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p><div class="separator" style="clear: both; text-align: center;"><span style="color: black; mso-bidi-font-size: 10.0pt; mso-bidi-font-style: italic;"><a href="https://1.bp.blogspot.com/--vBXjMOQbog/YJfzVC1dXMI/AAAAAAAAXE8/Obca3eY1n8Y4dRKU724c3GIcOJ0DF95_gCLcBGAsYHQ/s2048/Swayne%252C%2BGeraldine%2B%2527Armstrong%2527%252C%2B2019%2BEnamel%2Bon%2Baluminium%2B18.5x23.5cm%2Bframed.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1496" data-original-width="2048" src="https://1.bp.blogspot.com/--vBXjMOQbog/YJfzVC1dXMI/AAAAAAAAXE8/Obca3eY1n8Y4dRKU724c3GIcOJ0DF95_gCLcBGAsYHQ/s320/Swayne%252C%2BGeraldine%2B%2527Armstrong%2527%252C%2B2019%2BEnamel%2Bon%2Baluminium%2B18.5x23.5cm%2Bframed.jpg" width="320" /></a></span></div><p></p>Zavier Ellis AKA Charlie Smithhttp://www.blogger.com/profile/06488449222938263361noreply@blogger.com0tag:blogger.com,1999:blog-537910209363968132.post-37175217476254214892020-04-01T14:59:00.001+01:002021-05-10T12:01:02.507+01:00Project Papyrophilia | April-Aug 2021<p class="MsoNormal" style="margin-right: 2.8pt;"><span style="color: black; font-size: 12pt; mso-bidi-font-style: italic;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="color: black; font-size: 12pt; mso-bidi-font-style: italic;"><a href="https://1.bp.blogspot.com/-l9wui_uYVgg/YJfqYRvMdbI/AAAAAAAAXCQ/qgDlcL1N_dEr3m-tlTJfobvAHYqkOS9SQCLcBGAsYHQ/s1500/Morrison%252C%2BAlex%2BGene%2B%25E2%2580%2598Legion%2B7%2527%252C%2B2020%2BInk%252C%2Bwatercolour%252C%2Bgouache%252C%2Bpencil%2Bon%2Bpaper%2B21x29.7cm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1060" data-original-width="1500" src="https://1.bp.blogspot.com/-l9wui_uYVgg/YJfqYRvMdbI/AAAAAAAAXCQ/qgDlcL1N_dEr3m-tlTJfobvAHYqkOS9SQCLcBGAsYHQ/s320/Morrison%252C%2BAlex%2BGene%2B%25E2%2580%2598Legion%2B7%2527%252C%2B2020%2BInk%252C%2Bwatercolour%252C%2Bgouache%252C%2Bpencil%2Bon%2Bpaper%2B21x29.7cm.jpg" width="320" /></a></span></div><span style="color: black; font-size: 12pt; mso-bidi-font-style: italic;"><br /><br />Online exhibition PROJECT PAPYROPHILIA
sells a phenomenal 55 pieces in the first week!</span><p></p><p class="MsoNormal" style="margin-right: 2.8pt;">Launched in April by CHARLIE
SMITH LONDON, the gallery’s anti-virus initiative PROJECT PAPYROPHILIA sold a
remarkable 55 pieces in its first week.</p>
<p class="MsoNormal" style="margin-right: 2.8pt;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-iBSvALUCxj0/YJfqX8T72ZI/AAAAAAAAXCM/kiXC8jESYfw3T50maDOaTNsaBOq6PHzsACLcBGAsYHQ/s1600/Boffey%252C%2BMichael%2B%2527Still%2Blife%2Bwith%2BCrucifix%2B2%2527%252C%2B2020%2BSilver%2Bgelatin%2Bprint%2Bon%2Bwatercolour%2Bpaper%2B29.7x21cm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1127" height="320" src="https://1.bp.blogspot.com/-iBSvALUCxj0/YJfqX8T72ZI/AAAAAAAAXCM/kiXC8jESYfw3T50maDOaTNsaBOq6PHzsACLcBGAsYHQ/s320/Boffey%252C%2BMichael%2B%2527Still%2Blife%2Bwith%2BCrucifix%2B2%2527%252C%2B2020%2BSilver%2Bgelatin%2Bprint%2Bon%2Bwatercolour%2Bpaper%2B29.7x21cm.jpg" /></a></div><span style="color: black; mso-bidi-font-size: 10.0pt; mso-bidi-font-style: italic;"><o:p> </o:p></span><p></p>
<p class="MsoNormal" style="margin-right: 2.8pt;"><span style="color: black; mso-bidi-font-size: 10.0pt; mso-bidi-font-style: italic;">Curated by gallery director,
curator and practicing artist Zavier Ellis, PROJECT PAPYROPHILIA is the gallery’s
response to the unprecedented situation in which we find ourselves. PROJECT
PAPYROPHILIA is an exclusively online exhibition of work on paper that is live
on Artsy, the online platform for discovering, buying and selling fine art.
Ellis states:</span></p><p class="MsoNormal" style="margin-right: 2.8pt;"><br /><span style="color: black; mso-bidi-font-size: 10.0pt; mso-bidi-font-style: italic;"><o:p></o:p></span></p><div class="separator" style="clear: both; text-align: center;"><span style="color: black; mso-bidi-font-size: 10.0pt; mso-bidi-font-style: italic;"><a href="https://1.bp.blogspot.com/-Hw8SW0VzWUI/YJfqXhEeBYI/AAAAAAAAXCE/7NhonduAR9sIxh2Ot6sFLqz-UVuZPFLkwCLcBGAsYHQ/s1080/Mendes%252C%2BHugh%2B%2527Basquiat_Revealed%2527%252C%2B2020%2BInk%252C%2Bpencil%252C%2Bcoloured%2Bpencil%2Bon%2Bdigital%2Bprint%2B28.3x19.6cm_INSTA.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1080" height="320" src="https://1.bp.blogspot.com/-Hw8SW0VzWUI/YJfqXhEeBYI/AAAAAAAAXCE/7NhonduAR9sIxh2Ot6sFLqz-UVuZPFLkwCLcBGAsYHQ/s320/Mendes%252C%2BHugh%2B%2527Basquiat_Revealed%2527%252C%2B2020%2BInk%252C%2Bpencil%252C%2Bcoloured%2Bpencil%2Bon%2Bdigital%2Bprint%2B28.3x19.6cm_INSTA.jpg" /></a></span></div><p></p>
<p class="MsoNormal" style="margin-right: 2.8pt;"><span style="color: black; mso-bidi-font-size: 10.0pt; mso-bidi-font-style: italic;">“I and the artists are delighted
with the phenomenal response of collectors and the support they have shown. All
artists have sold and Sam Jackson, in particular, has absolutely flown - we
simply can’t get enough of his work. I have some great artists joining the
project soon and we’re developing a virtual reality version of the show.”<o:p></o:p></span></p><div class="separator" style="clear: both; text-align: center;"><span style="color: black; mso-bidi-font-size: 10.0pt; mso-bidi-font-style: italic;"><a href="https://1.bp.blogspot.com/-QN5PW_hFsH8/YJfqX_iV5zI/AAAAAAAAXCI/_iPUuQ3jtXAjeIGgHn20eYQ4nntJdQ2fgCLcBGAsYHQ/s1092/Moon%252C%2BRichard%2B%2527Aristocrat%2BI%2527%252C%2B2020%2BWater%2Bsoluble%2Bgraphite%2Bon%2Bpaper%2B29x19cm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1092" data-original-width="709" height="320" src="https://1.bp.blogspot.com/-QN5PW_hFsH8/YJfqX_iV5zI/AAAAAAAAXCI/_iPUuQ3jtXAjeIGgHn20eYQ4nntJdQ2fgCLcBGAsYHQ/s320/Moon%252C%2BRichard%2B%2527Aristocrat%2BI%2527%252C%2B2020%2BWater%2Bsoluble%2Bgraphite%2Bon%2Bpaper%2B29x19cm.jpg" /></a></span></div><p></p>
<p class="MsoNormal" style="margin-right: 2.8pt;"><span style="color: black; mso-bidi-font-size: 10.0pt; mso-bidi-font-style: italic;">All work is available at just
£250 including P&P and the exhibition is an ongoing, fluid project where
new work and new artists are continuously added.</span></p><p class="MsoNormal" style="margin-right: 2.8pt;"><br /><span style="color: black; mso-bidi-font-size: 10.0pt; mso-bidi-font-style: italic;"><o:p></o:p></span></p><div class="separator" style="clear: both; text-align: center;"><span style="color: black; mso-bidi-font-size: 10.0pt; mso-bidi-font-style: italic;"><a href="https://1.bp.blogspot.com/-9uuexcGIO80/YJfqYvHwzwI/AAAAAAAAXCU/zIlIKnbkBDAVbz5_2cPviJt-ukIIH641ACLcBGAsYHQ/s1895/Risley%252C%2BDavid%2B%2527Weed%2BStore%2B2%2527%252C%2B2020%2BWatercolour%2Bon%2BFabriano%2Bpaper%2B23x31cm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1457" data-original-width="1895" src="https://1.bp.blogspot.com/-9uuexcGIO80/YJfqYvHwzwI/AAAAAAAAXCU/zIlIKnbkBDAVbz5_2cPviJt-ukIIH641ACLcBGAsYHQ/s320/Risley%252C%2BDavid%2B%2527Weed%2BStore%2B2%2527%252C%2B2020%2BWatercolour%2Bon%2BFabriano%2Bpaper%2B23x31cm.jpg" width="320" /></a></span></div><p></p>
<p class="MsoNormal" style="margin-right: 2.8pt;"><span style="color: black; mso-bidi-font-size: 10.0pt; mso-bidi-font-style: italic;"><o:p> </o:p></span></p>Zavier Ellis AKA Charlie Smithhttp://www.blogger.com/profile/06488449222938263361noreply@blogger.com0tag:blogger.com,1999:blog-537910209363968132.post-2638876971854746032020-02-14T15:17:00.005+00:002021-05-10T11:59:18.133+01:00Hugh Mendes | Autorretrato: The Female Gaze | Feb-Mar 2020<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-BXVGH2Z1OdM/YJkR8D-XRXI/AAAAAAAAXG8/EqLhNGQ9G1QIdSNQzomY88Z1fHmFrBUsgCLcBGAsYHQ/s2048/Mendes%252C%2BHugh%2B%2527Obituary_Carolee%2BSchneemann%2527%252C%2B2019%2BOil%2Bon%2Blinen%2B30x20cm.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1375" height="320" src="https://1.bp.blogspot.com/-BXVGH2Z1OdM/YJkR8D-XRXI/AAAAAAAAXG8/EqLhNGQ9G1QIdSNQzomY88Z1fHmFrBUsgCLcBGAsYHQ/s320/Mendes%252C%2BHugh%2B%2527Obituary_Carolee%2BSchneemann%2527%252C%2B2019%2BOil%2Bon%2Blinen%2B30x20cm.JPG" /></a></div><br /><p></p><p class="MsoNormal" style="margin-right: 2.8pt;">‘<span style="color: black; mso-bidi-font-size: 10.0pt; mso-bidi-font-style: italic;">Taking obituaries out of context
is a very important aspect of my practice. Fundamental. I hope to engage the
viewer in an entirely different way. Painting is a very slow process.’</span></p><p class="MsoNormal" style="margin-right: 2.8pt;"><span style="color: black; mso-bidi-font-size: 10.0pt; mso-bidi-font-style: italic;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="color: black; mso-bidi-font-size: 10.0pt; mso-bidi-font-style: italic;"><a href="https://1.bp.blogspot.com/-MI4pHS74HwM/YJfu339FQSI/AAAAAAAAXEk/qJY2fUAmoRIqg4pq5Kcri8c8JuHru0pSACLcBGAsYHQ/s1870/Mendes%252C%2BHugh%2B%2527Obituary_Artemisia%2BGentileschi%2527%252C%2B2019%2BOil%2Bon%2Blinen%2B35x25cm.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1870" data-original-width="1336" height="320" src="https://1.bp.blogspot.com/-MI4pHS74HwM/YJfu339FQSI/AAAAAAAAXEk/qJY2fUAmoRIqg4pq5Kcri8c8JuHru0pSACLcBGAsYHQ/s320/Mendes%252C%2BHugh%2B%2527Obituary_Artemisia%2BGentileschi%2527%252C%2B2019%2BOil%2Bon%2Blinen%2B35x25cm.JPG" /></a></span></div><span style="color: black; mso-bidi-font-size: 10.0pt; mso-bidi-font-style: italic;"><br /></span><p></p>
<p class="MsoNormal" style="margin-right: 2.8pt;"><span style="color: black; mso-bidi-font-size: 10.0pt; mso-bidi-font-style: italic;">CHARLIE SMITH LONDON is
delighted to present Hugh Mendes in his first solo since his sell-out 2018
exhibition ‘Autorretrato’. In response to that exhibition, where he made a
series of obituary paintings based almost entirely on self-portraits of male
artists, Mendes switches focus here. Having emphasised the inherited bias of a
male dominated history of western art, Mendes continues by affirming the
breadth and power of women artists from the 16<sup>th</sup> to 20<sup>th</sup>
centuries who are influential and inspirational to him. <span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span></span></p>
<p class="MsoNormal" style="margin-right: 2.8pt;"><span style="color: black; mso-bidi-font-size: 10.0pt; mso-bidi-font-style: italic;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="color: black; mso-bidi-font-size: 10.0pt; mso-bidi-font-style: italic;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEio_jrdWZ4IrenU2u96IARcqyHHt3qKdvItg7L4rx6Es5qCPEaji553nkOVRDH0YnGn1rE7SfCp6ejMmbhSRxdzpUbDvVHZcgu_pI80UjMZo9Dfv8MuZy3Woju-BBsn_etyAhqeRpDz_nJL/s2048/Mendes%252C+Hugh+%2527Obituary_Vanessa+Bell%2527%252C+2019+Oil+on+linen+30x20cm.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1356" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEio_jrdWZ4IrenU2u96IARcqyHHt3qKdvItg7L4rx6Es5qCPEaji553nkOVRDH0YnGn1rE7SfCp6ejMmbhSRxdzpUbDvVHZcgu_pI80UjMZo9Dfv8MuZy3Woju-BBsn_etyAhqeRpDz_nJL/s320/Mendes%252C+Hugh+%2527Obituary_Vanessa+Bell%2527%252C+2019+Oil+on+linen+30x20cm.JPG" /></a></span></div><div class="separator" style="clear: both; text-align: center;"><span style="color: black; mso-bidi-font-size: 10.0pt; mso-bidi-font-style: italic;"><br /></span></div><span style="color: black; mso-bidi-font-size: 10.0pt; mso-bidi-font-style: italic;">Mendes began making still life
paintings of newspaper articles in 2001. As his practice has evolved his
intentions have become gradually more specific, progressing from painting
mostly political articles to obituaries of those of interest generally, to
obituaries of artists and then those derived solely from self-portraits. Mendes
also began to revert from the present exclusively to historical figures. And always,
throughout his career, he has steadfastly painted subjects of profound personal
interest.</span><p></p><p class="MsoNormal" style="margin-right: 2.8pt;"><span style="color: black; mso-bidi-font-size: 10.0pt; mso-bidi-font-style: italic;"><o:p></o:p></span></p><div class="separator" style="clear: both; text-align: center;"><span style="color: black; mso-bidi-font-size: 10.0pt; mso-bidi-font-style: italic;"><a href="https://1.bp.blogspot.com/-k4kXXOnUp8M/YJfuZ0bfP-I/AAAAAAAAXEQ/-U6ZH8O-o4AbezjjbsrZZNEwuS71Y2QaQCLcBGAsYHQ/s2048/Mendes%252C%2BHugh%2B%2527Obituary_Gwen%2BJohn%2527%252C%2B2019%2BOil%2Bon%2Blinen%2B40x30cm.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1520" height="320" src="https://1.bp.blogspot.com/-k4kXXOnUp8M/YJfuZ0bfP-I/AAAAAAAAXEQ/-U6ZH8O-o4AbezjjbsrZZNEwuS71Y2QaQCLcBGAsYHQ/s320/Mendes%252C%2BHugh%2B%2527Obituary_Gwen%2BJohn%2527%252C%2B2019%2BOil%2Bon%2Blinen%2B40x30cm.JPG" /></a></span></div><p></p>
<p class="MsoNormal" style="margin-right: 2.8pt;">Mendes goes to great lengths to understand
his subjects. As an experienced artist and BA / MA tutor at City & Guilds
of London Art School, he is most often familiar with their life and work.
However, Mendes embarks on deep research by reading; watching videos; listening
to interviews where possible; and most importantly going to visit the original
work. He seeks to bring the persona of the artist into his studio; and almost
inhabit their work, entering into a profound dialogue with his subjects. The
result is slow painting that represents an intriguing synthesis of the style of
Mendes; his subjects; and the mechanical reproductive processes that occur in
between. <span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span></p><p class="MsoNormal" style="margin-right: 2.8pt;"><span style="color: black; mso-bidi-font-size: 10.0pt; mso-bidi-font-style: italic;"><o:p></o:p></span></p><div class="separator" style="clear: both; text-align: center;"><span style="color: black; mso-bidi-font-size: 10.0pt; mso-bidi-font-style: italic;"><a href="https://1.bp.blogspot.com/-D_mNfvaj0zs/YJfuZgzs_5I/AAAAAAAAXEM/XknklnpEFZsL49g0-mLOLdrjtM6psFctQCLcBGAsYHQ/s2048/Mendes%252C%2BHugh%2B%2527Obituary_Alice%2BNeel%2527%252C%2B2019%2BOil%2Bon%2Blinen%2B35x25cm.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1442" height="320" src="https://1.bp.blogspot.com/-D_mNfvaj0zs/YJfuZgzs_5I/AAAAAAAAXEM/XknklnpEFZsL49g0-mLOLdrjtM6psFctQCLcBGAsYHQ/s320/Mendes%252C%2BHugh%2B%2527Obituary_Alice%2BNeel%2527%252C%2B2019%2BOil%2Bon%2Blinen%2B35x25cm.JPG" /></a></span></div><p></p>Zavier Ellis AKA Charlie Smithhttp://www.blogger.com/profile/06488449222938263361noreply@blogger.com0tag:blogger.com,1999:blog-537910209363968132.post-14383364055975109682020-01-17T15:05:00.001+00:002021-05-10T11:56:23.905+01:00Words that transform, vibrate and glow: 13 paintings inspired by the lyrics of Nick Cave | Jan-Feb2021<p class="MsoNormal" style="margin-right: 2.8pt;"><span style="color: black; mso-themecolor: text1;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="color: black; mso-themecolor: text1;"><a href="https://1.bp.blogspot.com/-RkrQpYVJZNU/YJfrzQMhJKI/AAAAAAAAXC4/L2wx-R3Ud7Epfe2cDuSHRfdm6xF4PjYcgCLcBGAsYHQ/s2048/Feinson%252C%2BNadine%2B%2527Butcher%2BBird%2BTree%2527%252C%2B2016%2BOil%2Bon%2Bcanvas%2B215x165cm.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1575" height="320" src="https://1.bp.blogspot.com/-RkrQpYVJZNU/YJfrzQMhJKI/AAAAAAAAXC4/L2wx-R3Ud7Epfe2cDuSHRfdm6xF4PjYcgCLcBGAsYHQ/s320/Feinson%252C%2BNadine%2B%2527Butcher%2BBird%2BTree%2527%252C%2B2016%2BOil%2Bon%2Bcanvas%2B215x165cm.jpg" /></a></span></div><span style="color: black; mso-themecolor: text1;"><br /><br />CHARLIE SMITH LONDON is delighted to invite curator and
collector Angela Koulakoglou to present <i>Words that transform, vibrate and
glow: 13 paintings inspired by the lyrics of Nick Cave | <o:p></o:p></i></span>Emma Bennett, Daniel P. Carter, Nadine Feinson, Maggi Hambling, Florian Heinke, Sam Jackson, James Johnston, Susanne Kühn, Concha Martinez Barreto, George Shaw, Dominic Shepherd, George Stamatakis, Rose Wylie <p></p>
<p class="MsoNormal" style="margin-right: 2.8pt;"><span style="color: black; mso-themecolor: text1;"><o:p> </o:p></span></p><div class="separator" style="clear: both; text-align: center;"><span style="color: black; mso-themecolor: text1;"><a href="https://1.bp.blogspot.com/-cNImUUIAvy0/YJfr-qTgXsI/AAAAAAAAXC8/b6eBNZXn9a8h7JMGWoLgCxMHs_EKjcNoACLcBGAsYHQ/s2048/Hambling%252C%2BMaggi%2B%2527Night%2Bof%2Bthe%2BLotus%2BEaters%2527%252C%2B2019%2BOil%2Bon%2Bcanvas%2B198.12x226.06cm.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1804" data-original-width="2048" src="https://1.bp.blogspot.com/-cNImUUIAvy0/YJfr-qTgXsI/AAAAAAAAXC8/b6eBNZXn9a8h7JMGWoLgCxMHs_EKjcNoACLcBGAsYHQ/s320/Hambling%252C%2BMaggi%2B%2527Night%2Bof%2Bthe%2BLotus%2BEaters%2527%252C%2B2019%2BOil%2Bon%2Bcanvas%2B198.12x226.06cm.jpg" width="320" /></a></span></div><span style="color: black; mso-themecolor: text1;"><br /></span><p></p>
<p class="MsoNormal" style="margin-right: 2.8pt;"><span style="color: black; mso-themecolor: text1;">The exhibition was conceived over a year ago and its
timing is prescient; Cave’s latest album, <i>Ghosteen</i>, was released with a
hallucinatory painting as its cover in October 2019. Unprecedented in their
visuality and striking in their ability to conjure apocalyptic landscapes, all
the songs on <i>Ghosteen</i> are visions. As Cave embarks on a world tour in
2020, a conversation between his lyrics and painting becomes all the more
relevant. <o:p></o:p></span></p>
<p class="MsoNormal" style="margin-right: 2.8pt;"><span style="color: black; mso-themecolor: text1;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="color: black; mso-themecolor: text1;"><a href="https://1.bp.blogspot.com/-Nh-3S8m_Fbs/YJfrzC74HVI/AAAAAAAAXC0/PqL1cgZu8qkyl_f4h5G81FfwZ2cnh7yXQCLcBGAsYHQ/s2048/Bennett%252C%2BEmma%2B%2527Stranger%2Bthan%2BKindness%2527%252C%2B2019%2BOil%2Bon%2Bcanvas%2B72x62cm.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1764" height="320" src="https://1.bp.blogspot.com/-Nh-3S8m_Fbs/YJfrzC74HVI/AAAAAAAAXC0/PqL1cgZu8qkyl_f4h5G81FfwZ2cnh7yXQCLcBGAsYHQ/s320/Bennett%252C%2BEmma%2B%2527Stranger%2Bthan%2BKindness%2527%252C%2B2019%2BOil%2Bon%2Bcanvas%2B72x62cm.jpg" /></a></span></div><span style="color: black; mso-themecolor: text1;"><br />
‘I can’t write a song that I cannot see’, Cave once stated in an interview. Having
started his career as a painter, he soon turned to song writing and over
several decades has produced a body of lyrics unparalleled in their consistent
richness, unforgettable imagery, and unique combinations of darkness, humour,
despair and hope. Drawn from songs written throughout his career, from
the famed Peaky Blinders signature tune <i>Red Right Hand</i> to the early and
more obscure <i>Release the Bats</i>, the thirteen paintings included in this
exhibition are testimony to the fertile but often unexplored territory that
lies between the arts. Three of the artists present are musicians: James
Johnston was in fact a member of <i>Nick Cave and the Bad Seeds</i> between
2003 and 2008; Emma Bennett is the bassist for <i>Dear Thief;</i> and Daniel P.
Carter, who also hosts BBC Radio 1’s <i>Rock Show</i>, performs with metal
group <i>Krokodil</i>.</span><p></p><p class="MsoNormal" style="margin-right: 2.8pt;"><br /><span style="color: black; mso-themecolor: text1;"><o:p></o:p></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWNDNhV_U9RMJ5P9mZFTzxnBrxaUo7OM3XYAkROrnqqPr1nsLApq_DgPPPVr1x_xKIGpe7lax5J8DWb78Z54_NKUzbxKbC8R2DOK-mb_eupSW3OGuh29Ekt0C2g3JHW7PNS4JEY7xN6CjY/s1375/Stamatakis%252C+George+%2527I%25E2%2580%2599m+transforming%252C+I%25E2%2580%2599m+vibrating%252C+I%25E2%2580%2599m+glowing...%2527%252C+2019+Oil+on+canvas+60x90cm.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="910" data-original-width="1375" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWNDNhV_U9RMJ5P9mZFTzxnBrxaUo7OM3XYAkROrnqqPr1nsLApq_DgPPPVr1x_xKIGpe7lax5J8DWb78Z54_NKUzbxKbC8R2DOK-mb_eupSW3OGuh29Ekt0C2g3JHW7PNS4JEY7xN6CjY/s320/Stamatakis%252C+George+%2527I%25E2%2580%2599m+transforming%252C+I%25E2%2580%2599m+vibrating%252C+I%25E2%2580%2599m+glowing...%2527%252C+2019+Oil+on+canvas+60x90cm.jpg" width="320" /></a></div><p></p>
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The participating artists represent different generations, backgrounds, and
ethnicities and they approach their art in different ways. Each one has ‘seen’
their painting in Cave’s lyrics in a reverse trajectory to that of the poet. Connecting
word to world, the paintings in this exhibition occupy the space in between,
opening up new imaginative possibilities. Deeply personal, unexpected and
moving, poetry meets image in these thirteen powerful paintings that stretch
our sensory and spiritual boundaries. </span></p><p class="MsoNormal" style="margin-right: 2.8pt;"><span style="color: black; mso-themecolor: text1;"> </span></p><div class="separator" style="clear: both; text-align: center;"><span style="color: black; mso-themecolor: text1;"><a href="https://1.bp.blogspot.com/-iiBN0J3uPjA/YJfrTSJ1fwI/AAAAAAAAXCo/kW-_QN_3ZM4P79DPUZndenb0fR38rthCwCLcBGAsYHQ/s1500/K%25C3%25BChn%252C%2BSusanne%2B%2527This%2Bgarden%2Bthat%2BI%2Bbuilt%2Bfor%2Byou...%2527%252C%2B2016%2BAcrylic%2Bon%2Bcanvas%2B220x130cm.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1500" data-original-width="884" height="320" src="https://1.bp.blogspot.com/-iiBN0J3uPjA/YJfrTSJ1fwI/AAAAAAAAXCo/kW-_QN_3ZM4P79DPUZndenb0fR38rthCwCLcBGAsYHQ/s320/K%25C3%25BChn%252C%2BSusanne%2B%2527This%2Bgarden%2Bthat%2BI%2Bbuilt%2Bfor%2Byou...%2527%252C%2B2016%2BAcrylic%2Bon%2Bcanvas%2B220x130cm.jpg" /></a></span></div><span style="color: black; mso-themecolor: text1;"><br /><o:p></o:p></span><p></p><div><br /></div>Zavier Ellis AKA Charlie Smithhttp://www.blogger.com/profile/06488449222938263361noreply@blogger.com0tag:blogger.com,1999:blog-537910209363968132.post-92206996660231646622019-11-22T13:30:00.001+00:002021-05-10T11:43:17.854+01:00Barry Thompson | Bleeding for the light | Nov-Dec 2019<br />
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<a href="https://1.bp.blogspot.com/-r3MHL0EEIeo/XqmQNpT5K2I/AAAAAAAANcI/VKgGTo3S4nA-fff9wYG5ZBu3oObU9IaFACLcBGAsYHQ/s1600/Thompson%252C%2BBarry%2B%2527Kill%2Bme%2Bagain%2Bwith%2Blove%2527%252C%2B2019%2BOil%2Bon%2Bpanel%2B11.5x18cm_Cropped.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1015" data-original-width="1600" height="203" src="https://1.bp.blogspot.com/-r3MHL0EEIeo/XqmQNpT5K2I/AAAAAAAANcI/VKgGTo3S4nA-fff9wYG5ZBu3oObU9IaFACLcBGAsYHQ/s320/Thompson%252C%2BBarry%2B%2527Kill%2Bme%2Bagain%2Bwith%2Blove%2527%252C%2B2019%2BOil%2Bon%2Bpanel%2B11.5x18cm_Cropped.jpg" width="320" /></a></div>
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<div class="MsoNormal" style="margin-right: 2.8pt;">CHARLIE SMITH LONDON is
delighted to present Barry Thompson’s first solo exhibition at the gallery.
Thompson, a graduate of the Royal College of Art in 2005, is recognised for his
impeccable miniature landscape paintings and figurative drawings.</div>
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<a href="https://1.bp.blogspot.com/-ZM7gMZFWr00/XqmQUMfo9LI/AAAAAAAANck/SSm7wz_ZVFEuxPXd7xwXPUwQfAzJDUnfwCLcBGAsYHQ/s1600/Thompson%252C%2BBarry%2B%2527Theres%2Ba%2Bfeeling%2Bthats%2Binside%2Bme%2Btelling%2Bme%2Bto%2Bget%2Baway%2527%252C%2B2019%2BOil%2Bon%2Bpanel%2B11.5x18cm_Cropped.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1019" data-original-width="1600" height="203" src="https://1.bp.blogspot.com/-ZM7gMZFWr00/XqmQUMfo9LI/AAAAAAAANck/SSm7wz_ZVFEuxPXd7xwXPUwQfAzJDUnfwCLcBGAsYHQ/s320/Thompson%252C%2BBarry%2B%2527Theres%2Ba%2Bfeeling%2Bthats%2Binside%2Bme%2Btelling%2Bme%2Bto%2Bget%2Baway%2527%252C%2B2019%2BOil%2Bon%2Bpanel%2B11.5x18cm_Cropped.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div>Having grown up in Essex,
Thompson consistently references the sites and experiences of his childhood and
adolescent years. We might consider his landscapes as a setting of the scene
where activities and rites of passages would occur: a place of escape in an
apparently rural area which was in reality the urban wrapped wastelands of
Dagenham and nearby. Fittingly, the paintings are titled after songs that
Thompson would have been listening to at the time, alluding to the soundtrack
of formative years; obsessions of youth; and performance. Indeed, Thompson went
on to play in a band and considers the activities of his youth and the act of
making work to be performative. <span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-qtrleQkWEwk/YJfUcWzAM8I/AAAAAAAAW_E/9kvYZWgIh7w1PV-9GGeYVDlnyyknaiypwCLcBGAsYHQ/s2048/Thompson%252C%2BBarry%2B%2527I%2Bhad%2Bto%2Bthink%2Bof%2Bsomething%2Bsweet%252C%2Blove%2527s%2Blike%2Bsuicide%2527%252C%2B2019%2BOil%2Bon%2Bpanel%2B11.5x18cm_Cropped.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1304" data-original-width="2048" src="https://1.bp.blogspot.com/-qtrleQkWEwk/YJfUcWzAM8I/AAAAAAAAW_E/9kvYZWgIh7w1PV-9GGeYVDlnyyknaiypwCLcBGAsYHQ/s320/Thompson%252C%2BBarry%2B%2527I%2Bhad%2Bto%2Bthink%2Bof%2Bsomething%2Bsweet%252C%2Blove%2527s%2Blike%2Bsuicide%2527%252C%2B2019%2BOil%2Bon%2Bpanel%2B11.5x18cm_Cropped.jpg" width="320" /></a></div><br /><div class="MsoNormal" style="margin-right: 2.8pt;">Within this locale, Thompson sublimated
aggression by playing war games; or sexual urges by reading illicit magazines;
or more innocently developed a keen interest in ornithology. He would, as so
many others have done, act out fantasies during the phase orientated period of
adolescence, and it is these experiences that inform his drawings, leading to
series depicting soldiers, birds, rock stars and pornographic motifs.</div>
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<span style="color: black; mso-bidi-font-size: 10.0pt; mso-bidi-font-style: italic;">In this exhibition Thompson
continues to combine source material that signifies an ongoing exploration of
the historical and the autobiographical, blurring the boundaries between
fiction and reality; self and other; past and present. He has progressed from
depicting First World War soldiers from the Artists Rifles regiment, who were
based in his home town of Romford, to a combination of those with shell shock and
characters from Stanley Kubrick’s ‘Full Metal Jacket’, which explored the
psychological pressures undergone during military training. <o:p></o:p></span></div>
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<span style="color: black; mso-bidi-font-size: 10.0pt; mso-bidi-font-style: italic;">In his erotic drawings, Thompson
depicts Mary Millington (often in absence), a 1970’s model and actress of whom
Thompson was familiar. Millington suffered from depression and eventually
committed suicide with a cocktail of vodka and medication that Thompson himself
takes. In combination with twilight landscapes that suggest the hallucinatory
or transcendental, and studies of graffiti strewn trees, Thompson presents us
with a body of work that interrogates psychological disturbance; the
metaphysical; performance; nostalgia; creativity; and ultimately the self.<o:p></o:p></span></div><div class="MsoNormal" style="margin-right: 2.8pt;"><span style="color: black; mso-bidi-font-size: 10.0pt; mso-bidi-font-style: italic;"><br /></span></div>
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<a href="https://1.bp.blogspot.com/-Vb41QdVC1nM/Xql-ti0A76I/AAAAAAAANbw/cGQaEg3TzosVN74GM6ve5mKQDueHPh35wCLcBGAsYHQ/s1600/Bennett%252C%2BEmma%2B%2527Stranger%2Bthan%2BKindness%2527%252C%2B2019%2BOil%2Bon%2Bcanvas%2B72x62cm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1379" height="320" src="https://1.bp.blogspot.com/-Vb41QdVC1nM/Xql-ti0A76I/AAAAAAAANbw/cGQaEg3TzosVN74GM6ve5mKQDueHPh35wCLcBGAsYHQ/s320/Bennett%252C%2BEmma%2B%2527Stranger%2Bthan%2BKindness%2527%252C%2B2019%2BOil%2Bon%2Bcanvas%2B72x62cm.jpg" width="275" /></a></div>
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<blockquote class="tr_bq">
‘It’s the mouth of a volcano. Yes, mouth; and lava tongue. A body, a monstrous living body, both male and female. It emits, ejects. It is also an interior, an abyss. Something alive, that can die. Something inert that becomes agitated, now and then. Existing only intermittently. A constant menace. If predictable, usually not predicted. Capricious, untameable, malodorous.’ - Susan Sontag </blockquote>
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<a href="https://1.bp.blogspot.com/-rtK02dYm0xc/Xql99WitjaI/AAAAAAAANbU/NZbdI2hG3tIQ9wbV_sEXYmsPoHS7DW4UQCLcBGAsYHQ/s1600/EmmaBennett_Nu%25C3%25A9e%2BArdente_2019_72x62cm_Oil%2Bon%2Bcanvas%25282%2529_L.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="932" height="320" src="https://1.bp.blogspot.com/-rtK02dYm0xc/Xql99WitjaI/AAAAAAAANbU/NZbdI2hG3tIQ9wbV_sEXYmsPoHS7DW4UQCLcBGAsYHQ/s320/EmmaBennett_Nu%25C3%25A9e%2BArdente_2019_72x62cm_Oil%2Bon%2Bcanvas%25282%2529_L.jpg" width="276" /></a></div>
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CHARLIE SMITH LONDON is delighted to present Emma Bennett’s ‘Volcano Lovers’. Known for her exquisite paintings where she sets still life, game, interior and other elements against monochromatic black grounds, Bennett introduces us to an entirely new and dominant motif in this exhibition. </div>
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In recent years Bennett’s work has increasingly explored the uncanny by juxtaposing seemingly incongruous elements within a black void. Leading on from Susan Sontag’s philosophical novel ‘The Volcano Lover’ (1992), Bennett inexplicably interweaves the volcano as motif alongside her traditional elements, amplifying the sense of cognitive dissonance further. </div>
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<br />There is, however, a defiant internal logic within these paintings. Fruit, flowers, game, burning fires are of course memento mori. They are fulsome and life affirming but are fleeting, reminding us of the ephemeral nature of life. Bennett adopts the volcano as memento mori, but also acknowledges its threat which is, again, life affirming: <br /><br /><blockquote class="tr_bq">
‘I’m interested in volcanoes as both givers and takers of life. Life evolves out of volcanoes and it enriches the earth…it provides fertile abundance. And therefore, people set up their homes in close proximity to the volcano where the land is rich and plentiful. In Naples, Mount Vesuvius looms over the city as a constant reminder of what might happen. Yet people live here and Naples buzzes with the excitement of that danger.’ </blockquote>
<br />By adopting volcanoes as her core subject Bennett’s paintings shift emphasis from still life to landscape and the volcanic harbinger takes its place as a contemporary symbol of the sublime. Its overwhelming physicality and menace induce awe and wonder. By combining the volcano with her ongoing motifs Bennett utilizes it as, again in Sontag’s words, a ‘visible metaphor for uncontrollable forces – of love, violence, of burgeoning revolution’. We might justifiably add beauty, brutality, fear and desire. </div>
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Zavier Ellis AKA Charlie Smithhttp://www.blogger.com/profile/06488449222938263361noreply@blogger.com0tag:blogger.com,1999:blog-537910209363968132.post-91127492577967789722019-10-04T15:50:00.000+01:002019-10-04T15:50:07.094+01:00Dominic Shepherd | Downstream | Sep-Oct 2019<div class="separator" style="clear: both; text-align: center;">
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Shepherd is known for his all-over symbolic painting, seen
most emphatically from his early career psychedelic phase until circa 2014. Since
then, Shepherd has painted singular scenes that are advertently more subtle,
but which retain the ongoing core interests of the artist: mythology, dream, nostalgia,
the occult and Englishness. Following on from his 2017 exhibition ‘Old England’,
where he painted mostly intimate water scenes as a means to obliquely investigate
national identity, Shepherd focuses entirely on waterscapes in this exhibition,
and to a heightened level. <o:p></o:p></div>
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Ranging from intimate paintings at 21x24cm to substantial
pieces at 92x115cm, Shepherd presents us with a technically superlative combination
of swimming figures; those at water’s edge; and water studies. They are
celebratory paintings, where the subjects immerse themselves freely in nature,
but are also ritualistic. ‘Circle Round the Sun’ and ‘The Source’ suggest the
ceremonial and reverential; and are deeply meditative paintings. In fact, the whole
series carries an advisory note: slow down and seek stillness in ever changing
waters. <o:p></o:p></div>
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<span style="font-family: inherit;">Shepherd
also uses water as a signifier of alternate states. Dream, hallucination and
role play have always been at the heart of his work, and the distorting effect
of bodies in water suggests transformation. Pools or lakes might become liquid
portals or gateways, but to where might they lead? A magical realm? The afterlife?
Shepherd, as ever, implies but always retains ambiguity in order to allow the
audience free interpretation according to the desire of one’s own imagination. </span><br />
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<span style="font-family: inherit;"><br /></span>Zavier Ellis AKA Charlie Smithhttp://www.blogger.com/profile/06488449222938263361noreply@blogger.com0tag:blogger.com,1999:blog-537910209363968132.post-19386861605733617872019-08-14T13:52:00.002+01:002019-08-14T13:52:19.613+01:0010 Years | CHARLIE SMITH LONDON | Jul-Aug 2019<h4 style="text-align: center;">
Dale Adcock, Emma Bennett, Kiera Bennett, Sara Berman, Jelena Bulajić, Tom Butler, Paul<br />Chiappe, Adam Dix, Susannah Douglas, Tessa Farmer, Tom Gallant, Florian Heinke, Sam<br />Jackson, Simon Keenleyside, Thomas Langley, Wendy Mayer, Hugh Mendes, Sean Molloy,<br />Alex Gene Morrison, Tamsin Morse, Gavin Nolan, Dominic Shepherd, Carolein Smit, Barry<br />Thompson, Gavin Tremlett</h4>
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CHARLIE SMITH LONDON is delighted to announce ’10 Years’, our anniversary exhibition produced to celebrate a full decade’s operations in Shoreditch.</div>
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During this time we have presented 88 exhibitions within the gallery, defining CHARLIE SMITH LONDON and gallery director Zavier Ellis’ unique curatorial vision. The gallery has also established itself as a discovery zone by being the first to exhibit many acclaimed young artists via its annual graduate exhibition Young Gods. Beyond the gallery walls, the gallery has participated in</div>
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over 30 art fairs in Germany, Italy, the Netherlands, Switzerland, UK and USA. Zavier Ellis also launched the monumental annual exhibition THE FUTURE CAN WAIT with Simon Rumley, a ten-year project that was presented in partnership with Saatchi’s New Sensations for four years and culminated in helping organise the seminal fund-raising exhibition In Memoriam Francesca Lowe.</div>
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Ellis has also curated or co-curated gallery, museum and pop up exhibitions in Berlin, Frankfurt, Helsinki, Klaipėda, London, Los Angeles, Naples and Rome. And, perhaps most notably, the gallery has placed millions of pounds worth of artwork into collections globally, working with many of the most prominent international collectors, and enabling artists to continue to do what artists do</div>
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best: making work.</div>
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This exhibition consists of some (but by no means all) of Ellis’ favourite artists who have shown over the years at CHARLIE SMITH LONDON; some whom he has been tracking and wanting to show; and gallery artists.</div>
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Zavier Ellis AKA Charlie Smithhttp://www.blogger.com/profile/06488449222938263361noreply@blogger.com0tag:blogger.com,1999:blog-537910209363968132.post-21953876519155935352019-08-14T12:36:00.001+01:002019-08-14T12:36:36.060+01:00Sam Jackson | Chronicles | May-Jun 2019<br />
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<span style="color: black; mso-bidi-font-size: 10.0pt;">‘This is a continuation of the overall narrative arc of my
practice, but also seeks to establish new ground, new discussion and new
dialogue between myself and the paintings; and also, importantly, between the
viewer and the work.’ - Sam Jackson<o:p></o:p></span></div>
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<span style="color: black; mso-bidi-font-size: 10.0pt;">CHARLIE SMITH LONDON is delighted to announce Sam Jackson’s
solo exhibition ‘Chronicles’. <o:p></o:p></span></div>
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<span style="color: black; mso-bidi-font-size: 10.0pt;">Known for his portrait paintings where tumultuous text cascades
upon subject and painted surface, Jackson has created his most complex body of
work to date. Varying scales; patterned backgrounds; geometry; foregrounds
adorned with diamanté; spray paint; and ever more expansive application of text
coalesce to make intense, beguiling paintings.<span style="mso-spacerun: yes;">
</span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="color: black; mso-bidi-font-size: 10.0pt;">‘Chronicles’, at 162x114cm, is the largest painting that
Jackson has made. ‘So Real’ rides above the defiant, bewitching portrait in
blue spray paint; ‘The closest thing to living’ emblazoned over her hair; ‘Wisdom’;
‘Courage, Truth, Love’. Is this, as Graham Crowley states, a portrait ‘of the
departed as if summoned by a medium’? Certainly, the ethereal portrayal in ‘I
Know I Can Make It’ has ‘the appearance of an apparition’.<o:p></o:p></span></div>
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<span style="color: black; mso-bidi-font-size: 10.0pt;">‘Jackson seems inevitably part of a discussion about the
way any painting process carries the past along with it. He throws different
speeds, shapes, processes and spanners into the works, in order to counter
inevitable ideas of perfection, to create cultural congestion’, states Sacha
Craddock. Indeed, the congestion of text, pattern, signs and symbols suggests urgency
and obsession, as if personal outpourings and broad cultural references including
poetry or song lyrics have been spat out onto the surface. <o:p></o:p></span></div>
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<span style="color: black; mso-bidi-font-size: 10.0pt;">The past, or rather time, is a key component in these paintings.
Jackson’s subjects often appear historical, as if elicited from a different era,
but personal histories or memories prevail. ‘Say you’ll remember me’, implores the
wistful subject in ‘Never Lie To Yourself’. ‘Cherish…every…moment’ we are told.
Fragmented, and clashing against each other, grand narratives cohere with the
thoughts, memories, pleas, confessions and exhortations of subject and artist. <span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span></span></div>
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<br />Zavier Ellis AKA Charlie Smithhttp://www.blogger.com/profile/06488449222938263361noreply@blogger.com0tag:blogger.com,1999:blog-537910209363968132.post-3666078952562031082019-05-03T17:34:00.000+01:002019-05-03T17:45:54.083+01:00Decreto 349 | Apr-May 2019<h3 style="text-align: center;">
Ariel Cabrera Montejo, Concha Martinez Barreto, Javier Torras Casas</h3>
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<tr><td class="tr-caption" style="text-align: center;">Ariel Cabrera Montejo | Behind the Scenes from the series Secondary Papers | 2018 | Watercolour on paper | 66.5x86cm </td></tr>
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CHARLIE SMITH LONDON is delighted to introduce Ariel Cabrera Montejo and Concha Martinez Barreto alongside Young Gods alumnus Javier Torras Casas. Cuban artist Ariel Cabrera Montejo makes drawings, watercolours and oil paintings that serve as a segue to another time and</div>
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another place, whilst operating very much within the contemporary arena. Stylistically, Cabrera Montejo’s ‘La Tregua Fecunda’ series suggests French fin de siècle painting. Exuberant brushstrokes depict man and woman at leisure, cavorting and experimenting. The title La Tregua Fecunda – The Fertile Truce – substantiates this notion. However, the term refers to the interwar period in Cuba between 1878 and 1895, after which Cuba regained independence from their Spanish colonial rulers in the Cuban War of Independence (1895-1898). With this in mind, Cabrera Montejo’s depictions of jouissance become redolent of a debauched, military interlude where the affirmation of life is expressed via pleasure. Again, we are minded of late 19th century French painting, where people at leisure, enabled by industrialisation (new wealth and improved transport) and Baron Haussmann’s regeneration of Paris, became popular subjects for avant-garde artists. </div>
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The broader subjects of <b>Cabrera Montejo’s</b> ‘Secondary Papers’ series provide a more panoramic view of his practice. Often opening out into larger scale pieces, we are presented with intricate compositions where protagonists operate within complex environments. Recalling Cabrera Montejo’s earlier experience as a stage designer, figures and objects might appear to be cut out and collaged into view. His subjects interact within a stage, film set or fairground, again referencing the colonial and militaristic in combination with leisure and pastime. In Spanish there is no distinction between the definitions of history and story. </div>
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<tr><td class="tr-caption" style="text-align: center;">Ariel Cabrera Montejo | From the series La Treguna Fecunda | 2018 | Watercolour on paper | 38x28cm</td></tr>
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This fusion of meaning is encapsulated by Spanish artist <b>Concha Martinez Barreto’s</b> work. Martinez Barreto emphasizes not the grand lineage of canonical history, but rather small, personal stories that might subvert official, linear narratives. Her finely painted scenes are derived from collected, anonymous photographs and so can be considered a version of history painting, but Martinez Barreto prefers to focus on the notion of memory and its capabilities as well as its fallibilities. As such, she embraces the plurality of events and interpretation, whilst illustrating that the universal is often discernible within the personal. She wants to enliven the past and to create something durable from the ephemeral; and elicit the known from the unknown.</div>
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<tr><td class="tr-caption" style="text-align: center;">Concha Martinez Barreto | S/t 8 | 2017 Oil on canvas 40x50cm</td></tr>
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Martinez Barreto’s compositions often depict figures and animals where their scale is disrupted. Babies who are bigger than adults or sheep who tower above children are located mostly in landscapes. Symbolically, this is to assert that our memories of time, place and people do not necessarily coexist with clarity. Occasionally Martinez Barreto will employ the Medieval device of</div>
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depicting the same person within the same painting, but at different ages, emphasizing that past and present are interconnected, but not coherently. These paintings are subtly uncanny, their dreamlike qualities reinforced by Martinez Barreto’s monochrome palette.</div>
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<tr><td class="tr-caption" style="text-align: center;">Javier Torras Casas | Tapestry | 2018 Clay, wax and found objects | 180x70x25cm</td></tr>
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London based Spanish artist <b>Javier Torras Casas</b> explores personal and objective histories in his mixed media installations. Combining hand worked organic materials such as clay with blown glass and collected industrial objects, Torras Casas makes work that proposes correlations between natural and manufactured; durable and fragile; historical and new. In ‘Tintes y Mercerizados de especialidad’, a sculptural assemblage that is titled after his grandfather’s now defunct textile factory in Barcelona, Torras Casas utilises original parts of machinery found in the warehouse alongside other collected and manipulated objects. The piece is finely poised, where a delicate interplay between balance, weight and fragility conveys the impermanence of place, people and memory via the precariousness of objects and their interconnections. </div>
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The objects that Torras Casas uses become evocative of specific political conditions by association. ‘Tapestry’ is composed of archived parcels of thread that are accompanied with hand written labels, denoting the material they are made of; the machine that was used to process it; and year. Considering the factory was operating during General Franco’s totalitarian regime, classified</div>
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bundles of organic material take on a sinister tenor. Torras Casas’ work, therefore, operates autobiographically both personally and generally. It seeks to memorialise and in doing so imparts considerable symbolic significance to the discarded, defunct and forgotten.</div>
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Zavier Ellis AKA Charlie Smithhttp://www.blogger.com/profile/06488449222938263361noreply@blogger.com0tag:blogger.com,1999:blog-537910209363968132.post-86636182770067327412019-05-03T17:07:00.003+01:002019-05-03T17:07:45.524+01:00Thomas Langley | Mummy's Boy | April 2019<div class="separator" style="clear: both; text-align: center;">
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An exhibition of new paintings by Thomas Langley.</div>
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In collaboration with five contemporary galleries, Langley shows</div>
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works from his on-going series ‘Mummy’s boy’, for the first time</div>
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in a dedicated solo exhibition.</div>
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Having started this nonsensical paradoxical quest to ‘buy mum a</div>
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house’ during his studies at the Royal academy schools, Langley</div>
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now fully fledged, flexes this newfound artistic adult hood with a</div>
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big shiny solo show hosted by Camden's renowned Cob gallery.</div>
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Large-scale text-based paintings sit alongside newly developed</div>
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representational landscapes. This exhibition marks a completion</div>
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in what until now has been an on-going series.</div>
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<br />Zavier Ellis AKA Charlie Smithhttp://www.blogger.com/profile/06488449222938263361noreply@blogger.com0tag:blogger.com,1999:blog-537910209363968132.post-77722753673373333652019-05-03T16:58:00.001+01:002019-05-03T16:58:36.577+01:00Archaeologies | Mar-Apr 2019<h3 style="text-align: center;">
Michael Boffey, Gina Soden, Danny Treacy</h3>
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CHARLIE SMITH LONDON presents ‘Archaeologies’, the second exhibition of 2019 to be curated by gallery director Zavier Ellis. </div>
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The exhibition brings together three artists whose practice is rooted in photography. However, they are multi-disciplinary, processed-based practitioners who mostly employ photography as a founding principle, which enables them to develop unique</div>
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and complex methodologies. Fundamental to their practices is a labour-intensive approach to researching, collecting, documenting and making; and a profound meditation on the passing of time, and its effect on objects and locations. Exploring derelict churches or hospitals; working with</div>
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found objects from rivers or cruising sites; or engaging with domestic ornaments and paraphernalia, each artist uses place and time to investigate the self, transience and mortality.</div>
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<tr><td class="tr-caption" style="text-align: center;">Michael Boffey | Bouquet | 2017 | Mixed media on wallpaper on board | 112x79cm</td></tr>
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Michael Boffey embraces the historical notion of still life as memento mori. Working predominantly with flowers, Boffey makes work in three ways: wall mounted bronzes cast from flowers; vitrines encasing vases of flowers; and large-scale photographic works. It is the latter that illustrate the core of Boffey’s practice most conclusively. Recalling domestic interiors in which Boffey would have grown up in the 1970’s and 80’s, which in themselves were residual of the 1950’s, Boffey prints vases of flowers amongst other signifiers including doilies or crucifixes onto embossed wallpaper that is then painted and treated. These works are autobiographical, with visual remnants coalescing to represent a meditation on loss, regret and reminiscence.</div>
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<tr><td class="tr-caption" style="text-align: center;">Gina Soden | Asylum Entrance Hall on Mirror | 2018 | Photograph hand printed on antique mirror with 24 carat gold leaf & acrylic seal | 45x69cm</td></tr>
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Gina Soden has established a process of hand printing images of dilapidated interiors onto found mirrors that have been treated and corroded with industrial tools and materials. Informed by the idea of the Grand Tour, she travels to abandoned territories and buildings throughout Europe. Soden seeks out disused public buildings including palaces, churches and asylums, often having to</div>
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access them illegally. Her objective is to transport the viewer to the location that she discovers, and to demonstrate the beauty of decay and the poetry of ruins. In this latter sense, Soden references John Ruskin’s ‘Seven Lamps of Architecture’, a text that became influential in summarizing thought around the 19th century Gothic revival. Ruins were of course a primary Gothic trope,</div>
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and Soden locates ideals of beauty, life, memory and truth in both decay and abandonment. Her work makes for complex viewing where symmetry, corrosion, reflection and image combine in a beguiling singular object.</div>
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<tr><td class="tr-caption" style="text-align: center;">Danny Treacy | Rituals (River) | 2019 | Found shoes, found clothes, wood | Dimensions variable </td></tr>
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Danny Treacy’s practice incorporates photography, sculpture, performance, collecting, archaeology and anthropology. Embracing the fieldwork ethic, Treacy explores bifunctional sites in order to locate, collect, manipulate and document found objects. This might include discarded clothing; objects from the River Thames; or used condoms at cruising sites. Treacy considers these</div>
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objects as the ‘fallout’ of human activity and questions the impermanence of value and function. By collecting, adapting and documenting, he renews the discarded and gives new value to the otherwise worthless, ultimately asserting their status as contemporary artefacts. The transitional flux to which these objects are subjected to, alongside the locale in which they are discovered, discloses behavioural characteristics of society at any given time. Therefore, Treacy’s practice could be considered as an exploration into community; identity; the politics of space; memory; and the ulterior.</div>
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Zavier Ellis AKA Charlie Smithhttp://www.blogger.com/profile/06488449222938263361noreply@blogger.com0tag:blogger.com,1999:blog-537910209363968132.post-46621742117520422432019-05-03T15:43:00.003+01:002019-05-03T15:43:22.760+01:00Plan B | New York | March 2019 <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://4.bp.blogspot.com/-CgenHYW1k8I/XMxTZ0-4-1I/AAAAAAAAEn8/iPOHCstHZOE4z2MpirRO9TVpMflKarEvwCLcBGAs/s1600/NEW_Jackson%252C%2BSam%2B%2527No%2Bmore%2Btalking%2527%252C%2B2018%2BOil%252C%2Bmarker%2Bon%2Bboard%2B32x22cm.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1125" height="640" src="https://4.bp.blogspot.com/-CgenHYW1k8I/XMxTZ0-4-1I/AAAAAAAAEn8/iPOHCstHZOE4z2MpirRO9TVpMflKarEvwCLcBGAs/s640/NEW_Jackson%252C%2BSam%2B%2527No%2Bmore%2Btalking%2527%252C%2B2018%2BOil%252C%2Bmarker%2Bon%2Bboard%2B32x22cm.jpg" width="448" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Sam Jackson | No more talking | 2018 | Oil, marker on board | 32x22cm</td></tr>
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<br />Zavier Ellis AKA Charlie Smithhttp://www.blogger.com/profile/06488449222938263361noreply@blogger.com0tag:blogger.com,1999:blog-537910209363968132.post-48560916605634521562019-05-03T15:06:00.001+01:002019-05-03T17:44:29.326+01:00Young Gods | Feb-Mar 2019<h3 style="text-align: center;">
Eliza Bennett, Teal Griffin, Thomas Langley, Alexi Marshall, Rosie McGinn, Irene Pouliassi, Yasmine Robinson</h3>
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<tr><td style="text-align: center;"><a href="https://2.bp.blogspot.com/-Vg4uwGV_C-4/XMxDetWlSGI/AAAAAAAAEmw/tbqYe7mVuJ0UUbuxHVDB4LXumeDWZFM6ACLcBGAs/s1600/Langley%252C%2BThomas%2B%2527Mummy%2527s%2BBoy%2BXXL%2B%2528Orange%2Bon%2BWhite%2529%2527%252C%2B2019%2BOil%252C%2Bspray%2Bpaint%2Bon%2Bbirch%2Bply%2B211x215cm.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1548" data-original-width="1600" height="309" src="https://2.bp.blogspot.com/-Vg4uwGV_C-4/XMxDetWlSGI/AAAAAAAAEmw/tbqYe7mVuJ0UUbuxHVDB4LXumeDWZFM6ACLcBGAs/s320/Langley%252C%2BThomas%2B%2527Mummy%2527s%2BBoy%2BXXL%2B%2528Orange%2Bon%2BWhite%2529%2527%252C%2B2019%2BOil%252C%2Bspray%2Bpaint%2Bon%2Bbirch%2Bply%2B211x215cm.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Thomas Langley | Mummy's Boy XXL (Orange on White) | 2019 | Oil, spray paint on birch ply | 211x215cm</td></tr>
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CHARLIE SMITH LONDON is delighted to present its first exhibition of 2019. Celebrating its tenth year at the gallery in Shoreditch, it is fitting that Young Gods launches this significant and celebratory year.</div>
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Gallery director and independent curator Zavier Ellis is a respected talent spotter who has curated Young Gods at various locations for fifteen years:</div>
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“This is one of my favourite projects in the calendar and this show is one of the strongest selections yet. I have enduring relationships with many of the Young Gods that I have selected over the years, and I’m delighted to see them achieving so much consistent success. This is something I have done since the earliest stages of my career, and my appetite for discovering new artists is undiminished.”</div>
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Selected from graduate and post-graduate final shows in London, the exhibition will consist of printmaking, installation, painting, video, assemblage and sculpture from artists who have graduated from Chelsea, Goldsmiths, the Royal Academy Schools, the Slade, Wimbledon and City & Guilds.<br />
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<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-DUsoRTnB_i0/XMxHVNc2JUI/AAAAAAAAEnE/jzlmQwBPPAcRaITtyPxLsfIcIkf0G5iJwCLcBGAs/s1600/Bennett%252C%2BEliza%2B%2527Faux-Foe%2527%252C%2B2018%2BPins%2B%2528brass%252C%2Bnickel%252C%2Bsteel%252C%2Bgold-plated%2529%252C%2Bvelvet%252C%2Blatex%2B70x24x7cm.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1187" height="320" src="https://1.bp.blogspot.com/-DUsoRTnB_i0/XMxHVNc2JUI/AAAAAAAAEnE/jzlmQwBPPAcRaITtyPxLsfIcIkf0G5iJwCLcBGAs/s320/Bennett%252C%2BEliza%2B%2527Faux-Foe%2527%252C%2B2018%2BPins%2B%2528brass%252C%2Bnickel%252C%2Bsteel%252C%2Bgold-plated%2529%252C%2Bvelvet%252C%2Blatex%2B70x24x7cm.JPG" width="236" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Eliza Bennett | Faux-Foe | 2018 | Pins (brass, nickel, steel, gold-plated), velvet, latex | 70x24x7cm</td></tr>
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<b>Eliza Bennett</b> (MA Fine Art, City & Guilds of London Art School) works across disciplines including sculpture, installation, printmaking, book making and photography. Bennett explores a range of issues relating to the shifting forms of both individual and social reality. Embracing archiving and categorization, she subverts meaning by adroitly manipulating the audience’s expectations. Bennett subtly employs our inherent tendency to classify in order to destabilize the notion of classification, thereby navigating value systems, affectation, acceptance and exclusion.</div>
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<tr><td style="text-align: center;"><a href="https://4.bp.blogspot.com/-0K7Zhp0CAbI/XMxHjffKLMI/AAAAAAAAEnI/OXqseDWjrZ4RgyhJedeWWw4SGUYj8XjUQCLcBGAs/s1600/Griffin%252C%2BTeal%2B%25275%2Byears%2527%252C%2B2018%2BTextiles%252C%2Binsulation%2Bfoam%252C%2Bwood%252C%2Bsteel%252C%2Bplastic%252C%2Bcardboard%2Bbox%2BDimensions%2Bvariable.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1143" height="320" src="https://4.bp.blogspot.com/-0K7Zhp0CAbI/XMxHjffKLMI/AAAAAAAAEnI/OXqseDWjrZ4RgyhJedeWWw4SGUYj8XjUQCLcBGAs/s320/Griffin%252C%2BTeal%2B%25275%2Byears%2527%252C%2B2018%2BTextiles%252C%2Binsulation%2Bfoam%252C%2Bwood%252C%2Bsteel%252C%2Bplastic%252C%2Bcardboard%2Bbox%2BDimensions%2Bvariable.jpg" width="227" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Teal Griffin | 5 years | 2018 | Textiles, insulation foam, wood, steel, plastic, cardboard box | Dimensions variable</td></tr>
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<b>Teal Griffin</b> (MFA Fine Art, Goldsmiths) investigates profound, universal human experience by departing from the subjective: most recently his ageing dog Zen, his late father, his first wrinkle. Griffin’s practice is a non-hierarchical, multidisciplinary process of bricolage (including sculpture, installation, video, poetry / text and spoken word). His presentation is nuanced with a lightness of</div>
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touch, enabling the audience to navigate constellations of objects that coalesce to encourage contemplation and the decoding of implied narrative.</div>
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<tr><td style="text-align: center;"><a href="https://2.bp.blogspot.com/-Wex5kIf2yQw/XMxH9sCaM9I/AAAAAAAAEnU/EhmASqjW_ZsD-f0tInNfHbjNb7DlfSRmQCLcBGAs/s1600/Langley%252C%2BThomas%2B%2527Mummy%2527s%2BBoy%2BSmall%2B%2528Sky%2BBlue%2529%2527%252C%2B2018%2BOil%2B%2526%2Boil%2Bbar%2Bon%2Bbirch%2Bply%2B51x39.5cm.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1261" height="320" src="https://2.bp.blogspot.com/-Wex5kIf2yQw/XMxH9sCaM9I/AAAAAAAAEnU/EhmASqjW_ZsD-f0tInNfHbjNb7DlfSRmQCLcBGAs/s320/Langley%252C%2BThomas%2B%2527Mummy%2527s%2BBoy%2BSmall%2B%2528Sky%2BBlue%2529%2527%252C%2B2018%2BOil%2B%2526%2Boil%2Bbar%2Bon%2Bbirch%2Bply%2B51x39.5cm.jpg" width="251" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Thomas Langley | Mummy's Boy Small (Sky Blue) | 2018 | Oil & oil bar on birch ply | 51x39.5cm</td></tr>
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<b>Thomas Langley </b>(Postgraduate Diploma, Royal Academy Schools) is a multi-disciplinary artist who has recently focused on painting. Langley draws on specifically personal experience to make work that resonates broadly. Combining text, materiality and objecthood at varying scales, Langley’s statements read as declarations or pleas, such as his already iconic “Buy mum a house” or “If its shit, make it better”. Employing the visual language of rough, instinctive graffiti, Langley embraces the rich history of text as visual device, from naïve graffiti itself to signage, slogans and political polemics.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUlR-dF5fEYIdIfsD2kFRBUux39ZDYJjYwrvefTvaji2fvWEuTFGDlEBR56wtZoI1vye5rXfREfnvHiKQcqV_25GPkhcRXkHRqI2y8avo62QRZ4Ievy2LS2GBY5nFa4iZOVDrDLaaTDDMV/s1600/Marshall%252C+Alexi+%2527The+Party%2527%252C+2018+Linocut+on+Japanese+paper+200x290cm+%2528ed.5%2529_Lo.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1000" data-original-width="1452" height="219" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUlR-dF5fEYIdIfsD2kFRBUux39ZDYJjYwrvefTvaji2fvWEuTFGDlEBR56wtZoI1vye5rXfREfnvHiKQcqV_25GPkhcRXkHRqI2y8avo62QRZ4Ievy2LS2GBY5nFa4iZOVDrDLaaTDDMV/s320/Marshall%252C+Alexi+%2527The+Party%2527%252C+2018+Linocut+on+Japanese+paper+200x290cm+%2528ed.5%2529_Lo.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Alexi Marshall | The Party | 2018 | Linocut on Japanese paper | 200x290cm (ed.5)</td></tr>
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<b><br />Alexi Marshall</b> (BA (Hons) Fine Art, Slade School of Fine Art) investigates sexuality, spirituality, womanhood and youth using print, drawing, fabric and embroidery. Her uniquely large-scale linocuts are intensely laboured, densely populated tableaux. Desire underlined by threat is conveyed, as human, bestial and hybrid figures cavort in unspecified environments. Heavily informed by religion, myth, tarot and the wild, divine nature of the feminine, Marshall’s work draws parallels between the ritualism of occult or tribal ceremony and contemporary social nightlife.</div>
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<tr><td style="text-align: center;"><a href="https://2.bp.blogspot.com/-gM3oz5tskjg/XMxJH4wX3BI/AAAAAAAAEng/PM9FI8qSxPwbzro3ZGa_jfyQ6XkGn7OXQCLcBGAs/s1600/McGinn%252C%2BRosie%2B%2527GET%2BIN%2527%252C%2B2018%2B2%2Bwindscreen%2Bwiper%2Bmotors%252C%2B2%2Bfootball%2Bstands%252C%2Bhanging%2Bstructure%252C%2Bcut%2Bout%2Barms%2Band%2Bheads%252C%2Bwire%252C%2Bhooks%2BDimensions%2BV.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1152" data-original-width="1600" height="230" src="https://2.bp.blogspot.com/-gM3oz5tskjg/XMxJH4wX3BI/AAAAAAAAEng/PM9FI8qSxPwbzro3ZGa_jfyQ6XkGn7OXQCLcBGAs/s320/McGinn%252C%2BRosie%2B%2527GET%2BIN%2527%252C%2B2018%2B2%2Bwindscreen%2Bwiper%2Bmotors%252C%2B2%2Bfootball%2Bstands%252C%2Bhanging%2Bstructure%252C%2Bcut%2Bout%2Barms%2Band%2Bheads%252C%2Bwire%252C%2Bhooks%2BDimensions%2BV.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Rosie McGinn | GET IN | 2018 | 2 windscreen wiper motors, 2 football stands, hanging structure, cut out arms and heads, wire, hooks | Dimensions variable</td></tr>
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<b>Rosie McGinn</b> (MA Fine Art, Wimbledon College of Arts) identifies sport and leisure as a subject through which she can explore the psychological drives underlying euphoria, despair, achievement and failure. Working in video, sculpture and kinetic installation, McGinn appropriates imagery and footage from bingo halls, weight lifting, boxing or football matches to make effortlessly complex works. McGinn acknowledges both the pursuit of transcendence via extreme human achievement and the escapism inherent in group hysteria (worship), whilst conveying the absurdity of consistently dedicating oneself to watching or participating in singular, obsessive, repetitive behaviour.<br />
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<tr><td style="text-align: center;"><a href="https://3.bp.blogspot.com/-arTrolCs9cY/XMxKKiIoHTI/AAAAAAAAEno/144oq4zIoFoM7YUMDK6VqW72BCIQ_3SPgCLcBGAs/s1600/Pouliassi%252C%2BIrene%2B%2527%2523Thedeathnautsdiary_Clothing%2BOptions%2Bseries%252C%2B%25231%2527%252C%2B2018%2BUsed%2Bclothes%252C%2Bfaux%2BConverse%2Bshoes%252C%2Bknife%252C%2BScoubidoo%2Blaces%2B60x20x20cm%2BD.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1065" data-original-width="1600" height="212" src="https://3.bp.blogspot.com/-arTrolCs9cY/XMxKKiIoHTI/AAAAAAAAEno/144oq4zIoFoM7YUMDK6VqW72BCIQ_3SPgCLcBGAs/s320/Pouliassi%252C%2BIrene%2B%2527%2523Thedeathnautsdiary_Clothing%2BOptions%2Bseries%252C%2B%25231%2527%252C%2B2018%2BUsed%2Bclothes%252C%2Bfaux%2BConverse%2Bshoes%252C%2Bknife%252C%2BScoubidoo%2Blaces%2B60x20x20cm%2BD.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Irene Pouliassi | #Thedeathnautsdiary_Clothing Options series, #1 | 2018 | Used clothes, faux Converse shoes, knife, Scoubidoo laces | 60x20x20cm</td></tr>
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<b>Irene Pouliassi </b>(MA Fine Art, Chelsea College of Arts) investigates trauma and mortality in her beguiling, often hanging constructions. Combining collected garments, found objects, sex toys; and organic material including teeth, hair and animal intestines, Pouliassi confronts her audience with work that simultaneously captivates and repulses. Recalling voodoo or other ritualistic occult objects, Pouliassi presents nihilistic, fetishistic assemblages that suggest the body, but also its propensity to</div>
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decay, degenerate and expire.<br />
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<tr><td style="text-align: center;"><a href="https://3.bp.blogspot.com/-WzvfdzHPGRo/XMxKut6swPI/AAAAAAAAEnw/A27bx2mgX0gD5eTPBVpqeFOukW2gy4AdACLcBGAs/s1600/Robinson%252C%2BYasmine%2B%2527FEBLU%2527%252C%2B2018%2BOil%252C%2Bspray%2Bpaint%252C%2Bcrepe%2Bpaper%252C%2Brope%2Band%2Btarpaulin%2Bon%2Bcanvas%2B240x160cm_Cropped.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="514" data-original-width="343" height="320" src="https://3.bp.blogspot.com/-WzvfdzHPGRo/XMxKut6swPI/AAAAAAAAEnw/A27bx2mgX0gD5eTPBVpqeFOukW2gy4AdACLcBGAs/s320/Robinson%252C%2BYasmine%2B%2527FEBLU%2527%252C%2B2018%2BOil%252C%2Bspray%2Bpaint%252C%2Bcrepe%2Bpaper%252C%2Brope%2Band%2Btarpaulin%2Bon%2Bcanvas%2B240x160cm_Cropped.jpg" width="213" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">FEBLU | 2018 | Oil, spray paint, crepe paper, rope and tarpaulin on canvas | 240x160cm</td></tr>
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<b>Yasmine Robinson</b> (MA Fine Art, Chelsea College of Arts) makes assemblages that respond to her experience of the urban environment of Belfast, and specifically its post-conflict identity defined by rapid regeneration and reconstruction. Her work explores themes of identity, and re-interpretation of contemporary Northern Irish culture, embracing the friction between nostalgia and progressive adaption. Consisting of found elements and painterly techniques, Robinson’s work combines the visual languages of the city and historical abstract painting, encouraging both instinctive reading and linguistic decoding.</div>
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Zavier Ellis AKA Charlie Smithhttp://www.blogger.com/profile/06488449222938263361noreply@blogger.com0tag:blogger.com,1999:blog-537910209363968132.post-36972111776056671452019-05-03T14:04:00.000+01:002019-05-03T15:10:48.221+01:00London Art Fair | Jan 2019<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-aKe811CHw8s/XMw7bkM6VDI/AAAAAAAAEmk/2Cx4RkiAAHIFJzzqrOobvfJwcrA5LKAUgCLcBGAs/s1600/Thompson%252C%2BBarry%2B%2527Down%2Bon%2Bmy%2Bknees%2Band%2Bmy%2Bhands%2Bin%2Bthe%2Bair%2Bagain%2527%252C%2B2018%2BOil%2Bon%2Bpanel%2B11.5x18cm%2BCropped.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1023" data-original-width="1600" height="204" src="https://1.bp.blogspot.com/-aKe811CHw8s/XMw7bkM6VDI/AAAAAAAAEmk/2Cx4RkiAAHIFJzzqrOobvfJwcrA5LKAUgCLcBGAs/s320/Thompson%252C%2BBarry%2B%2527Down%2Bon%2Bmy%2Bknees%2Band%2Bmy%2Bhands%2Bin%2Bthe%2Bair%2Bagain%2527%252C%2B2018%2BOil%2Bon%2Bpanel%2B11.5x18cm%2BCropped.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b style="font-size: medium; text-align: start;">Barry Thompson | Down on my knees and my hands in the air again | 2018 | Oil on panel | 11.5x18cm</b></td></tr>
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<br />Zavier Ellis AKA Charlie Smithhttp://www.blogger.com/profile/06488449222938263361noreply@blogger.com0tag:blogger.com,1999:blog-537910209363968132.post-18401949816979901782018-12-13T13:21:00.001+00:002018-12-13T13:21:52.955+00:00Tom Butler | Ensemble | Nov - Dec 2018<br />
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<span style="color: black; mso-bidi-font-size: 10.0pt;">‘In spite of their unearthly strangeness I had a feeling
that there was something familiar about them.’ William Hope Hodgson, The Crew
of the Lancing, 1914<o:p></o:p></span></div>
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<span style="color: black; mso-bidi-font-size: 10.0pt;">CHARLIE SMITH LONDON is delighted to present Tom Butler’s
third solo exhibition at the gallery.<o:p></o:p></span></div>
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<span style="color: black; mso-bidi-font-size: 10.0pt;">‘Ensemble’ will include three bodies of work. In addition
to Butler’s ongoing series of painted cabinet cards, for which he is most
recognised, the exhibition will represent the London debut of two new
photographic series. Conveying a fascination with photographic portraiture from
the medium’s earliest phases, combined with an enquiry into Victorian Gothic
literature, and specifically its tendency to describe the body as liable to ruin,
shape changing or re-assemblage, Butler continues to make beguiling, uncanny
images.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<a href="https://4.bp.blogspot.com/-qX88gef5jcM/XBJbk9YgDyI/AAAAAAAACrs/-BPyQagXvQErKM2w2eg9H27hLGvjHu4NQCLcBGAs/s1600/Butler%252C%2BTom%2B%2527Homunculus%2B%25232%2527%252C%2B2017%2BArchival%2Bpigment%2Bprint%2Bon%2BCanson%2BPlatine%2Bfibre%2Brag%2Bpaper%2B%2528ed.%2B6%2529%2B25.4x20.3cm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1067" height="320" src="https://4.bp.blogspot.com/-qX88gef5jcM/XBJbk9YgDyI/AAAAAAAACrs/-BPyQagXvQErKM2w2eg9H27hLGvjHu4NQCLcBGAs/s320/Butler%252C%2BTom%2B%2527Homunculus%2B%25232%2527%252C%2B2017%2BArchival%2Bpigment%2Bprint%2Bon%2BCanson%2BPlatine%2Bfibre%2Brag%2Bpaper%2B%2528ed.%2B6%2529%2B25.4x20.3cm.jpg" width="213" /></a></div>
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<span style="color: black; mso-bidi-font-size: 10.0pt;">In ’Ten Elmers’, Butler has collected ten identical cabinet
cards in order to work on the same image with various motifs. In doing so, he
suggests identities are characterized by embellishment, but also by what
remains unadorned. The performative self-portrait ‘Figure’ series adopts a
similar strategy. By using a remote-control shutter release and black fabric to
mask most of his body, Butler creates images that are determined predominantly
by what is concealed, rather than revealed. In his ‘Homunculi’ series, Butler
directly references Gothic and alchemical tropes. In contrast to the shrouded ‘Figure’
photographs, Butler combines multiple images of his own exposed body parts to
create singular, abject self-portraits. <o:p></o:p></span></div>
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<span style="color: black; mso-bidi-font-size: 10.0pt;">Taken together, this fascinating body of work is far more
revelatory than Butler’s previous canon, elucidating on the body as an
objectification of self. The physical transformation of body or body elements
renders the subject ambiguous by obscuring its identity, whilst infusing it
with disquieting psychological resonance. <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<br />Zavier Ellis AKA Charlie Smithhttp://www.blogger.com/profile/06488449222938263361noreply@blogger.com0