Daisy Patton Untitled (Sincerely, Aleycal Matsumura 1938), 2020 Oil on Archival Print Signed verso 12.7 x 10.1cm (5 x 3¾ in.) Daisy Patton is a multi-disciplinary artist who was born in Los Angeles, CA to a mother from the South and an Iranian father she never met. She spent her childhood between California and Oklahoma, deeply affected by these conflicting cultural ways of being. Influenced by collective and political history, as well as memory and the fallibility of the body, Patton's work explores the meaning and social conventions of families, relationship, storytelling and story-carrying, and also connection. One prominent series, Forgetting is so long, has been featured in publications such as Hyperallergic, The Jealous Curator, The Denver Post, The Chautauquan Daily, and more. Education Currently residing in western Massachusetts, Patton has a BFA in Studio Arts from the University of Oklahoma with minors in History and Art History and an Honors degree. She earned her MFA from The School of the Museum of Fine Arts, Boston/Tufts University, a multi-disciplinary program. Patton has completed artist residencies at Minerva Projects, Anderson Ranch, the Studios at MASS MoCA, RedLine Denver, and Eastside International in Los Angeles. She has been awarded the Barbara Deming Memorial Fund grant, as well as the Assets for Artists Massachusetts Matched Savings grant and the Montage Travel Award from SMFA for research in Dresden, Germany. She has exhibited in solo and group shows nationally, including her first museum solo at the CU Art Museum at the University of Colorado. Minerva Projects Press will publish a collection of essays and poetry on Patton's practice in spring 2021. K Contemporary represents Patton in Denver, CO, and J. Rinehart represents her in Seattle, WA. MFA Tufts University/School of the Museum of Fine Arts, Boston; BFA University of Oklahomahonors and awards 2020 Barbara Deming Memorial Fund, Inc. Grant Award 2020 Massachusetts Matched Savings Grant cohort, Assets for Artists of MASS MoCA 2019 Faith and Freedom Award from the Colorado Religious Coalition for Reproductive Choice, May 2019 Nominated for the Smithsonian Artist Research Fellowship (SARF), 2017 Cycle Montague Travel Grant Award at The School of the Museum of Fine Arts, Boston, December 2010 Exhibitions "Burnt Hair Spun Gold" at K Contemporary, 1412 Wazee St., Denver, CO, Sept.-Oct. 2020 "Put Me Back the Way They Found Me," curated by Simon Zalkind at Fulginiti Pavilion, Anschutz Medical Campus, 13080 E. 19th Ave, Aurora, CO, Mar-June 2020 Project Space at K Contemporary, 1412 Wazee St., Denver, CO, Nov. 2019 "Lineages in Bloom" at the Bellowe Family Gallery, Chautauqua Institution, Chautauqua, NY, June-July 2019 "Would you be lonely without me?" at the Texas Capitol Exhibit Space, 1100 Congress Ave., Austin, TX, Apr. 2019 "Forgetting is so long" at The Art Base, 99 Midland Spur, Basalt, CO Mar.-Apr. 2019 "A Rewilded Arcadia" at K Contemporary, 1412 Wazee St., Denver, CO, Oct. 2018 "This Is Not Goodbye," curated by Sandra Firmin, CU Boulder Art Museum, University of Colorado, Boulder, 318 UCB, Boulder, CO, Jul.-Nov. 2018 "Would you be lonely without me?," Art Gym, 1460 Leyden St., Denver, CO, July-Aug. 2018 "Throw My Ashes Into the Sea," solo at Michael Warren Contemporary Gallery, Denver, CO, Jan.-Mar. 2017 "Forgetting is so long," at Front Range Community College, Boulder County Campus, Longmont, CO, Jan.-Mar. 2017 "Forgetting is so long" at Michael Warren Contemporary Gallery, 760 Santa Fe Dr, Denver CO, Dec. 2014 About the postcard artworks "What rituals are useful to locating someone who's gone. Our story has no language. My loss always in communication with your loss." -Ella Longpre, How to Keep You Alive Who do we choose to remember, and how? These ideas are fraught terrain that cross family relationships, identities, and collective memorialization. For some, living memory supports an elongation of our lives-we only succumb to a blank past when our histories are no longer recalled and held by those that once cared for us. A family photograph is such a vessel of retrieving memory. As time accumulates, however, these emotionally laden images become unknowable, missing their necessary translators. Despite this gradual disintegration of previous selves, our bodies are still affected by the actions of our ancestors. Their lives are encoded into our beings through often-complex interconnections, whether through epigenetics or other practices preserved through time. The inherent loss embedded in these discarded photographs is intertwined with the fragility of the body itself. The depicted bodies can both reveal and conceal embodied language, personality, as well as emotional and physical health. These ties to corporeality and lineages hold us in ways that can manifest as a tender embrace or even a suffocation. In "Forgetting is so long," I collect abandoned family photographs, enlarge them to life-size, and paint over them as a kind of re-enlivening, removing the individuals from their formerly static location and time. Family photographs are revered vestiges to their loved ones, but if they become unmoored, the images and people within become hauntingly absent. Anthropologist Michael Taussig states that defacing sacred objects forces a "shock into being." Suddenly, we perceive them as present and piercing. By mixing painting with photography, I seek to lengthen Roland Barthes' "moment of death" (the photograph) into a loving act of remembrance. Bright swathes of color and the use of painted floral patterns underline relationships and connections to the natural world and beyond, adorning and embellishing these relics with devotional marks of care. These nearly forgotten people are transfigured and "reborn" into a fantastical, liminal place that holds both beauty and joy, temporarily suspended from plunging fully into oblivion.
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Daisy Patton Untitled (Three Women with Blue Curtain and Silver and Yellow Leaves), 2019, 2020 Print on Paper Signed recto, blank verso 15 x 10cm (5¾ x 3¾ in.) Daisy Patton is a multi-disciplinary artist who was born in Los Angeles, CA to a mother from the South and an Iranian father she never met. She spent her childhood between California and Oklahoma, deeply affected by these conflicting cultural ways of being. Influenced by collective and political history, as well as memory and the fallibility of the body, Patton's work explores the meaning and social conventions of families, relationship, storytelling and story-carrying, and also connection. One prominent series, Forgetting is so long, has been featured in publications such as Hyperallergic, The Jealous Curator, The Denver Post, The Chautauquan Daily, and more. Education Currently residing in western Massachusetts, Patton has a BFA in Studio Arts from the University of Oklahoma with minors in History and Art History and an Honors degree. She earned her MFA from The School of the Museum of Fine Arts, Boston/Tufts University, a multi-disciplinary program. Patton has completed artist residencies at Minerva Projects, Anderson Ranch, the Studios at MASS MoCA, RedLine Denver, and Eastside International in Los Angeles. She has been awarded the Barbara Deming Memorial Fund grant, as well as the Assets for Artists Massachusetts Matched Savings grant and the Montage Travel Award from SMFA for research in Dresden, Germany. She has exhibited in solo and group shows nationally, including her first museum solo at the CU Art Museum at the University of Colorado. Minerva Projects Press will publish a collection of essays and poetry on Patton's practice in spring 2021. K Contemporary represents Patton in Denver, CO, and J. Rinehart represents her in Seattle, WA. MFA Tufts University/School of the Museum of Fine Arts, Boston; BFA University of Oklahomahonors and awards 2020 Barbara Deming Memorial Fund, Inc. Grant Award 2020 Massachusetts Matched Savings Grant cohort, Assets for Artists of MASS MoCA 2019 Faith and Freedom Award from the Colorado Religious Coalition for Reproductive Choice, May 2019 Nominated for the Smithsonian Artist Research Fellowship (SARF), 2017 Cycle Montague Travel Grant Award at The School of the Museum of Fine Arts, Boston, December 2010 Exhibitions "Burnt Hair Spun Gold" at K Contemporary, 1412 Wazee St., Denver, CO, Sept.-Oct. 2020 "Put Me Back the Way They Found Me," curated by Simon Zalkind at Fulginiti Pavilion, Anschutz Medical Campus, 13080 E. 19th Ave, Aurora, CO, Mar-June 2020 Project Space at K Contemporary, 1412 Wazee St., Denver, CO, Nov. 2019 "Lineages in Bloom" at the Bellowe Family Gallery, Chautauqua Institution, Chautauqua, NY, June-July 2019 "Would you be lonely without me?" at the Texas Capitol Exhibit Space, 1100 Congress Ave., Austin, TX, Apr. 2019 "Forgetting is so long" at The Art Base, 99 Midland Spur, Basalt, CO Mar.-Apr. 2019 "A Rewilded Arcadia" at K Contemporary, 1412 Wazee St., Denver, CO, Oct. 2018 "This Is Not Goodbye," curated by Sandra Firmin, CU Boulder Art Museum, University of Colorado, Boulder, 318 UCB, Boulder, CO, Jul.-Nov. 2018 "Would you be lonely without me?," Art Gym, 1460 Leyden St., Denver, CO, July-Aug. 2018 "Throw My Ashes Into the Sea," solo at Michael Warren Contemporary Gallery, Denver, CO, Jan.-Mar. 2017 "Forgetting is so long," at Front Range Community College, Boulder County Campus, Longmont, CO, Jan.-Mar. 2017 "Forgetting is so long" at Michael Warren Contemporary Gallery, 760 Santa Fe Dr, Denver CO, Dec. 2014 About the postcard artworks "What rituals are useful to locating someone who's gone. Our story has no language. My loss always in communication with your loss." -Ella Longpre, How to Keep You Alive Who do we choose to remember, and how? These ideas are fraught terrain that cross family relationships, identities, and collective memorialization. For some, living memory supports an elongation of our lives-we only succumb to a blank past when our histories are no longer recalled and held by those that once cared for us. A family photograph is such a vessel of retrieving memory. As time accumulates, however, these emotionally laden images become unknowable, missing their necessary translators. Despite this gradual disintegration of previous selves, our bodies are still affected by the actions of our ancestors. Their lives are encoded into our beings through often-complex interconnections, whether through epigenetics or other practices preserved through time. The inherent loss embedded in these discarded photographs is intertwined with the fragility of the body itself. The depicted bodies can both reveal and conceal embodied language, personality, as well as emotional and physical health. These ties to corporeality and lineages hold us in ways that can manifest as a tender embrace or even a suffocation. In "Forgetting is so long," I collect abandoned family photographs, enlarge them to life-size, and paint over them as a kind of re-enlivening, removing the individuals from their formerly static location and time. Family photographs are revered vestiges to their loved ones, but if they become unmoored, the images and people within become hauntingly absent. Anthropologist Michael Taussig states that defacing sacred objects forces a "shock into being." Suddenly, we perceive them as present and piercing. By mixing painting with photography, I seek to lengthen Roland Barthes' "moment of death" (the photograph) into a loving act of remembrance. Bright swathes of color and the use of painted floral patterns underline relationships and connections to the natural world and beyond, adorning and embellishing these relics with devotional marks of care. These nearly forgotten people are transfigured and "reborn" into a fantastical, liminal place that holds both beauty and joy, temporarily suspended from plunging fully into oblivion.
Daisy Patton Untitled (L.B. 1937 Westchester Photo Finishing Co. Dec. 7 1936), 2018, 2020 Print on Paper Signed recto, blank verso 15 x 10cm (5¾ x 3¾ in.) Daisy Patton is a multi-disciplinary artist who was born in Los Angeles, CA to a mother from the South and an Iranian father she never met. She spent her childhood between California and Oklahoma, deeply affected by these conflicting cultural ways of being. Influenced by collective and political history, as well as memory and the fallibility of the body, Patton's work explores the meaning and social conventions of families, relationship, storytelling and story-carrying, and also connection. One prominent series, Forgetting is so long, has been featured in publications such as Hyperallergic, The Jealous Curator, The Denver Post, The Chautauquan Daily, and more. Education Currently residing in western Massachusetts, Patton has a BFA in Studio Arts from the University of Oklahoma with minors in History and Art History and an Honors degree. She earned her MFA from The School of the Museum of Fine Arts, Boston/Tufts University, a multi-disciplinary program. Patton has completed artist residencies at Minerva Projects, Anderson Ranch, the Studios at MASS MoCA, RedLine Denver, and Eastside International in Los Angeles. She has been awarded the Barbara Deming Memorial Fund grant, as well as the Assets for Artists Massachusetts Matched Savings grant and the Montage Travel Award from SMFA for research in Dresden, Germany. She has exhibited in solo and group shows nationally, including her first museum solo at the CU Art Museum at the University of Colorado. Minerva Projects Press will publish a collection of essays and poetry on Patton's practice in spring 2021. K Contemporary represents Patton in Denver, CO, and J. Rinehart represents her in Seattle, WA. MFA Tufts University/School of the Museum of Fine Arts, Boston; BFA University of Oklahomahonors and awards 2020 Barbara Deming Memorial Fund, Inc. Grant Award 2020 Massachusetts Matched Savings Grant cohort, Assets for Artists of MASS MoCA 2019 Faith and Freedom Award from the Colorado Religious Coalition for Reproductive Choice, May 2019 Nominated for the Smithsonian Artist Research Fellowship (SARF), 2017 Cycle Montague Travel Grant Award at The School of the Museum of Fine Arts, Boston, December 2010 Exhibitions "Burnt Hair Spun Gold" at K Contemporary, 1412 Wazee St., Denver, CO, Sept.-Oct. 2020 "Put Me Back the Way They Found Me," curated by Simon Zalkind at Fulginiti Pavilion, Anschutz Medical Campus, 13080 E. 19th Ave, Aurora, CO, Mar-June 2020 Project Space at K Contemporary, 1412 Wazee St., Denver, CO, Nov. 2019 "Lineages in Bloom" at the Bellowe Family Gallery, Chautauqua Institution, Chautauqua, NY, June-July 2019 "Would you be lonely without me?" at the Texas Capitol Exhibit Space, 1100 Congress Ave., Austin, TX, Apr. 2019 "Forgetting is so long" at The Art Base, 99 Midland Spur, Basalt, CO Mar.-Apr. 2019 "A Rewilded Arcadia" at K Contemporary, 1412 Wazee St., Denver, CO, Oct. 2018 "This Is Not Goodbye," curated by Sandra Firmin, CU Boulder Art Museum, University of Colorado, Boulder, 318 UCB, Boulder, CO, Jul.-Nov. 2018 "Would you be lonely without me?," Art Gym, 1460 Leyden St., Denver, CO, July-Aug. 2018 "Throw My Ashes Into the Sea," solo at Michael Warren Contemporary Gallery, Denver, CO, Jan.-Mar. 2017 "Forgetting is so long," at Front Range Community College, Boulder County Campus, Longmont, CO, Jan.-Mar. 2017 "Forgetting is so long" at Michael Warren Contemporary Gallery, 760 Santa Fe Dr, Denver CO, Dec. 2014 About the postcard artworks "What rituals are useful to locating someone who's gone. Our story has no language. My loss always in communication with your loss." -Ella Longpre, How to Keep You Alive Who do we choose to remember, and how? These ideas are fraught terrain that cross family relationships, identities, and collective memorialization. For some, living memory supports an elongation of our lives-we only succumb to a blank past when our histories are no longer recalled and held by those that once cared for us. A family photograph is such a vessel of retrieving memory. As time accumulates, however, these emotionally laden images become unknowable, missing their necessary translators. Despite this gradual disintegration of previous selves, our bodies are still affected by the actions of our ancestors. Their lives are encoded into our beings through often-complex interconnections, whether through epigenetics or other practices preserved through time. The inherent loss embedded in these discarded photographs is intertwined with the fragility of the body itself. The depicted bodies can both reveal and conceal embodied language, personality, as well as emotional and physical health. These ties to corporeality and lineages hold us in ways that can manifest as a tender embrace or even a suffocation. In "Forgetting is so long," I collect abandoned family photographs, enlarge them to life-size, and paint over them as a kind of re-enlivening, removing the individuals from their formerly static location and time. Family photographs are revered vestiges to their loved ones, but if they become unmoored, the images and people within become hauntingly absent. Anthropologist Michael Taussig states that defacing sacred objects forces a "shock into being." Suddenly, we perceive them as present and piercing. By mixing painting with photography, I seek to lengthen Roland Barthes' "moment of death" (the photograph) into a loving act of remembrance. Bright swathes of color and the use of painted floral patterns underline relationships and connections to the natural world and beyond, adorning and embellishing these relics with devotional marks of care. These nearly forgotten people are transfigured and "reborn" into a fantastical, liminal place that holds both beauty and joy, temporarily suspended from plunging fully into oblivion.
Helen Dixon Rain 1/4, 2021 Cyanotype on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Helen is a London-based artist who works predominantly with the cyanotype photographic process, which uses simple chemistry, light and water to produce a prussian blue image. Hand drawn images take the place of a photographic negative to produce the final print. She has long been fascinated by weather and the continuous movement of energy in nature, constant and without resolution. Using archive media from the National Meteorological Library and Archive and her own photographs, notes and observational drawings as reference, she considers the fundamental character of phenomena that are inherently elusive, transitory and without shape. Education BA (Hons) Fine Art, Chelsea College of Arts, London Foundation (drawing), Camberwell College of Arts, London Exhibitions Summer (Winter) Exhibition, Royal Academy of Arts (London), Woolwich Contemporary Print Fair (London), Movement, Tate Modern (London), 166th Annual Open Exhibition, Royal West of England Academy (Bristol), Wells Art Contemporary, Bishop's Palace & Gardens, (Somerset), neo:Proof Print, neo:gallery23 (Bolton), Bainbridge Print Open, ASC Gallery (London), 2 50th Summer Exhibition, Royal Academy of Arts (London), Shape Arts, Platform Southwark (London), 164th Annual Open Exhibition, Royal West of England Academy (Bristol), Spectrum, PS Mirabel, (Manchester), Alienation, The Ground Floor Gallery (New York, USA) and James Oliver Gallery (Philadelphia, USA), Little Mountains, Embassy Tea Gallery (London). Aesthetica Art Prize 2019 Longlist, 2019, Oppenheim-John Downes Memorial Trust, London Creative Network (LCN), SPACE (London). About the postcard artwork The imagined marks left by rain as it meets the ground. The quiet noise, the busy gentle tapping, each new layer disappearing into the next. Multiple exposures of two hand drawn negatives make the final print.
Helen Dixon Rain 2/4, 2021 Cyanotype on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Helen is a London-based artist who works predominantly with the cyanotype photographic process, which uses simple chemistry, light and water to produce a prussian blue image. Hand drawn images take the place of a photographic negative to produce the final print. She has long been fascinated by weather and the continuous movement of energy in nature, constant and without resolution. Using archive media from the National Meteorological Library and Archive and her own photographs, notes and observational drawings as reference, she considers the fundamental character of phenomena that are inherently elusive, transitory and without shape. Education BA (Hons) Fine Art, Chelsea College of Arts, London Foundation (drawing), Camberwell College of Arts, London Exhibitions Summer (Winter) Exhibition, Royal Academy of Arts (London), Woolwich Contemporary Print Fair (London), Movement, Tate Modern (London), 166th Annual Open Exhibition, Royal West of England Academy (Bristol), Wells Art Contemporary, Bishop's Palace & Gardens, (Somerset), neo:Proof Print, neo:gallery23 (Bolton), Bainbridge Print Open, ASC Gallery (London), 2 50th Summer Exhibition, Royal Academy of Arts (London), Shape Arts, Platform Southwark (London), 164th Annual Open Exhibition, Royal West of England Academy (Bristol), Spectrum, PS Mirabel, (Manchester), Alienation, The Ground Floor Gallery (New York, USA) and James Oliver Gallery (Philadelphia, USA), Little Mountains, Embassy Tea Gallery (London). Aesthetica Art Prize 2019 Longlist, 2019, Oppenheim-John Downes Memorial Trust, London Creative Network (LCN), SPACE (London). About the postcard artwork The imagined marks left by rain as it meets the ground. The quiet noise, the busy gentle tapping, each new layer disappearing into the next. Multiple exposures of two hand drawn negatives make the final print.
Helen Dixon Rain 3/4, 2021 Cyanotype on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Helen is a London-based artist who works predominantly with the cyanotype photographic process, which uses simple chemistry, light and water to produce a prussian blue image. Hand drawn images take the place of a photographic negative to produce the final print. She has long been fascinated by weather and the continuous movement of energy in nature, constant and without resolution. Using archive media from the National Meteorological Library and Archive and her own photographs, notes and observational drawings as reference, she considers the fundamental character of phenomena that are inherently elusive, transitory and without shape. Education BA (Hons) Fine Art, Chelsea College of Arts, London Foundation (drawing), Camberwell College of Arts, London Exhibitions Summer (Winter) Exhibition, Royal Academy of Arts (London), Woolwich Contemporary Print Fair (London), Movement, Tate Modern (London), 166th Annual Open Exhibition, Royal West of England Academy (Bristol), Wells Art Contemporary, Bishop's Palace & Gardens, (Somerset), neo:Proof Print, neo:gallery23 (Bolton), Bainbridge Print Open, ASC Gallery (London), 2 50th Summer Exhibition, Royal Academy of Arts (London), Shape Arts, Platform Southwark (London), 164th Annual Open Exhibition, Royal West of England Academy (Bristol), Spectrum, PS Mirabel, (Manchester), Alienation, The Ground Floor Gallery (New York, USA) and James Oliver Gallery (Philadelphia, USA), Little Mountains, Embassy Tea Gallery (London). Aesthetica Art Prize 2019 Longlist, 2019, Oppenheim-John Downes Memorial Trust, London Creative Network (LCN), SPACE (London). About the postcard artwork The imagined marks left by rain as it meets the ground. The quiet noise, the busy gentle tapping, each new layer disappearing into the next. Multiple exposures of two hand drawn negatives make the final print.
Helen Dixon Rain 4/4, 2021 Cyanotype on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Helen is a London-based artist who works predominantly with the cyanotype photographic process, which uses simple chemistry, light and water to produce a prussian blue image. Hand drawn images take the place of a photographic negative to produce the final print. She has long been fascinated by weather and the continuous movement of energy in nature, constant and without resolution. Using archive media from the National Meteorological Library and Archive and her own photographs, notes and observational drawings as reference, she considers the fundamental character of phenomena that are inherently elusive, transitory and without shape. Education BA (Hons) Fine Art, Chelsea College of Arts, London Foundation (drawing), Camberwell College of Arts, London Exhibitions Summer (Winter) Exhibition, Royal Academy of Arts (London), Woolwich Contemporary Print Fair (London), Movement, Tate Modern (London), 166th Annual Open Exhibition, Royal West of England Academy (Bristol), Wells Art Contemporary, Bishop's Palace & Gardens, (Somerset), neo:Proof Print, neo:gallery23 (Bolton), Bainbridge Print Open, ASC Gallery (London), 2 50th Summer Exhibition, Royal Academy of Arts (London), Shape Arts, Platform Southwark (London), 164th Annual Open Exhibition, Royal West of England Academy (Bristol), Spectrum, PS Mirabel, (Manchester), Alienation, The Ground Floor Gallery (New York, USA) and James Oliver Gallery (Philadelphia, USA), Little Mountains, Embassy Tea Gallery (London). Aesthetica Art Prize 2019 Longlist, 2019, Oppenheim-John Downes Memorial Trust, London Creative Network (LCN), SPACE (London). About the postcard artwork The imagined marks left by rain as it meets the ground. The quiet noise, the busy gentle tapping, each new layer disappearing into the next. Multiple exposures of two hand drawn negatives make the final print.
Charlotte Edey Feverish, 2021 Pencil and Watercolour on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Charlotte Edey is a British artist & illustrator working across print, textile and embroidery. Symbolism and myth inform her interdisciplinary exploration of the intersections of identity and the spiritual. The experience of womxn of colour is centered in her commentary on the politics of space. She has previously presented solo shows at Flowers Gallery, London (2018) and PUBLIC Gallery, London (2019). Her work has been included in group shows at TJ Boulting, London (2018 & 2019), MANA Contemporary, USA (2020), Mall Galleries, London (2019), Palazzo Monti, Italy (2019) and Arusha Gallery, Scotland (2020). Selected illustration clients include Miu Miu, New York Times, Penguin Random House, CNN, Soho House, GQ, WeTransfer, The Guardian & BBC News. Her work has been featured in Artsy, Creative Review, Vanity Fair, It's Nice That, Elle, Dazed, Elephant, AnOther Magazine & more. Education Chelsea College of Arts - Foundation Course 2011 Royal Drawing School - The Drawing Year 2021 Exhibitions She has previously presented solo shows at Flowers Gallery, London (2018) and PUBLIC Gallery, London (2019). Her work has been included in group shows at TJ Boulting, London (2018 & 2019), MANA Contemporary, USA (2020), Mall Galleries, London (2019), Palazzo Monti, Italy (2019) and Arusha Gallery, Scotland (2020). Selected illustration clients include Miu Miu, New York Times, Penguin Random House, CNN, Soho House, GQ, WeTransfer, The Guardian & BBC News. Her work has been featured in Artsy, Creative Review, Vanity Fair, It's Nice That, Elle, Dazed, Elephant, AnOther Magazine & more. SOLO EXHIBITIONS echolocation @ public gallery (London, 2019) artist of the day @ flowers gallery, cork street (London, 2018) SELECTED GROUP EXHIBITIONS transatlantico @ MANA contemporary (Jersey City, 2020-2021) small is beautiful @ flowers gallery, cork street (London, 2020) from cellar to garret @ south parade (London, 2020) ancient deities @ arusha gallery (Edinburgh, 2020) no time like the present @ public gallery (online/London, 2020) this tragedy w/ ginny on frederick @ fonda (online/Leipzig, 2020) the great women artists @ palazzo monti (Brescia, 2019) ING discerning eye @ mall galleries (London, 2019) motherline @ flowers gallery, kingsland road (London, 2019) subversive stitch @ tj boulting (London, 2019) dark night of the soul @ lewisham arthouse (London, 2019) every thing @ assembly point (London, 2018) in the company of @ tj boulting (London, 2018) the great women artists @ mother london (London, 2017) Condition Report: Condition Report Disclaimer
Suzanne Moxhay Pines, 2021 Print Hand Finished with Gouache Signed verso 15 x 10cm (5¾ x 3¾ in.) Moxhay (b.1976, Essex) lives and works in London. Education After completing a BA Hons in Painting at Chelsea College of Art she went on to The Royal Academy Schools where she graduated with a Post Graduate Diploma in Fine Art in 2007. Exhibitions/Awards She has exhibited widely, both nationally and internationally since 2002 and her work is held in many significant public and private collections including the University of the Arts Collection, The Royal Academy of Arts, The Cooper Union New York, the FSC, the Lodeveans Collection and Oxford University. She has featured in numerous publications including The Guardian, The FT, A-N Magazine and Art World Magazine and has been profiled and interviewed on the BBC Culture Show. Exhibitions include 'GSK Contemporary: Earth Art of a Changing World' and 'Constructed Landscapes' at the Royal Academy of Arts, 'Saatchi's New Sensations/ The Future Can Wait' at Victoria House, London and 'Human Made Things' at Aspex Gallery, Portsmouth and 'Modell-Naturen' which toured public museums in Germany in 2019. Her animation work has been shown as part of the programme 'Do Billboards Dream of Electric Screens?' on BBC public screens in cities across the UK and she has had three prints commissioned by the Royal Academy of Arts. BA Hons Fine Art: Painting, Chelsea College of Art, 2001-2004 Post Graduate Diploma Fine Art, Royal Academy Schools, 2004-2007Solo Exhibitions: 2020 Tableaux Vivants Galerie G, La Garde, France 2019 Conservatory James Freeman Gallery, London 2017 Tableau Vivant Anderson Gallery, Bridgewater State University, MA, USA 2016 Selected Works START with The LOFT at Lower Parel, Saatchi Gallery 2016 Tableau Vivant Anima-Mundi Gallery, St Ives 2014 Finta Realta TEN Gallery, Milan Group Exhibitions: 2021- High Art Orchestra, Galerie Jean-Louis Ramand, Aix-en-Provence, France 2020- Electric Avenue, James Freeman Gallery, London, online 2020- The Birds are Singing in the Distant Woods, The Violet Hour, London, online 2020- Royal Academy Winter Exhibition, Royal Academy of Arts, London 2019- RA Schools 250, Royal Academy of Arts, Exhibition of prints commissioned by the RA 2019- Modell- Naturen, Alfred Ehrhardt Stiftung, Berlin. Touring public galleries in Germany 2019-20 2019- STRATA, 1PROJECTS Bangkok, part of Photo Bangkok 2019- Expanded Landscapes, Galerie Jean-Louis Ramand, Paris 2019- In Edition, Bo Lee Gallery, London 2018- ABSRACT : REALITY, Saatchi Gallery, London 2018- Adventitious Encounters- Open Space Contemporary at Whiteleys, London 2017- Mixed Winter Exhibition- Anima-Mundi, St Ives 2017- Nature's Alchemy, Bo Lee Gallery, London 2017- You See Me Like a UFO, Marcelle Joseph Projects, Berkshire 2017- Nocturne, James Freeman Gallery, London 2017- Arles Summer Show / Voies Off, Arles, France 2017- Royal Academy of Arts Summer Exhibition, London 2017- Jamais on n'a vu..., Galerie Jean-Louis Ramand, Paris 2017- Traces, Bo Lee Gallery, London 2017- Selected Works, Galerie Jean-Louis Ramand, MIA Art Fair, Milan 2016- Trace Elements, James Freeman Gallery, London 2016- Liminal Space, The Loft at Lower Parel, Kochi, India 2016- Merge Visible, Mall Galleries, London 2016- Royal Academy of Arts Summer Exhibition, London 2016- Hinterlands and Pleasure Gardens, James Freeman Gallery, London 2015- Somewhere in Between- curated by Huma Kabacki, Karavil Contemporary, London. 2015- Brilliant Creatures, The Violet Hour at Strand Gallery, London 2015- Multiplied, Christies, London 2015- Royal Academy of Arts Summer Exhibition, London 2015- Progetto Pompeii- Andrea Ingenito Contemporary Art at MIA Art Fair Milan 2015- Eccentric Spaces- curated by Futurecity, The Gallery At Foyles, London 2014- Noir/ Blanc, The Loft at Lower Parel, Mumbai, India 2014- Vanitas, Karin Janssen Project Space, London 2014- The Combinational, Studio 1-1, Shoreditch, London 2014- Archaeologies, The Griffin Gallery, London 2014- Under Nature / Andrea Ingenito Contemporary Art, Naples, Italy 2014- Up and Coming Award/ Kids of Dada, Hoxton Art Gallery, London (Joint winner) 2013- Human Made Things, ASPEX Gallery, Portsmouth 2011- Saatchi's New Sensations/ The Future Can Wait, Victoria House, London 2011- Afternoon Tea, 54th Venice Biennale, Italy 2011- Royal Academy Editions (Print Commissioned), Royal Academy of Arts 2011- Constructed Landscapes, Royal Academy of Arts 2009- Earth: Art of Changing World, Royal Academy of Arts, London Awards: 2019 Print Commission- Royal Academy of Arts (RA Schools 250) 2015 Print Commission- Royal Academy of Arts (RA Editions) 2014 BNL BNP Paribas Group Award Finalist (MIA, Milan) 2014 Kids of Dada Up and Coming Award (Joint winner) 2011 Print Commission- Royal Academy of Arts (RA Editions) James Freeman Gallery, London/ The Contemporary London/ Galerie Jean-Louis Ramand, France About the postcard artworks Drawing from an archive of collected material, Suzanne Moxhay creates intricate and complex photomontages. Her method was derived in part from the early filmmaking technique of matte painting, where backdrops were painted on sheets of glass and integrated by the camera with the live-action on set. She builds up the image in her studio using cut-out fragments of source material, which she makes into small stage sets on glass panels. She then re-photographs the sets and manipulates the images digitally, an act of reprocessing which takes them further away from their original context and broadens the narrative potential. Her source material is drawn from an archive of collected imagery, which includes her own photographs of abandoned buildings as well as material collected from old books and magazines and fragments of paintings. She works intuitively with the material, finding points of connection between details, either through shared subject matter or formal considerations such as following the path of light from one image through another to create spaces, which at first may appear real but on closer inspection begin to dissolve. She plays with anomalies - of texture, surface, depth, space, scale, movement and architecture - to involve the viewer in the construction of the image, and to make them question it. In the finished work there is often an uneasy sense of a space that does not quite fit together - either formally or conceptually, but possesses a reality of its own. One which we are unable to pinpoint as factual or fictitious.
Angela A'Court From Here To There, 2021 Screenprint on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) "I am an artist and printmaker who works predominantly in soft pastel, whether painting, printing, collaging or paper making. Originally from London, New York has been home for the last thirteen years, with a recent break of eighteen months spent in Tokyo. My evolution has been influenced by living in and experiencing different cultures, which have offered up a visual and emotional dimension to the work. As an onlooker, I have observed in each the routines and customs that provide a structure for day to day interactions and our need for connection. I am interested in re-defining soft pastel as a modern medium for reflecting contemporary life by distilling and exalting its intrinsic immediacy and tactile distinctiveness. I move slowly in the studio, so that ideas can free-float. There is a rhythm and pace here that enables me to feel my way around a painting. With a sensibility rather than an single idea, I'll begin painting so that randomness and equilibrium work along side each other. My working process is an explorative, intuitive mix borrowed from several disciplines, combining and alternating pastel with print or collage. My information comes from careful observation, from reflecting on a familiar scene and drawing a narrative from it. The scenes are not staged but usually stumbled upon, perhaps a friend's window sill, kitchen table or a glimpse of two people engaged in conversation. It is the overlooked aspects of everyday life that draw me in, a stolen glance of another's day to day and the rhythm of routine that we all share. My experience in Japan is evident in my more recent work. Prompted by curiosity and a need to adapt to a different culture, I tentatively explore the surrounding new, in contrast with older recollections. I place a beloved cup next to a chicken wire lantern, unearthed at a Japanese flea market, and a new conversation begins. It's about absorbing change and finding a way through, using the spaces in between. The resolution comes in recognizing when a balance is found and there is a connection between the contrary: the new and old, the unfamiliar and familiar. I gather my visual language from the grace of everyday ordinariness, private worlds, unguarded moments, the unsaid - the trace of human presence. I paint what makes me curious and seek to render the truest emotional response that made me first stop and take note."
Angela A'Court Tokyo Days, 2021 Screenprint on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) "I am an artist and printmaker who works predominantly in soft pastel, whether painting, printing, collaging or paper making. Originally from London, New York has been home for the last thirteen years, with a recent break of eighteen months spent in Tokyo. My evolution has been influenced by living in and experiencing different cultures, which have offered up a visual and emotional dimension to the work. As an onlooker, I have observed in each the routines and customs that provide a structure for day to day interactions and our need for connection. I am interested in re-defining soft pastel as a modern medium for reflecting contemporary life by distilling and exalting its intrinsic immediacy and tactile distinctiveness. I move slowly in the studio, so that ideas can free-float. There is a rhythm and pace here that enables me to feel my way around a painting. With a sensibility rather than an single idea, I'll begin painting so that randomness and equilibrium work along side each other. My working process is an explorative, intuitive mix borrowed from several disciplines, combining and alternating pastel with print or collage. My information comes from careful observation, from reflecting on a familiar scene and drawing a narrative from it. The scenes are not staged but usually stumbled upon, perhaps a friend's window sill, kitchen table or a glimpse of two people engaged in conversation. It is the overlooked aspects of everyday life that draw me in, a stolen glance of another's day to day and the rhythm of routine that we all share. My experience in Japan is evident in my more recent work. Prompted by curiosity and a need to adapt to a different culture, I tentatively explore the surrounding new, in contrast with older recollections. I place a beloved cup next to a chicken wire lantern, unearthed at a Japanese flea market, and a new conversation begins. It's about absorbing change and finding a way through, using the spaces in between. The resolution comes in recognizing when a balance is found and there is a connection between the contrary: the new and old, the unfamiliar and familiar. I gather my visual language from the grace of everyday ordinariness, private worlds, unguarded moments, the unsaid - the trace of human presence. I paint what makes me curious and seek to render the truest emotional response that made me first stop and take note."
Angela A'Court Trois Fois, 2021 Mixed Media on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) "I am an artist and printmaker who works predominantly in soft pastel, whether painting, printing, collaging or paper making. Originally from London, New York has been home for the last thirteen years, with a recent break of eighteen months spent in Tokyo. My evolution has been influenced by living in and experiencing different cultures, which have offered up a visual and emotional dimension to the work. As an onlooker, I have observed in each the routines and customs that provide a structure for day to day interactions and our need for connection. I am interested in re-defining soft pastel as a modern medium for reflecting contemporary life by distilling and exalting its intrinsic immediacy and tactile distinctiveness. I move slowly in the studio, so that ideas can free-float. There is a rhythm and pace here that enables me to feel my way around a painting. With a sensibility rather than an single idea, I'll begin painting so that randomness and equilibrium work along side each other. My working process is an explorative, intuitive mix borrowed from several disciplines, combining and alternating pastel with print or collage. My information comes from careful observation, from reflecting on a familiar scene and drawing a narrative from it. The scenes are not staged but usually stumbled upon, perhaps a friend's window sill, kitchen table or a glimpse of two people engaged in conversation. It is the overlooked aspects of everyday life that draw me in, a stolen glance of another's day to day and the rhythm of routine that we all share. My experience in Japan is evident in my more recent work. Prompted by curiosity and a need to adapt to a different culture, I tentatively explore the surrounding new, in contrast with older recollections. I place a beloved cup next to a chicken wire lantern, unearthed at a Japanese flea market, and a new conversation begins. It's about absorbing change and finding a way through, using the spaces in between. The resolution comes in recognizing when a balance is found and there is a connection between the contrary: the new and old, the unfamiliar and familiar. I gather my visual language from the grace of everyday ordinariness, private worlds, unguarded moments, the unsaid - the trace of human presence. I paint what makes me curious and seek to render the truest emotional response that made me first stop and take note."
Julia Peintner Woman as Greenhouse, 2021 Linocut Print on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) "Julia Peintner graduated from Central Saint Martins in 2015 and has since been working as a printmaker and painter in London. Drawing, painting and printmaking coexist in her practice. She works from imagination and sourced image material and analog photos. Her figurative images reference magic realism and show universal experiences and symbolic motifs. The subject matter is the figure in contemporary everyday life as seen through a mythological lens, giving the work a sense of the surreal and mystical. Peintner's work explores various themes, such as the figure in nature and the elements, the female body and figure in transformation, the ambivalence and of life in a city and identity in flux, dreams and the visible and invisible to the eye. Education Central Saint Martins, 2012-2015 Exhibitions She has exhibited in the UK and US as well as in Japan after being a resident at Studio Kura residency in 2015 and in 2017 with a focus on Japanese printmaking. Peintner has been working for Blackbird Editions and as Eileen Cooper's studio assistant since 2016. 2020 36th Annual Open, Southwark Park Galleries, London, UK - With Love, digital exhibition curated by Paint_Talk, UK - ING Discerning Eye, London, UK - Summer Exhibition, Royal Academy, London, UK 2019 Studio Stories - Works on paper, Boecho Gallery, London, UK - National Original Print Exhibition, Bankside Gallery, London, UK 2018 - 9 Artists, Thin House, London, UK - Summer Exhibition, Royal Academy, London, UK 2017 - Studio Kura Gallery, Fukuoka, Japan - Summer Exhibition, Royal Academy, London, UK 2015 - Painting International, Hechima Gallery, Kofu, Japan - A Room in Japan, Studio Kura Gallery, Fukuoka, Japan - Degree Show, Central Saint Martins, London, UK - Print/4, Arcane Gallery, London, UK - Post Internet Is Dead!, Fisher Gallery, Oberlin, Ohio, USA"
Julia Peintner Woman as Facehouse, 2021 Linocut Print on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) "Julia Peintner graduated from Central Saint Martins in 2015 and has since been working as a printmaker and painter in London. Drawing, painting and printmaking coexist in her practice. She works from imagination and sourced image material and analog photos. Her figurative images reference magic realism and show universal experiences and symbolic motifs. The subject matter is the figure in contemporary everyday life as seen through a mythological lens, giving the work a sense of the surreal and mystical. Peintner's work explores various themes, such as the figure in nature and the elements, the female body and figure in transformation, the ambivalence and of life in a city and identity in flux, dreams and the visible and invisible to the eye. Education Central Saint Martins, 2012-2015 Exhibitions She has exhibited in the UK and US as well as in Japan after being a resident at Studio Kura residency in 2015 and in 2017 with a focus on Japanese printmaking. Peintner has been working for Blackbird Editions and as Eileen Cooper's studio assistant since 2016. 2020 36th Annual Open, Southwark Park Galleries, London, UK - With Love, digital exhibition curated by Paint_Talk, UK - ING Discerning Eye, London, UK - Summer Exhibition, Royal Academy, London, UK 2019 Studio Stories - Works on paper, Boecho Gallery, London, UK - National Original Print Exhibition, Bankside Gallery, London, UK 2018 - 9 Artists, Thin House, London, UK - Summer Exhibition, Royal Academy, London, UK 2017 - Studio Kura Gallery, Fukuoka, Japan - Summer Exhibition, Royal Academy, London, UK 2015 - Painting International, Hechima Gallery, Kofu, Japan - A Room in Japan, Studio Kura Gallery, Fukuoka, Japan - Degree Show, Central Saint Martins, London, UK - Print/4, Arcane Gallery, London, UK - Post Internet Is Dead!, Fisher Gallery, Oberlin, Ohio, USA"
Vicky Oldfield Seed, 2020 Solar Print on Paper Signed recto, further signed verso 15 x 10cm (5¾ x 3¾ in.) I am an artist and printmaker who likes to find beauty in the everyday - some weeds on a road side, or a cluttered windowsill can set off a new collection. I treasure both the eccentric and the ordinary, inspired by collections of found objects and natural forms; I am fascinated with the structure and design found in flowers and plants, often redrawing the same plant many times over to explore the subtle variations in its form. Education: After leaving school, I attended Art College and then worked as a commercial designer in wallpaper and textiles in both London and Paris before becoming a full time artist in 2008. Exhibitions: My work has been exhibited in many major shows including the Royal Academy Summer exhibition and The Royal Society of British Artists, I have also exhibited in America and Japan. My work can currently be seen in many galleries across the UK: Bourneside Gallery, 1 North street, Dorking RH4 1DN Bircham Gallery, 14 Market Place, Holt NR25 6BW Cambridge Contemporary Art 6 Trinity St, Cambridge CB2 1SU For Arts Sake, 45 Bond Street, Ealing W5 5AS Red Dog Gallery, Oakhanger, Hampshire GU35 9JN Sarah Wiseman Gallery, Oxford OX2 7JL The Art Agency, Esher Gallery, 93 High Street, Esher, Surrey KT10 9QA The Courtyard Gallery, 32 Boroughgate, Appelby in Westmorland, Cumbria The Moreton Gallery, Queens Head House, High street, Moreton in Marsh GL56 0LH The New Ashgate Gallery, Wagon Yard, Farnham GU9 7PS The Purple Gallery, 229 Mary Vale Road, Bournville, Birmingham B30 2DL West End House Gallery, Water Lane, Ashford TN27 8QB Wychwood Art Gallery, contemporary online art gallery,Town Hall, Market Place, Deddington OX15 0SEA collection of small prints, drawings and collages.
Margaret Ashman I Am Strong (1), 2020 Phototransfer and Monoprint on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Margaret Ashman is a printmaker whose work is a meditation on the unseen, spiritual, emotional and otherness of life. Using photographs or video stills, sometimes layering images from multiple sources she creates pieces in which a solitary dancer fills or interacts with a space. Dancers or Deaf signers are photographed performing contemporary dance or signing to particular songs or texts. She also works from video stills of dancers, always gaining the permission of the dance artist first. The manipulated imagery is transferred to multiple etching plates using traditional acids and aquatint, imparting a particular textural quality to the finished prints. She lives and works in London. Education Certificate in Further Education City & Guilds 7407, Kensington & Chelsea 2006 MA Printmaking & Professional Practice, University of Brighton and London Print Studio 2005 BA Fine Art, University of Hertfordshire 1998 - 2003 MA Physics, Somerville College, Oxford 1977 - 1980 Exhibitions & Awards 2019 Lawrence Art Supplies Prize, RE Originals, Bankside Gallery 2017 Hot Bed Press Purchase Prize, The Masters, Bankside Gallery 2017 London Print Studio Summer Exhibition, 1st Prize Winner 2015 Shifting Subjects Arts Council Commission, Abbey Walk Gallery, Grimsby 2012 Intaglio Printmaker Award, Royal Society of Painter Printmakers Exhibition 2011 International Print Prize, 3rd Guanlan Print Biennial, China Recent Exhibitions 2020 ING Discerning Eye, London New Work by the RE, Printmakers in Lockdown, Bankside Gallery Woolwich Print Fair In Print 20/20 Vision, Watts Contemporary Gallery, Surrey Summer Exhibition, Royal Academy of Arts, London Colour, Printmakers Council, Royal Overseas League, London Reawakenings, Lingwood Samuel, Godalming Stones from other Mountains: 2020 International Outstanding Printmaking Artists Works Exhibition, China Printmaking Museum Margaret Ashman and Pascale Simonet, Nagai Artist Space, Hiroo Shibuya,Tokyo 4th Red Dot Art Mini Print Exhibition, Anteros Arts Foundation, Norwich Printmakers Council, Scarborough Art Gallery, Scarborough Time, Printmakers Council, Highgate Literary and Scientific Institute, London 2019 The Mini Picture Show, Bankside Gallery Solo Show, Higher Ground, The Muse Gallery, London Pratt Institute, Brooklyn, New York PrintFest, Algarden, Boras, Sweden Summer Exhibition, Royal Academy of Arts, London Flow, Gallery 57, Arundel A Silent Space Between, Gallery 57, Arundel RE Original Prints, Bankside Gallery London Original Print Fair, Royal Academy Journeys, Printmakers Council, Touring Exhibition 2018 Woolwich Contemporary Print Fair, Woolwich Arsenal, 22nd - 25th November ING Discerning Eye Exhibition, Mall Galleries, 15th - 29th November 3rd Red Dot Art Mini Print Exhibition, Aldeburgh, 21st - 25th September and touring to UK venues National Original Print Exhibition, Bankside Gallery, 19th - 30 September International Triennial of Contemporary Graphic Arts,Novosibirsk 14th September - 4th November Memory, Royal Overseas League, London 28th August - 25th November Off the Wall, Bankside Gallery London Print Studio Members Summer Show Spirit of Place, Late November Gallery, Haverfordwest Royal Society of Painter Printmakers, Burton Gallery, Bideford RE Printmakers at For Arts Sake, For Arts Sake, Ealing RE Originals, Bankside Gallery Print REbels, Bankside Gallery Light/Matter: Art at the Intersection of Photography and Printmaking, 1954 - 2017, University of Alberta, Edmonton, Canada Affordable Art Fair, Hampstead Impress III, The Gallery, Fisherton Mill, Salisbury Embodying Gesture, The Muse Gallery, London The Muse Gallery, Notting Hill, Bankside Gallery, Printroom Studio, Lingwood Samuel, Newbloodart, Singulart. About the postcard artworks These works are original prints created by hand on Somerset etching paper using etching inks with a photocopy litho technique. The images are from video stills of the dancer Kehua Li also known as Lico. She embodies strength, positivity and resilience in her energetic and beautiful dances. I wanted to capture something of that spirit in these mini portraits.
Vicky Oldfield Orchid, 2020 Mixed Media Print on Paper Signed recto, further signed verso 15 x 10cm (5¾ x 3¾ in.) I am an artist and printmaker who likes to find beauty in the everyday - some weeds on a road side, or a cluttered windowsill can set off a new collection. I treasure both the eccentric and the ordinary, inspired by collections of found objects and natural forms; I am fascinated with the structure and design found in flowers and plants, often redrawing the same plant many times over to explore the subtle variations in its form. Education: After leaving school, I attended Art College and then worked as a commercial designer in wallpaper and textiles in both London and Paris before becoming a full time artist in 2008. Exhibitions: My work has been exhibited in many major shows including the Royal Academy Summer exhibition and The Royal Society of British Artists, I have also exhibited in America and Japan. My work can currently be seen in many galleries across the UK: Bourneside Gallery, 1 North street, Dorking RH4 1DN Bircham Gallery, 14 Market Place, Holt NR25 6BW Cambridge Contemporary Art 6 Trinity St, Cambridge CB2 1SU For Arts Sake, 45 Bond Street, Ealing W5 5AS Red Dog Gallery, Oakhanger, Hampshire GU35 9JN Sarah Wiseman Gallery, Oxford OX2 7JL The Art Agency, Esher Gallery, 93 High Street, Esher, Surrey KT10 9QA The Courtyard Gallery, 32 Boroughgate, Appelby in Westmorland, Cumbria The Moreton Gallery, Queens Head House, High street, Moreton in Marsh GL56 0LH The New Ashgate Gallery, Wagon Yard, Farnham GU9 7PS The Purple Gallery, 229 Mary Vale Road, Bournville, Birmingham B30 2DL West End House Gallery, Water Lane, Ashford TN27 8QB Wychwood Art Gallery, contemporary online art gallery,Town Hall, Market Place, Deddington OX15 0SEA collection of small prints, drawings and collages.
Michaela Younge Elvis Is Leaving Soon I, 2021 Pencil Crayon on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Michaela Younge is a South African artist born in Cape Town in 1993. After high school, Michaela attended the Michaelis School of Fine Art, where her father lectured in the Sculpture department. She graduated in 2015 receiving a Bachelor of Fine Arts with distinction. While at Michaelis, she primarily worked in the mediums of sculpture and print, however, after graduating she began working with wool, constructing felt tableaux depicting scenes of the everyday, the violent and the bizarre. Her works are created by needle felting merino wool into textiles as well as found fabrics, such as old curtains and tapestries. The works are textural and are characterised by colourful, busy scenes that often play with perspective. Michaela is interested in the absurdity of everyday life, often finding humour in theatrical scenes of violence or through a comedy of errors. These scenes invite a closer look at human relationships and interactions - sometimes skewering the subjects in the process. Education: BFA with distinction, Michaelis School of Fine Art, University of Cape Town Exhibitions/Awards: PEEP SHOW, Online (29 October 2020) GATHER, SMAC (19 September 2020) MEDITATION IN COLOUR/ AN INTRODUCTION, C+N Canepaneri Milan (16 September 2020) PINK'S NOT DEAD, Apartment x TheFourth (16 September 2020) FAREWELL TO GOOD GOOD FRIENDS, SMITH Studio (30 July 2020) HARD, BUT SOFT, Glen Carlou Gallery (19 January 2020) RENDEZVOUS II, SMITH Studio (5 December 2019) RENDEZVOUS I, SMITH Studio (5 December 2018) CLOSE ENCOUNTERS, SMITH Studio (4 July 2018) IN TO VIEW, Ebony / Curated (1 March 2018) SALAD, SMITH Studio (14 December 2017) NANO 1.1 I, Barnard Gallery (26 July 2017) OUT OF NOWHERE, SMITH Studio (3 May 2017) FOLLY, SMITH Studio (25 January 2017) ANIMALS, IS Sculpture at Tokara (31 July 2016) JNR PRESENTS BAD HABITUS, Muller's Gallery (3 May 2016) SOLOS & ROOMS Artist Room, SMAC (17 October 2020 - 21 November 2020) Its Low Tide and I'm Scraping the Rocks, SMITH Studio,1-54 Room (3 - 6 October 2019) Nothing Bad, SMITH Studio (8 May 2019 - 8 June 2019) Gallery Representation: SMAC Gallery Cape Town
Michaela Younge Elvis Is Leaving Soon II, 2021 Pencil Crayon on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Michaela Younge is a South African artist born in Cape Town in 1993. After high school, Michaela attended the Michaelis School of Fine Art, where her father lectured in the Sculpture department. She graduated in 2015 receiving a Bachelor of Fine Arts with distinction. While at Michaelis, she primarily worked in the mediums of sculpture and print, however, after graduating she began working with wool, constructing felt tableaux depicting scenes of the everyday, the violent and the bizarre. Her works are created by needle felting merino wool into textiles as well as found fabrics, such as old curtains and tapestries. The works are textural and are characterised by colourful, busy scenes that often play with perspective. Michaela is interested in the absurdity of everyday life, often finding humour in theatrical scenes of violence or through a comedy of errors. These scenes invite a closer look at human relationships and interactions - sometimes skewering the subjects in the process. Education: BFA with distinction, Michaelis School of Fine Art, University of Cape Town Exhibitions/Awards: PEEP SHOW, Online (29 October 2020) GATHER, SMAC (19 September 2020) MEDITATION IN COLOUR/ AN INTRODUCTION, C+N Canepaneri Milan (16 September 2020) PINK'S NOT DEAD, Apartment x TheFourth (16 September 2020) FAREWELL TO GOOD GOOD FRIENDS, SMITH Studio (30 July 2020) HARD, BUT SOFT, Glen Carlou Gallery (19 January 2020) RENDEZVOUS II, SMITH Studio (5 December 2019) RENDEZVOUS I, SMITH Studio (5 December 2018) CLOSE ENCOUNTERS, SMITH Studio (4 July 2018) IN TO VIEW, Ebony / Curated (1 March 2018) SALAD, SMITH Studio (14 December 2017) NANO 1.1 I, Barnard Gallery (26 July 2017) OUT OF NOWHERE, SMITH Studio (3 May 2017) FOLLY, SMITH Studio (25 January 2017) ANIMALS, IS Sculpture at Tokara (31 July 2016) JNR PRESENTS BAD HABITUS, Muller's Gallery (3 May 2016) SOLOS & ROOMS Artist Room, SMAC (17 October 2020 - 21 November 2020) Its Low Tide and I'm Scraping the Rocks, SMITH Studio,1-54 Room (3 - 6 October 2019) Nothing Bad, SMITH Studio (8 May 2019 - 8 June 2019) Gallery Representation: SMAC Gallery Cape Town
Margaret Ashman I Am Strong (2), 2020 Phototransfer and Monoprint on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Margaret Ashman is a printmaker whose work is a meditation on the unseen, spiritual, emotional and otherness of life. Using photographs or video stills, sometimes layering images from multiple sources she creates pieces in which a solitary dancer fills or interacts with a space. Dancers or Deaf signers are photographed performing contemporary dance or signing to particular songs or texts. She also works from video stills of dancers, always gaining the permission of the dance artist first. The manipulated imagery is transferred to multiple etching plates using traditional acids and aquatint, imparting a particular textural quality to the finished prints. She lives and works in London. Education Certificate in Further Education City & Guilds 7407, Kensington & Chelsea 2006 MA Printmaking & Professional Practice, University of Brighton and London Print Studio 2005 BA Fine Art, University of Hertfordshire 1998 - 2003 MA Physics, Somerville College, Oxford 1977 - 1980 Exhibitions & Awards 2019 Lawrence Art Supplies Prize, RE Originals, Bankside Gallery 2017 Hot Bed Press Purchase Prize, The Masters, Bankside Gallery 2017 London Print Studio Summer Exhibition, 1st Prize Winner 2015 Shifting Subjects Arts Council Commission, Abbey Walk Gallery, Grimsby 2012 Intaglio Printmaker Award, Royal Society of Painter Printmakers Exhibition 2011 International Print Prize, 3rd Guanlan Print Biennial, China Recent Exhibitions 2020 ING Discerning Eye, London New Work by the RE, Printmakers in Lockdown, Bankside Gallery Woolwich Print Fair In Print 20/20 Vision, Watts Contemporary Gallery, Surrey Summer Exhibition, Royal Academy of Arts, London Colour, Printmakers Council, Royal Overseas League, London Reawakenings, Lingwood Samuel, Godalming Stones from other Mountains: 2020 International Outstanding Printmaking Artists Works Exhibition, China Printmaking Museum Margaret Ashman and Pascale Simonet, Nagai Artist Space, Hiroo Shibuya,Tokyo 4th Red Dot Art Mini Print Exhibition, Anteros Arts Foundation, Norwich Printmakers Council, Scarborough Art Gallery, Scarborough Time, Printmakers Council, Highgate Literary and Scientific Institute, London 2019 The Mini Picture Show, Bankside Gallery Solo Show, Higher Ground, The Muse Gallery, London Pratt Institute, Brooklyn, New York PrintFest, Algarden, Boras, Sweden Summer Exhibition, Royal Academy of Arts, London Flow, Gallery 57, Arundel A Silent Space Between, Gallery 57, Arundel RE Original Prints, Bankside Gallery London Original Print Fair, Royal Academy Journeys, Printmakers Council, Touring Exhibition 2018 Woolwich Contemporary Print Fair, Woolwich Arsenal, 22nd - 25th November ING Discerning Eye Exhibition, Mall Galleries, 15th - 29th November 3rd Red Dot Art Mini Print Exhibition, Aldeburgh, 21st - 25th September and touring to UK venues National Original Print Exhibition, Bankside Gallery, 19th - 30 September International Triennial of Contemporary Graphic Arts,Novosibirsk 14th September - 4th November Memory, Royal Overseas League, London 28th August - 25th November Off the Wall, Bankside Gallery London Print Studio Members Summer Show Spirit of Place, Late November Gallery, Haverfordwest Royal Society of Painter Printmakers, Burton Gallery, Bideford RE Printmakers at For Arts Sake, For Arts Sake, Ealing RE Originals, Bankside Gallery Print REbels, Bankside Gallery Light/Matter: Art at the Intersection of Photography and Printmaking, 1954 - 2017, University of Alberta, Edmonton, Canada Affordable Art Fair, Hampstead Impress III, The Gallery, Fisherton Mill, Salisbury Embodying Gesture, The Muse Gallery, London The Muse Gallery, Notting Hill, Bankside Gallery, Printroom Studio, Lingwood Samuel, Newbloodart, Singulart. About the postcard artworks These works are original prints created by hand on Somerset etching paper using etching inks with a photocopy litho technique. The images are from video stills of the dancer Kehua Li also known as Lico. She embodies strength, positivity and resilience in her energetic and beautiful dances. I wanted to capture something of that spirit in these mini portraits.
Sin Park Night Sister, 2021 Coloured Pencil on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Sin Park is a visual artist and PhD candidate in Fine Art at Glasgow School of Art. Education: She completed an MA in Painting at the Royal College of Art 2017, and a BFA in Painting from Ewha Womans University 2007. Exhibitions/Awards: Her recent works were featured in group shows including; A cabinet of Curiosities, Brownsword Hepworth Gallery, London 2020, Open Window, Square Gallery, London 2020, Annual Show, The Royal Scottish Academy, Edinburgh 2020, Elephant Lab, Colart, London 2020, Virtues of the Real/ Necessity of the Imaginary, The Art Space Glasgow 2019, Crocodile Tears, Greenpoint Open Studios 2019, New York 2020, Flourish award, Spike Print Studio, Bristol 2019 PR1 Gallery at the university of central Lancashire, Preston 2018, Nature, ARNA, Harlösa, 2018, Skip-Ad; Play, Savoy Center, Glasgow 2018, Odyssey, Summerhall, Edinburgh 2018, One summer night, Crypt Gallery, London 2017, The Arrival, Square Gallery, London 2017, The Abstraction of Continents and The Continent of Abstraction, Lychee One, London 2016, Royal Institute of Oil Painters, Mall Galleries, London 2016, Shadow, Lichfield Cathedral, Lichfield 2016. Park was awarded the RK Burt&co. West Yorkshire 2018. She was also shortlisted in The Hopper Prize 2019, the Ashurst Emerging Artist Prize 2018, the Winsor & Newton Young Artist Award 2016, and The Lichfield Prize 2016. She participated in residencies including Elephant Lab2020, Aucart Lab London 2019, Summerhouse Dusseldorf 2018 and ARNA Harlösa 2018.2017 - PhD in Fine Art, Glasgow School of Art 2015 - 2017 MA in Painting, Royal College of Art 2007 - 2012 BA in History of Art, College of Liberal Art B.F.A in Painting, College of Art & Design, Ewha Womans University, Seoul 2020 A cabinet of Curiosities, Brownsword Hepworth Gallery, London Exh 03, Floorr magazine (online show) Open Window, Square Gallery, London Annual Show, The Royal Scottish Academy, Edinburgh Elephant Lab, Colart, London 2019 Crocodile Tears, Greenpoint Open Studios 2019, New York Bath Open Art Prize 2019, Fringe Arts Bath Festival, 44AD Artspace, Bath Aucart LAB, 189 Gloucester Place, London Flourish award 2018 tour, Spike Print Studio, Bristol 2018 Flourish award 2018 tour, PR1Gallery at the university of central Lancashire, Preston U-Star, Albereta Relais & Chateaux, Milan Flourish award 2018, West Yorkshire Print Workshop, Mirfield, West Yorkshire Summerhouse, Lindenbecker Weg, Düsseldorf, Germany ARNA opening studio, Harlösa, Sweden Skip-Ad; Play, Savoy Center, Glasgow Ashurst Emerging Artist Prize 2018 Shortlist Show, Ashurst LLP, London No Safe Haven, The Pipe Factory Gallery, Glasgow Odysseys (SYN Festival Edinburgh), Summerhall, Edinburgh 2017 One summer night, Crypt Gallery, London RCA Degree Show, Royal College of Art, London The Arrival, Square Gallery, London Under the see, Crypt Gallery, London 2016 The Abstraction of Continents and The Continent of Abstraction, Lychee One, London Royal Institute of Oil Painters, Mall Galleries, London Lost in the woods, Square Gallery, London Shadow(Lichfield Festival), Lichfield Cathedral(Emporium Art gallery), Lichfield Nothing To See Here, Square gallery, London AWARD Hopper Prize 2019 (Finalist) Bath Open Art Prize 2019 (Finalist) Flourish Award 2018, RK Burt&co. Prize, West Yorkshire, UK (Awardee) Summerhouse2018, Düsseldorf, Germany (Awardee) Ashurst Emerging Artist Prize 2018, London, UK (Shortlisted) Winsor & Newton Young Artist Award 2016, London (Shortlisted) The Lichfield Prize 2016, Emporium Art gallery, Lichfield (Finalist) Noticeable Works Award 2013, Ewha Womans University, Seoul (Awardee). About the postcard artworks: I am interested in notions of memory and not-knowing as methods for approaching painting. Critical to this thinking are predetermined actions set against the potential of active eruptions of moments at which the activity stretches into a space that is not-known, where actions are affected by the activity of painting. Momentary gestural action delivers a timeless desire that becomes one with another, sought within an instant through intuition and improvisation. The sensory apparatus makes this possible, makes textural surface and surface of emotional sense an extended moment of absolute proximity and distance, all at once. Within this method, I utilise motifs as a precursor to the indeterminable, through which the real, or that is to say reflections of the real, become entangled within abstract environments embedded within the surface. This all happens through the activity of painting and constructs a liberated space of complexity; I would determine this as a space of familiar unfamiliarity.
Sin Park Night Sky, 2021 Marker Pen and Coloured Pencil on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Sin Park is a visual artist and PhD candidate in Fine Art at Glasgow School of Art. Education: She completed an MA in Painting at the Royal College of Art 2017, and a BFA in Painting from Ewha Womans University 2007. Exhibitions/Awards: Her recent works were featured in group shows including; A cabinet of Curiosities, Brownsword Hepworth Gallery, London 2020, Open Window, Square Gallery, London 2020, Annual Show, The Royal Scottish Academy, Edinburgh 2020, Elephant Lab, Colart, London 2020, Virtues of the Real/ Necessity of the Imaginary, The Art Space Glasgow 2019, Crocodile Tears, Greenpoint Open Studios 2019, New York 2020, Flourish award, Spike Print Studio, Bristol 2019 PR1 Gallery at the university of central Lancashire, Preston 2018, Nature, ARNA, Harlösa, 2018, Skip-Ad; Play, Savoy Center, Glasgow 2018, Odyssey, Summerhall, Edinburgh 2018, One summer night, Crypt Gallery, London 2017, The Arrival, Square Gallery, London 2017, The Abstraction of Continents and The Continent of Abstraction, Lychee One, London 2016, Royal Institute of Oil Painters, Mall Galleries, London 2016, Shadow, Lichfield Cathedral, Lichfield 2016. Park was awarded the RK Burt&co. West Yorkshire 2018. She was also shortlisted in The Hopper Prize 2019, the Ashurst Emerging Artist Prize 2018, the Winsor & Newton Young Artist Award 2016, and The Lichfield Prize 2016. She participated in residencies including Elephant Lab2020, Aucart Lab London 2019, Summerhouse Dusseldorf 2018 and ARNA Harlösa 2018.2017 - PhD in Fine Art, Glasgow School of Art 2015 - 2017 MA in Painting, Royal College of Art 2007 - 2012 BA in History of Art, College of Liberal Art B.F.A in Painting, College of Art & Design, Ewha Womans University, Seoul 2020 A cabinet of Curiosities, Brownsword Hepworth Gallery, London Exh 03, Floorr magazine (online show) Open Window, Square Gallery, London Annual Show, The Royal Scottish Academy, Edinburgh Elephant Lab, Colart, London 2019 Crocodile Tears, Greenpoint Open Studios 2019, New York Bath Open Art Prize 2019, Fringe Arts Bath Festival, 44AD Artspace, Bath Aucart LAB, 189 Gloucester Place, London Flourish award 2018 tour, Spike Print Studio, Bristol 2018 Flourish award 2018 tour, PR1Gallery at the university of central Lancashire, Preston U-Star, Albereta Relais & Chateaux, Milan Flourish award 2018, West Yorkshire Print Workshop, Mirfield, West Yorkshire Summerhouse, Lindenbecker Weg, Düsseldorf, Germany ARNA opening studio, Harlösa, Sweden Skip-Ad; Play, Savoy Center, Glasgow Ashurst Emerging Artist Prize 2018 Shortlist Show, Ashurst LLP, London No Safe Haven, The Pipe Factory Gallery, Glasgow Odysseys (SYN Festival Edinburgh), Summerhall, Edinburgh 2017 One summer night, Crypt Gallery, London RCA Degree Show, Royal College of Art, London The Arrival, Square Gallery, London Under the see, Crypt Gallery, London 2016 The Abstraction of Continents and The Continent of Abstraction, Lychee One, London Royal Institute of Oil Painters, Mall Galleries, London Lost in the woods, Square Gallery, London Shadow(Lichfield Festival), Lichfield Cathedral(Emporium Art gallery), Lichfield Nothing To See Here, Square gallery, London AWARD Hopper Prize 2019 (Finalist) Bath Open Art Prize 2019 (Finalist) Flourish Award 2018, RK Burt&co. Prize, West Yorkshire, UK (Awardee) Summerhouse2018, Düsseldorf, Germany (Awardee) Ashurst Emerging Artist Prize 2018, London, UK (Shortlisted) Winsor & Newton Young Artist Award 2016, London (Shortlisted) The Lichfield Prize 2016, Emporium Art gallery, Lichfield (Finalist) Noticeable Works Award 2013, Ewha Womans University, Seoul (Awardee). About the postcard artworks: I am interested in notions of memory and not-knowing as methods for approaching painting. Critical to this thinking are predetermined actions set against the potential of active eruptions of moments at which the activity stretches into a space that is not-known, where actions are affected by the activity of painting. Momentary gestural action delivers a timeless desire that becomes one with another, sought within an instant through intuition and improvisation. The sensory apparatus makes this possible, makes textural surface and surface of emotional sense an extended moment of absolute proximity and distance, all at once. Within this method, I utilise motifs as a precursor to the indeterminable, through which the real, or that is to say reflections of the real, become entangled within abstract environments embedded within the surface. This all happens through the activity of painting and constructs a liberated space of complexity; I would determine this as a space of familiar unfamiliarity.
Sin Park One Afternoon, 2021 Coloured Pencil on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Sin Park is a visual artist and PhD candidate in Fine Art at Glasgow School of Art. Education: She completed an MA in Painting at the Royal College of Art 2017, and a BFA in Painting from Ewha Womans University 2007. Exhibitions/Awards: Her recent works were featured in group shows including; A cabinet of Curiosities, Brownsword Hepworth Gallery, London 2020, Open Window, Square Gallery, London 2020, Annual Show, The Royal Scottish Academy, Edinburgh 2020, Elephant Lab, Colart, London 2020, Virtues of the Real/ Necessity of the Imaginary, The Art Space Glasgow 2019, Crocodile Tears, Greenpoint Open Studios 2019, New York 2020, Flourish award, Spike Print Studio, Bristol 2019 PR1 Gallery at the university of central Lancashire, Preston 2018, Nature, ARNA, Harlösa, 2018, Skip-Ad; Play, Savoy Center, Glasgow 2018, Odyssey, Summerhall, Edinburgh 2018, One summer night, Crypt Gallery, London 2017, The Arrival, Square Gallery, London 2017, The Abstraction of Continents and The Continent of Abstraction, Lychee One, London 2016, Royal Institute of Oil Painters, Mall Galleries, London 2016, Shadow, Lichfield Cathedral, Lichfield 2016. Park was awarded the RK Burt&co. West Yorkshire 2018. She was also shortlisted in The Hopper Prize 2019, the Ashurst Emerging Artist Prize 2018, the Winsor & Newton Young Artist Award 2016, and The Lichfield Prize 2016. She participated in residencies including Elephant Lab2020, Aucart Lab London 2019, Summerhouse Dusseldorf 2018 and ARNA Harlösa 2018.2017 - PhD in Fine Art, Glasgow School of Art 2015 - 2017 MA in Painting, Royal College of Art 2007 - 2012 BA in History of Art, College of Liberal Art B.F.A in Painting, College of Art & Design, Ewha Womans University, Seoul 2020 A cabinet of Curiosities, Brownsword Hepworth Gallery, London Exh 03, Floorr magazine (online show) Open Window, Square Gallery, London Annual Show, The Royal Scottish Academy, Edinburgh Elephant Lab, Colart, London 2019 Crocodile Tears, Greenpoint Open Studios 2019, New York Bath Open Art Prize 2019, Fringe Arts Bath Festival, 44AD Artspace, Bath Aucart LAB, 189 Gloucester Place, London Flourish award 2018 tour, Spike Print Studio, Bristol 2018 Flourish award 2018 tour, PR1Gallery at the university of central Lancashire, Preston U-Star, Albereta Relais & Chateaux, Milan Flourish award 2018, West Yorkshire Print Workshop, Mirfield, West Yorkshire Summerhouse, Lindenbecker Weg, Düsseldorf, Germany ARNA opening studio, Harlösa, Sweden Skip-Ad; Play, Savoy Center, Glasgow Ashurst Emerging Artist Prize 2018 Shortlist Show, Ashurst LLP, London No Safe Haven, The Pipe Factory Gallery, Glasgow Odysseys (SYN Festival Edinburgh), Summerhall, Edinburgh 2017 One summer night, Crypt Gallery, London RCA Degree Show, Royal College of Art, London The Arrival, Square Gallery, London Under the see, Crypt Gallery, London 2016 The Abstraction of Continents and The Continent of Abstraction, Lychee One, London Royal Institute of Oil Painters, Mall Galleries, London Lost in the woods, Square Gallery, London Shadow(Lichfield Festival), Lichfield Cathedral(Emporium Art gallery), Lichfield Nothing To See Here, Square gallery, London AWARD Hopper Prize 2019 (Finalist) Bath Open Art Prize 2019 (Finalist) Flourish Award 2018, RK Burt&co. Prize, West Yorkshire, UK (Awardee) Summerhouse2018, Düsseldorf, Germany (Awardee) Ashurst Emerging Artist Prize 2018, London, UK (Shortlisted) Winsor & Newton Young Artist Award 2016, London (Shortlisted) The Lichfield Prize 2016, Emporium Art gallery, Lichfield (Finalist) Noticeable Works Award 2013, Ewha Womans University, Seoul (Awardee). About the postcard artworks: I am interested in notions of memory and not-knowing as methods for approaching painting. Critical to this thinking are predetermined actions set against the potential of active eruptions of moments at which the activity stretches into a space that is not-known, where actions are affected by the activity of painting. Momentary gestural action delivers a timeless desire that becomes one with another, sought within an instant through intuition and improvisation. The sensory apparatus makes this possible, makes textural surface and surface of emotional sense an extended moment of absolute proximity and distance, all at once. Within this method, I utilise motifs as a precursor to the indeterminable, through which the real, or that is to say reflections of the real, become entangled within abstract environments embedded within the surface. This all happens through the activity of painting and constructs a liberated space of complexity; I would determine this as a space of familiar unfamiliarity.
Margaret Ashman I Am Strong (3), 2020 Phototransfer and Monoprint on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Margaret Ashman is a printmaker whose work is a meditation on the unseen, spiritual, emotional and otherness of life. Using photographs or video stills, sometimes layering images from multiple sources she creates pieces in which a solitary dancer fills or interacts with a space. Dancers or Deaf signers are photographed performing contemporary dance or signing to particular songs or texts. She also works from video stills of dancers, always gaining the permission of the dance artist first. The manipulated imagery is transferred to multiple etching plates using traditional acids and aquatint, imparting a particular textural quality to the finished prints. She lives and works in London. Education Certificate in Further Education City & Guilds 7407, Kensington & Chelsea 2006 MA Printmaking & Professional Practice, University of Brighton and London Print Studio 2005 BA Fine Art, University of Hertfordshire 1998 - 2003 MA Physics, Somerville College, Oxford 1977 - 1980 Exhibitions & Awards 2019 Lawrence Art Supplies Prize, RE Originals, Bankside Gallery 2017 Hot Bed Press Purchase Prize, The Masters, Bankside Gallery 2017 London Print Studio Summer Exhibition, 1st Prize Winner 2015 Shifting Subjects Arts Council Commission, Abbey Walk Gallery, Grimsby 2012 Intaglio Printmaker Award, Royal Society of Painter Printmakers Exhibition 2011 International Print Prize, 3rd Guanlan Print Biennial, China Recent Exhibitions 2020 ING Discerning Eye, London New Work by the RE, Printmakers in Lockdown, Bankside Gallery Woolwich Print Fair In Print 20/20 Vision, Watts Contemporary Gallery, Surrey Summer Exhibition, Royal Academy of Arts, London Colour, Printmakers Council, Royal Overseas League, London Reawakenings, Lingwood Samuel, Godalming Stones from other Mountains: 2020 International Outstanding Printmaking Artists Works Exhibition, China Printmaking Museum Margaret Ashman and Pascale Simonet, Nagai Artist Space, Hiroo Shibuya,Tokyo 4th Red Dot Art Mini Print Exhibition, Anteros Arts Foundation, Norwich Printmakers Council, Scarborough Art Gallery, Scarborough Time, Printmakers Council, Highgate Literary and Scientific Institute, London 2019 The Mini Picture Show, Bankside Gallery Solo Show, Higher Ground, The Muse Gallery, London Pratt Institute, Brooklyn, New York PrintFest, Algarden, Boras, Sweden Summer Exhibition, Royal Academy of Arts, London Flow, Gallery 57, Arundel A Silent Space Between, Gallery 57, Arundel RE Original Prints, Bankside Gallery London Original Print Fair, Royal Academy Journeys, Printmakers Council, Touring Exhibition 2018 Woolwich Contemporary Print Fair, Woolwich Arsenal, 22nd - 25th November ING Discerning Eye Exhibition, Mall Galleries, 15th - 29th November 3rd Red Dot Art Mini Print Exhibition, Aldeburgh, 21st - 25th September and touring to UK venues National Original Print Exhibition, Bankside Gallery, 19th - 30 September International Triennial of Contemporary Graphic Arts,Novosibirsk 14th September - 4th November Memory, Royal Overseas League, London 28th August - 25th November Off the Wall, Bankside Gallery London Print Studio Members Summer Show Spirit of Place, Late November Gallery, Haverfordwest Royal Society of Painter Printmakers, Burton Gallery, Bideford RE Printmakers at For Arts Sake, For Arts Sake, Ealing RE Originals, Bankside Gallery Print REbels, Bankside Gallery Light/Matter: Art at the Intersection of Photography and Printmaking, 1954 - 2017, University of Alberta, Edmonton, Canada Affordable Art Fair, Hampstead Impress III, The Gallery, Fisherton Mill, Salisbury Embodying Gesture, The Muse Gallery, London The Muse Gallery, Notting Hill, Bankside Gallery, Printroom Studio, Lingwood Samuel, Newbloodart, Singulart. About the postcard artworks These works are original prints created by hand on Somerset etching paper using etching inks with a photocopy litho technique. The images are from video stills of the dancer Kehua Li also known as Lico. She embodies strength, positivity and resilience in her energetic and beautiful dances. I wanted to capture something of that spirit in these mini portraits.
δ Damien Hirst (b. 1965)H7-1 Butterfly RainbowLaminated giclée print on aluminium composite panel, 2020, with the Artist's stamped signature and numbered from the edition of 1497 on a publisher's label affixed to verso, Published by Heni Productions, London, 483 x 997mm (19 x 39 1/4 inches)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Damien Hirst (b.1965)H4-8. KeukenhofDiasec-mounted giclée print in colours on aluminium panel, 2020, signed and numbered from the edition of 75 an adhesive label verso, published by Heni, London, the full sheet printed to the edges, 920 x 1260mm (36 1/4 x 49 5/8in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ David Hockney (b.1937)Iphone Drawing No 535, 28th June 2009Digitial pigment print in colours, 2019, signed and dated in pencil, numbered from the edition of 250, published by Taschen, Cologne, on archival white wove paper, with full margins, 558 x 431mm., 22 x 17in.δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Peter Doig (b.1959)The BatherDigital pigment print in colours, 2020, signed and dated in pencil, numbered from the edition of 123, published by Secession, Vienna, on Somerset wove paper, the full sheet printed to the edges, sheet 1280 x 970mm (50 3/8 x 38 1/8in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Genieve Figgis (b.1972)Adam and EveArchival pigment giclée print in colours, 2019, signed and numbered from the edition of 150 in pencil, published by the Irish Museum of Modern Arts, Dublin, on Hahnemühle Archival Fine Art paper, with full margins, sheet 700 x 565mm (27 3/5 x 22 1/5in) (framed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Gordon Cheung (b.1975)Tulipmania 10Archival inkjet print with satin and UV glazes and hand-colouring in acrylic, 2012, signed, dated and titled in pencil, numbered from the edition of 20, published by Alan Cristea Gallery, London, on Somerset Satin wove paper, with full margins, sheet 620 x 506mm (24 3/8 x 19 7/8in) (framed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ The Connor Brothers (b.1968)There Are No Extraordinary People Only Ordinary People Who Do Extraordinary ThingsGiclée print in colours with screenprinted varnish, 2020, signed, dated and numbered from the edition of 300 in pencil, on wove paper, with full margins, sheet 415 x 290mm, (16 ¼ x 11 ½ in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ The Connor Brothers (b.1968)Call Me Anything But OrdinaryDigital pigment print in colours with screenprinted glaze, 2020, signed and dated in pencil, numbered from the edition of 50, published by Maddox Gallery, London, on wove paper, with full margins, sheet 1295 x 895mm (51 x 19 3/4in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Marc Chagall (1887-1985)Cirque (Cramer 68)The book, 1967, comprising 38 lithographs, 23 printed in colours, with title-page, text and justification, this copy signed in pencil, numbered from the edition of 250, printed by Atelier Mourlot, published by Tériade Éditeur, Paris, on Arches paper, the full sheets loose with the tissue guards in the original glassine paper wrappers and linen covered boards and slipcase, overall size 450 x 350mm (17 ¾ x 13 ¾ in)⁂ One of the most important livre d'artiste of the 20th century. "A circus is disturbing. It is profound. A timeless dancing game where tears and smiles, the play of arms and legs take the form of a great art" wrote Chagall in 1966. His deep fascination with the circus began in his childhood in Vitebsk, Russia, where travelling acrobats and showmen entertained crowds at local village fairs. Later, the artist's dealer and print publisher Ambroise Vollard, also a circus lover, allowed Chagall to use his box at the Cirque d'Hiver in Paris and suggested he produce a suite of paintings about the subject. It then took almost 40 years for Chagall to produce this book using the earlier gouaches as the basis for the stunning lithographs, published by Tériade Éditions with accompanying text written by Chagall himself. The plates in their typically vibrant colours perfectly capture the wonder and spectacle of the occasion and one can feel the energy of the performers and hear the noise and gasps of the audience. A thrilling and truly personal production.δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
A large collection of assorted prints, pictures and other assorted items to include: A View of Chelsea Water Works, engraving; Le Leviathan, Smith, 19th Century, engraving; Hammersmith Suspension Bridge, engraving, sketched by Redgrave; Cheesman, B., various originals; Meninsky, Limited Edition Print, 64/850; another similar, 53/850; Ballerina by Meninsky, 63/850; another similar, 56/850; Cuneo, Terence, Clapham Junction, 577/850, print; Hanwell Church by G. Noone; another similar of Perivale Church, by G. Noone; British Bus Preservation Group Print, Limited Edition, 68/950; The Maidenhead Bridge, engraving; an unsigned, framed and glazed oil on canvas of a farm scene; Royal Mail Coach engraving; Departure from Paddington, Cuneo, print, 16/850; Thrust II Explodes into Action; Approach to Christmas, engraving; View of the North East End of Clapham Common, 19th century engraving; oil on canvas of a horse and cart, signed lower right, indistinct; Shepherd, David, The East Somerset Railway print; Cuneo, Terence, limited edition print, The Golden Arrow, 359/850; Derby Day by Cuneo, print; Shepherd, David, Heavy Freight, print; three small framed railwayana engravings; Lambeth Palace, Surrey, engraving; Royal Jubilee 1887 handkerchief; various engravings and many others. Please inspect all photographs to get an idea of quantity within this lot.
A collection of assorted railway prints to include: a reproduction GWR London print of St. Paul's Cathedral; a reproduction Oxford: See Britain by Train poster; The A1 Steam Locomotive Trust, 97/850 L.E.; Mallard Breaking the Record by Coulson; Pride of the Plant by Bottomley, L.E. of 850, two examples; Memories of an Open Day by Gardner; and Silver Link by Gardner; together with two other reproduction posters. (10)
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