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SUMMER

COLLECTIVE

Comprised of 30 new works by a selection of artists represented by the Albemarle Gallery, this exhibition provides a variety of disciplines including painting, sculpture and photography. The artists, both international and from the UK, some of whom have been with us from the beginning and others showing for the very first time, have been chosen to showcase their work side by side in this unique exhibition. Along with the exhibited works illustrated in this catalogue you will find smaller images of further available works by each artist. We also invite you to take a look on our website at www.albemarlegallery.com where you will be able to view the works currently available from our entire stable of artists.

ALBEMARLE


Pablo Atchugarry David Atkins Sukhi Barber David Begbie Mersad Berber Antonio Cazorla Ian Cumberland Maxwell Doig Goyo Dominguez Neil Douglas Miriam Escofet Iain Faulkner Stuart Luke Gatherer Miranda Gibilisco Elena & Michel Gran Richard Harrison Harry Holland Fabio Hurtado John Johnstone Yeon Kim Jaehyo Lee John McCarthy Philip Munoz Juan Bautista Nieto Alfredo Roldan Christopher Thompson Alessandro Tofanelli Luciano Ventrone Nathan Walsh Peter Welford


(a) Untitled bronze (edition 2 of 8) 90 x 16 x 16 cm

(b) Untitled statuary Carrara marble 72 x 21 x 26 cm

(c) Untitled statuary Carrara marble 61 x 15 x 11 cm

(d) Untitled pink Portugal marble 33 x 22 x 22 cm


1 Untitled pink Portugal marble 58 x 26 x 19 cm PABLO ATCHUGARRY (born 1954 Uruguay) Internationally acclaimed sculptor Pablo Atchugarry’s works form part of many major collections, both public and private. He has held more than 100 solo and collective exhibitions worldwide. His statue Seed of Hope stands in the garden of the Uruguayan parliament, whilst in the city of Lecco (Italy) he has his own museum. His work is based on the principal that the natural beauty of marble is enhanced if the form remains simple. Atchugarry’s simplicity consists of variations on linearity - while avoiding straight lines. The volumes do not have any sharp sides, corners become inclinations, grooves become pleats. He spends the majority of his year in Lecco, Italy, where he works primarily in Cararra marble and Portuguese pink marble.


(a) On A Path with Two Bridges oil on board 89 x 122 cm

(b) Walkers on the Beach at Charmouth oil on board 91 x 122 cm

(c) Entrance to the Grand Canal oil on canvas 122 x 152 cm

(d) The Beach at Charmouth oil on canvas 76 x 122 cm


2 Spring Morning on Studland Beach oil on board 91 x 122 cm

DAVID ATKINS (born 1964 England) David Atkins trained at Winchester School of Art followed by Central St. Martin’s School of Art, London. Since then Atkins has established himself as an evocative painter of landscapes and of the urban scene. His is a broad brush, the sweep and colour of it bold and clear, and he brings to the city the eye for transitory light and temperature and atmosphere that is more usually applied to his rural landscapes. With him we explore views, not always in the bright clear Kodak light of the Canaletto imitator, but at dawn and sunset and often in the damp truth of autumn and the tenebrous contrasts of the street at night; his is the sometimes sceptical eye of the honest observer, seeing the vast array of landscapes, as we have all experienced them.


(a) Appearance Emptiness II bronze (edition 1 of 6) 62 x 52 x 36 cm

(b) Crystal Clear bronze (edition 2 of 9) 39 x 23 x 24 cm

(c) Disillusion Figure I-IV bronze (edition 2 of 9) 31 x 23 x 17 cm x 4


3 Emanation bronze (edition 1 of 6) 62 x 52 x 36 cm SUKHI BARBER (born 1972 England) From an early age Barber was drawn to the classical and ancient traditions of art and philosophy, which led her to undertake traditional sculptural training at The City and Guilds of London Art School. Having travelled extensively and inspired by many varied cultural experiences she spent twelve years studying Buddhist philosophy and producing sculptures based on the traditional techniques of stone carving and lost-wax bronze casting. Barber’s sculptures are intended to bridge the cultures of East and West. Embodying the peace and compositional balance of ancient devotional art, they represent complex philosophical ideas with a simplicity and clarity that renders them accessible to the Western viewer. Exploring themes of hidden potentials, and the transcendence of our limiting view of a solid reality, her work often represents the negative space as being as important as the material itself, implying the dance of form and spirit, a constant state of transformation.


(a) Nubis steelmesh 92 x 27 x 20 cm

(b) Nudis steelmesh 76 x 37 x 18 cm

(c) Iconic steelmesh 94 x 42 x 20 cm

(d) Nonud steelmesh 94 x 25 x 20 cm


4 Neud I, Neud II steelmesh 65 x 21 x 12.5 cm ea

DAVID BEGBIE (born 1955 Scotland) David Begbie has worked almost exclusively with the human form, primarily sculpting in steelmesh and his world-renowned figurative bodies are powerful, erotic, tactile and intimate. The steelmesh material adds intrigue yet is somehow familiar making the viewer curious to know how the perfection of form is achieved. The translucent works interact with light to create a dynamism and sense of movement, which integrates with their environment. The catalytic effect a Begbie sculpture has in any setting, given that it has no palpable substance or surface, is phenomenal. Each work is an entity, which has a far greater physical presence than any solid object could possibly have because it has the power to suggest that it doesn’t exist. Begbie has exhibited worldwide and has an extensive list of public commissions. He is an Associate of the Royal Society of British Sculptors.


(a) Ivan Kramskoy’s Model oil & mixed media on canvas 136 x 57 cm

(b) Demetra, the Apotheosis of Spring in Bosnia oil & mixed media on canvas 131 x 67 cm

(c) Renaissance Profile oil & mixed media on canvas 40 x 50 cm

(d) White Horse oil & mixed media on canvas 40 x 50 cm


5 Allegory XXV oil & mixed media on canvas 125 x 92 cm MERSAD BERBER (born 1940 Bosnia) Mersad Berber trained at the Academy of Fine Arts in Ljublijana in the Republic of Slovenia where he graduated with a BA and MA. Throughout his career he has created cycles of paintings, which chronicle events, homages and dedications. Each cycle has its roots either in Croatian and Bosnian-Herzegovinian history from the medieval to the twentieth century or, in a much wider context, the great masters of European painting from the cinquecento to the ottocento for example, Durer, Rubens, Rembrandt, Van der Weyden, Uccello, Vermeer and Velasquez. The interaction and blending of styles, temperaments, schools and traditions is the cultural and artistic focus of Berber’s work for he is the grand master of blending different European traditions - with their authentic characteristics, histories and emotive multiculturalism. The paintings are not narratives in any traditional sense. Instead they offer dream-like conjunctions of imagery. Sometimes one image melts with another. Sometimes they are deliberately kept separate, even though they occupy the same picture-space. Berber is acknowledged by historians, academicians and critics, as one of the great masters of twentieth century painting and his paintings are represented in important collections throughout the world.


(a) Blue Jeans oil on canvas 73 x 130 cm

(b) Nude oil on canvas 73 x 116 cm

(c) Muse oil on canvas 81 x 65 cm

(d) Sunset oil on canvas 60 x 60 cm


6 Dreaming oil on canvas 60 x 81 cm

ANTONIO CAZORLA (born 1971 Spain) From an early age Antonio Cazorla showed an exceptional interest and aptitude for art. By the age of ten he had begun to master the techniques of oil painting and exhibited his work publicly for the first time aged eleven. In 1989, Cazorla began studying at the Faculty of Fine Arts in Seville. The experience of this city, a place rich in both art and history, was a decisive moment in his life and career. In his paintings, Cazorla utilises colour, tonality and form in order to reflect the calmness and sensitivity of his subjects. The aroma of fruits can be perceived, Cazorla’s dune scenes communicate nostalgic memories of the Spanish coastline where he grew up and his figurative paintings expertly capture the beauty and sensuality of the female form. Antonio Cazorla has participated in more than 80 group and solo exhibitions throughout Spain, Portugal, Belgium and London. His works are in private and public collections worldwide.


(a) When I Grew Up oil on panel 100 x 70 cm

(b) I Stand Corrected oil on canvas 150 x 150 cm

(c) Accidents and Emergencies oil on canvas 150 x 130 cm

(d) Two Wrongs Don’t Make a Right oil on canvas 140 x 95 cm


7 Self Portrait oil on panel 100 x 70 cm IAN CUMBERLAND (born 1983 Ireland) Ian Cumberland studied painting at the University of Ulster, Belfast, graduating in 2006. On leaving the University of Ulster he was offered a place at Goldsmith College, London, but decided rather to paint full-time. As a painter Cumberland’s main interest is with people and the (often absurd) things they do. Thus his pictures reflect situations in everyday life, attitudes and values expressed or implied and so on. In his own words, he is ‘always watching people’ and his observations shape his compositions. There is nothing judgmental in his work, but he indulges in what he calls ‘black comedy’ in terms of the general surrealism that is never far from his view. Cumberland is continually influenced by graphic design and the world of advertising as well as by images derived from the cinema. The sense of drama that is central to Cumberland’s work is enhanced buy his use of a plain background in his pictures so that, whatever the imagery, people and things are always seen out of context.


(a) Green Boat mixed media on canvas on board 133 x 100 cm

(b) Figure with Mandolin mixed media on canvas on board 134 x 97 cm

(c) Figure with Sunglasses on Red Asphalt mixed media on canvas on board 153 x 114 cm

(d) Figure with Accordion mixed media on canvas on board 134 x 97 cm


8 Swimmer in Welsh Tarn mixed media on canvas on board 86 x 64 cm

MAXWELL DOIG (born 1966 England) Maxwell Doig graduated from Manchester School of Art in 1988 with a BA in Fine Art and went on to pursue his postgraduate studies in Fine Art at the Slade School of Art, London, between 1988 and 1990. Doig is preoccupied with the human figure and its spatial relationship combined with the interplay of light and shade. His use of unconventional viewpoints depicting static solitary figures along with the application of subtle pigments and textural complexity results in contemplative ephemeral imagery. In 1997 he was awarded the Villiers David Prize. He lives and works in Manchester.


(a) El Escultor mixed media on panel 81 x 65 cm

(b) Iona mixed media on panel 55 x 46 cm


9 Laura mixed media on panel 55 x 46 cm GOYO DOMINGUEZ (born 1960 Spain) Dominguez is a romantic realist who creates compositions wherein one finds charismatic atmospheres and enigmatic moods behind a façade of tranquility. His ecclesiastical upbringing and training reveal themselves in his natural intellectual ability to assimilate the history and culture of his homeland and depict these roots in an ordered harmony of form and colour. His fascination with works of the 16th and 17th century inspires his favourite themes, the human body and still life. The intriguing result is a contemporary fusion of Renaissance Europe and the Classical World, often combined with abstract elements, transcending the classical past and the present day. Dominguez is established as one of Spain’s leading figurative painters, acknowledged and admired by Spanish Royalty. The recipient of numerous awards, his imagery has been used extensively on postage stamps by the Spanish Postal Service.


(a) Netty NY acrylic on canvas 125 x 125 cm

(b) Waiting on Milan acrylic on canvas 120 x 84 cm

(c) London acrylic on canvas 120 x 84 cm

(d) Katie acrylic on canvas 125 x 125 cm


10 The More you Listen the More you Know acrylic on canvas 112 x 160 cm

NEIL DOUGLAS (born 1978 England) Throughout his childhood, Douglas experienced the landscapes of America only through indirect mediums such as photography, television and film. He was fascinated by the iconic and absorbing images of Hollywood films and brand advertising. His paintings portray this idolised vision of Americana he grew up with, an America void of political or social connotations. They are escapist yet realistic representations of everyday life, expertly captured in the photorealist style. When viewing Douglas’ work, one can clearly recognise the influence of certain pioneers of Photorealism, such as Richard Estes, Ralph Goings and John Salt. Douglas shares their ability to painstakingly recreate the complex visual details of American life, be it in the reflection of a cafeteria window, the sheen on a car bonnet or the neon billboard sign, which hangs over a music hall. His meticulous renderings of the Manhattan skyline are perfect demonstrations of this skill and craftsmanship he possesses as a painter.


(a) Anthony oil on canvas on panel 70 x 50 cm

(b) The Angel and The Devil oil on canvas on panel 24 x 18 cm x2

(c) The Nymph oil on canvas on panel 40 x 30 cm

(d) The Fairy oil on canvas 51 x 46 cm


11 Gillian oil on canvas on panel 70 x 50 cm MIRIAM ESCOFET (born 1967 Spain) There are many influences running through Escofet’s work. Her love of art and architecture of the classical period, when aesthetics and proportion were thought to communicate eternal and divine truths and art was considered a physical depiction of the divine. Paintings of the gothic and renaissance period in which the sheer beauty of execution, the details and the textures bring about a visual seduction that transports the viewer into another world. She finds the ‘structure’ of their compositions, where there is a marriage between the use of perspective (the rational) and divine themes (the mystical) a constant source of inspiration. The qualities and texture of objects. Most of the themes in her work revolve around ideas of aesthetics, imagination and symbolism. She often incorporates elaborate perspective in her paintings and her subject matter is normally set within a very defined ‘space’. As part of her working process she will sometimes construct elaborate maquettes of buildings and spaces, which then become part of the subject matter for the painting and are treated like a still life.


(a) Lake Como II oil on canvas 115 x 92 cm

(b) Time II oil on canvas 76 x 76 cm

(c) Interlude oil on canvas 114 x 114 cm

(d) Travel Writer oil on canvas 91 x 91 cm


12 Reflection oil on canvas 91 x 91 cm

IAIN FAULKNER (born 1973 Scotland) Since graduating from Glasgow School of Art in 1996 with a BA in Fine Art, Iain Faulkner has established himself as a skilled draughtsman with the integrity to embrace the difficult path of contemporary figurative painting, in which competence and painterly expertise can be measured and judged. Still only in his 30s, he has already had numerous successful solo shows in the UK, USA, Spain and Italy. He was recently commissioned to paint the European 2010 Ryder Cup Team member portraits.


(a) Self Portrait oil on canvas 61 x 41 cm

(b) Profile oil on canvas 20 x 15 cm

(c) Envy: The Understudy oil on canvas 142 x 97 cm

(d) Model in Chair oil on canvas 46 x 30 cm


13 Self Portrait with Rainbow Trout oil on linen on panel 119 x 86 cm

STUART LUKE GATHERER (born 1971 Scotland) Gatherer was brought up in the Eastern Highlands of Scotland, and attended Edinburgh College of Art from where he graduated in 1995 with an MA (Honours) degree in Fine Art. Gatherer’s paintings entice the viewer to interact with contemporary scenes from the vantage point of an unseen onlooker. This mode of interaction is left ambiguous and it is a psychological ambiguity, which is emphasised by strong forms and colours modelled in dramatic light and shade.


(a) L’Orto di Nettuno photograph (edition 2 of 5) 75 x 100 cm

(b) Il Respiro delle Nereidi photograph (edition 2 of 5) 75 x 100 cm

(c) Antichi Richiami photograph (edition 2 of 5) 75 x 100 cm

(d) Futuro photograph (edition 2 of 5) 57 x 100 cm


14 Superficie photograph (edition 2 of 5) 57 x 100 cm

MIRANDA GIBILISCO (born 1953 Sicily) Gibilisco’s introduction to photography was serendipitous: a childhood friend gave her a Nikon camera, and so began her photographic exploration of the natural world. Photography soon became so deeply absorbing for her that she was rarely separated from her camera for very long. Gibilisco has an innate ability to capture the very essence of the scenery that surrounds her. The constant desire to sate a seemingly endless creative appetite was further fueled by her extensive travels, which have taken her to all corners of the globe. She knows the deserts of Africa and their mysteries, as well as their marvelous vistas. The long periods she has spent there allowed her to establish a perfect symbiosis with the people populating these lands, and with the few spans of water, the rare oases, the fragile animals, and their history and art. The images she has brought back are of breathtaking beauty. Gibilisco’s travels are a spiritual wandering amidst seas and deserts, cultures and worlds that are forever new, documented in a library of 30,000 images.


(a) Box Collector oil on canvas 65 x 81 cm

(b) Bouquet des Cartes oil on canvas 116 x 81 cm

(c) Fountain of Chance oil on canvas 81 x 65 cm

(d) La Tour Eiffel – Première Ètape oil on canvas 81 x 65 cm


15 The Tree of Cards oil on canvas 116 x 89 cm ELENA & MICHEL GRAN (born 1942 & 1941 Russia) Elena and Michel Gran present a unique feature in contemporary trompe-l’oeil painting - they work together on the same canvas. Symbiosis is so perfect that once a painting is completed, they cannot say for sure who painted what part. They have become recognised for their distinctive interpretation of trompe l’oeil, rich in metaphor, vision and imagination combined with a profound understanding of historical reference. Elena was born in St. Petersburg in 1942 into a family of painters and architects and trained at the Academy of Theatre, Music and Cinematography St Petersburg within the Faculty of Arts. Michel was born in Moscow 1941, the son of a theatrical artist, and trained at the same Academy as Elena where they met and in 1964 subsequently married. In 1981, they moved to Paris. They have had numerous solo and group exhibitions, including the famous Salon d’Automne and the Salon des Independents of which they are members. Their works belong to important public and private collections worldwide and in 1996, the Louvre Museum purchased their work Red and Black for the French National Museum of Cards.


(a) Pale Rider oil & acrylic on linen 150 x 130 cm

(b) Dogs oil & acrylic on linen 150 x 130 cm

(c) Wild Wind oil on canvas 91 x 102 cm

(d) Hinterland oil on canvas 91 x 102 cm


16 Pulsar oil on canvas 99 x 89 cm RICHARD HARRISON (born 1954 England) Harrison read Medieval History at Cambridge University and then received BA and MA Fine Art degrees in Painting from Chelsea School of Art. There are few artists today whose work reaches into the inner soul stirring our basic emotional instincts whilst evoking responses of amazement and admiration. His abstract landscapes are rich in colour and texture with generous lashings of paint, which ebb and flow on the canvas reflecting turbulence and often violent upheaval. Harrison’s paintings are awesome in scale; their content exaggerated by the vigorous and robust handling of voluminous layers of paint adeptly manipulated to create a dynamic expression of form and colour which resonate all-over the canvas thus underpinning the powerful emotional and visionary themes ever present in the artist’s compositions. He has that unique ability common to any gifted and adventurous painter, which is to arouse emotions in the viewer. Be it by portraying agonising convoluted figures in a given situation or narrative or by the representation of natural phenomena usually in turmoil using his preferred combination of ‘hot’ and ‘cool’ colours to evoke anger or joy and calmness or tranquility.


(a) Boat Eight oil on canvas 76 x 117 cm

(b) Envelope oil on canvas 23 x 25 cm

(c) Falling oil on canvas 102 x 81 cm


17 Platform oil on canvas 86 x 124 cm

HARRY HOLLAND (born 1941 Scotland) Holland is widely regarded as one of Britain’s best craftsmen, who works with uncompromising commitment and sincerity to produce art that is intense and rewarding. His style is distinctive and immediately recognisable, something which every artist seeks. The paintings are suggestive in the sense that they imply situations, events, or relationships that are not directly expressed; this imbues them with an engaging sense of mystery.   Not surprisingly, his work has developed a substantial international following amongst collectors and has found its way into numerous important public collections world-wide including the Tate Gallery, British Museum, Metropolitan Museum of Art New York, National Museum of Wales, National Portrait Gallery Canada, Welsh Arts Council, European Parliament Collection, Belgian National Collection and the Fitzwilliam Museum Cambridge.


(a) El Pajaro Azul II oil on canvas 35 x 27 cm

(b) Suenos oil on canvas 65 x 92 cm

(c) La Villa del Lago oil on canvas 61 x 50 cm

(d) CafĂŠ Paris oil on canvas 95 x 62 cm


18 La Garza oil on canvas 38 x 55 cm

FABIO HURTADO (born 1960 Spain) Fabio Hurtado studied at The Fine Arts Faculty of Madrid University. An artist with an unmistakable style, his paintings recreate scenes in an almost cinematographic context, which are set within the 1920’s, 1930’s and 1940’s. His exquisite drawing skills and harmonious use of colour are complementary to the overall sense of mystery surrounding his stylish and elegant characters and the roles they play in his paintings. There is an implied interaction between the spectator, the paintings and the artist who encourages the viewer to use their imagination in unraveling and participating in the narrative of the work. His paintings are both subtle and intelligent. Imagination and technique are in harmony resulting in a poignant statement of the timeless unchanging realities of the human condition.


(a) Crossing the Rickety Bridge mixed media on panel 61 x 51 cm

(b) Samson and the Lion oil on panel 92 x 61 cm

(c) The Roving Vagabonds mixed media on panel 83 x 118 cm

(d) The Songs of Dylan oil on panel 90 x 82 cm


19 Artist on the Move oil on panel 89 x 81 cm

JOHN JOHNSTONE (born 1941 Scotland) John Johnstone studied at Duncan of Jordanstone College of Art 1959-64, and was highly commended. He received a major travelling scholarship to visit European Capitals and was a part time lecturer at Duncan of Jordanstone College of Art for many years. He is a regular exhibitor at the Royal Scottish Academy and the Scottish Society of Artists and is a professional member of the Scottish Society of Artists and Scottish Visual Arts. “My paintings seem to be expressing something, either serious or amusing about life. They depict people acting out minor dramas. Gesture, composition, characterisation and setting are important. There is an element of gravity in them, but the humorous side probably eclipses that aspect.�


(a) Waterside 09011 resin and wood 37 x 37 x 7 cm x 2

(b) Voyage to the Light II stainless steel 40 x 120 x 18 cm

(c) Waterside 09012 resin and wood 37 x 80 x 8 cm

(d) Waterside 09016 resin, pebbles and wood 30 x 30 x 7 cm x 2


20 Voyage to the Light stainless steel 80 cm dia. x 10 cm

YEON KIM (born 1968 South Korea) Yeon Kim’s sculptures encourage moments of meditation and contemplation from the viewer. Representing streams and rivers captured in a state of stasis, tranquility and calm, the solidity of Kim’s rocks and pebbles contrast with the soft, liquid appearance of the resin they are encased in. Shimmering in the light, the sculptures appear to float weightlessly above the floor, casting mysterious reflective shadows and illuminating the floor beneath. Yeon Kim lives and works in South Korea.


(a) 0121-1110=110064 wood (chestnut & mulberry) 133 x 90 x 90 cm

(b) 0121-1110=109049 stainless steel bolts, nails & wood 75 x 75 x 10 cm

(c) 0121-1110=1081210 stainless steel bolts, nails & wood 58 x 105 x 12 cm


21 0121-1110=111066 wood (camellia) 97 x 53 x 53 cm

JAEHYO LEE (born 1965 South Korea) Korean contemporary art has for some decades now revealed a very special sensibility – neither Chinese nor Japanese, but containing elements that are reminiscent of both. Lee’s work shows immense respect for natural materials, but also the will to dominate what nature has provided. One is immediately struck by the perfection of his craftsmanship, and led to reflect on the many long hours of hard physical labour that must have gone into the production of these immaculate, yet also intricate objects.


(a) Untitled (Kate Moss) acrylic on canvas 56 x 56 cm

(b) Untitled (Scarlet Johansson) acrylic on canvas 81 x 100 cm

(c) Untitled (Marilyn Monroe) acrylic on canvas 56 x 46 cm

(d) Untitled (Michelangelo’s Christ) acrylic on canvas 76 x 61 cm


22 Untitled (Leo) acrylic on canvas 122 x 82 cm

JOHN MCCARTHY (born 1960 England) John McCarthy studied at St Martin’s School of Art, London from 1996-97. He was selected for the BP Portrait Prize at the National Portrait Gallery, London for which he won the Visitor’s Choice Award in 1999. This led to many successful solo and group shows in London and internationally. Seeking to reinstate the uniqueness of an appropriated image, McCarthy chooses pictures from magazines and art catalogues which are then manipulated by altering the structure (literally screwing the paper up), rephotographed, and then painted much larger onto canvas. Not only is the original image given a new urgency, it also gains fresh connotations centering on the association of paper’s disposability with human mortality.


(a) Illusion of Beauty oil on canvas 41 x 27 cm

(b) Noughties Girl oil on linen 80 x 120 cm

(c) Katy oil on canvas 80 x 120 cm

(d) Jess oil on canvas 51 x 76 cm


23 Claire oil on canvas 86 x 56 cm

PHILIP MUNOZ (born 1980 England) Munoz’s work is concerned with the notion of glamour and its role in social identity. He is particularly interested in the idea of beauty through transformation and the concept of the contemporary sublime. Digital photography is an essential tool in his work. It creates an emotional platform to connect with the subject, whilst the staging and the artificiality of the photo shoot serve to enhance the visual language of the imagery and the subsequent painting.  Munoz is a self-taught painter having graduated in a degree in biochemistry at the university of Bristol. He has been an active resident of Jamaica Street Studios in Bristol since 2006.


(a) The Model watercolour & graphite on paper 85 x 38 cm

(b) Pomegranates mixed media on panel 43 x 100 cm

(c) Composing a Still Life mixed media on panel 47 x 122 cm


24 Hands VII acrylic on panel 24 x 24 cm

JUAN BAUTISTA NIETO (born 1963 Spain) Nieto’s work presents an exaggerated obsession with recreating a reality, which reaches beyond the precise representation of a photograph. He transcends the theme and concept of hyper-realism using it as a vehicle to take us onto another level wherein he achieves an extraordinary kind of intensity, which paradoxically creates a distinct feeling of unreality. His technique is equally obsessive and both demanding and exhaustive. Every facet of his subject is depicted with a minute and impersonal exactitude of detail. His materials are oil and acrylic combined with air brush techniques employed to build an accumulation of delicate and continuous layers of shades and multiple tones of light, shadows and density. With some justification Nieto is regarded within Spanish art circles as one of the foremost exponents of hyperrealism in Spain.Â


(a) Leyre oil on canvas 97 x 146 cm

(b) Marie Claire Shopping II oil on canvas 116 x 89 cm

(c) Pensativa en el Sofa oil on canvas 38 x 46 cm

(d) Marie Claire Shopping III oil on canvas 116 x 89 cm


25 Pequeno Desnudo entre Cojines oil on canvas 27 x 41 cm

ALFREDO ROLDAN (born 1965 Spain) At the age of 22, having had no formal artistic training, Alfredo Roldan started drawing professionally, selling his work in street markets, at the same time presenting his work at major competitions, of which he won several. It was on winning the award granted by the City Council of Madrid in 1994 that he was discovered by a major gallery. His winning painting now hangs in the Museum of Modern Art, Madrid. In 1996 he was named a Member of the Senate “Honoris Causa� of the Academy of Modern Art of Rome. Roldan aspires to embrace those major Avant-Garde moments of the early 20th century, which has defined his understanding of colour and shaped his application of form and composition. Without apology he acknowledges the influence of Matisse and Picasso and also Modigliani for his elongated portrayal of the female nude. And yet, like all genuine and honest painters who recognise the importance and significance of those historic revolutionary styles, Roldan has assimilated each derivative influence to create his own personal and very distinctive style of painting.


(a) Rio Cinema oil on canvas 122 x 91 cm

(b) Screen on the Green I oil on canvas 40 x 30 cm

(c) Terminus oil on canvas 41 x 51 cm

(d) View from the Afternoon oil on canvas 61 x 76 cm


26 Last Night oil on canvas 102 x 76 cm

CHRISTOPHER THOMPSON (born 1969 England) Christopher Thompson was trained at Norwich School of Art, followed by The Royal Academy Schools, where he received his Postgraduate in Fine Art in 1997. Whilst being a resolutely figurative artist, the characteristics of the medium are as important for him as the subject matter in conveying the essence of a painting’s meaning. He has won numerous awards and in 2003 his portrait of the British actor Peter Postlethwaite was acquired by The National Portrait Gallery, London.


(a) Verso il “Chiuso” oil on panel 40 x 40 cm

(b) L’Attesa oil on canvas 100 x 100 cm

(c) La Casa Rossa oil on panel 40 x 40 cm

(d) Estate oil on panel 50 x 50 cm


27 Donna in Grigio oil on canvas 80 x 80 cm ALESSANDRO TOFANELLI (born 1959 Italy) In 1977 Tofanelli graduated from the Arts’ Institute in Lucca and then moved to Milan, where he attended the Brera Art Academy. Whilst in Milan, Tofanelli collaborated as an illustrator for several magazines published by Rizzoli and Mondadori. In 1975 he won First Prize for his work ‘La Resistenza’ which was exhibited at the Modern Art Gallery in Lucca. In 1984 Tofanelli went on to win the muchcoveted ‘Giotto d’Oro’ prize and in 1987 he won the ‘Best Painter under 35 Years of Age’. Since 1977 Tofanelli has exhibited his work in a number of prestigious galleries throughout Italy and abroad. He has always combined his painting with his work as a professional photographer and a television videodocumentarist. When asked about his painting, Tofanelli states that he wants to investigate the relationship between time and memory, and to properly do this he has chosen landscape – his favourite subject. Landscape, to him, is a privileged point of observation to contemplate the flow of time as well as to place memories of forgotten places and people whom he wishes to remember. Although he paints landscapes, Tofanelli is no conventional genre painter. The perspectives are tenderly distorted, so that depictions of grass and trees and horizons become subtle evocations of memory and passing time.


(a) Verso Sera oil on linen 80 x 60 cm

(b) Suk oil on linen 50 x 60 cm

(c) La Giostra dei Desideri oil on linen 60 x 70 cm

(d) L’Incerto oil on linen on panel 40 x 40 cm


28 Intimità oil on linen 80 x 60 cm LUCIANO VENTRONE (born 1942 Italy) Ventrone is regarded by the Italian art establishment, museums, curators and critics as one of the leading exponents of his genre. He is loved, admired and respected by the Italian people, collected by the Italian Government, Corporate Institutions and avid collectors. Described as ‘hyper-realist’ the Art Historian and Critic, Edward Lucie-Smith states, “Ventrone is often categorized as a ‘hyper-realist’. This implies that his work is somehow related to photography. As anyone who has looked at his paintings carefully will know, this is not the case. Far from offering us the somewhat flattened version of physical forms typical of the monocular vision of the camera, his paintings have an almost overwhelming solidity and physical presence, to the point where the nearest shapes seem ready to break through the front plane of the canvas. Despite any comparisons that can be made to the art of the past, whether to Caravaggio or to any other artist, this is painting that is intransigently modern, completely of our own day.” His paintings are in numerous public and private collections worldwide.


(a) Lloyds Vertical oil on linen 204 x 125 cm

(b) 5th Avenue Reflections oil on linen 100 x 100 cm

(c) Multiverse oil on linen 144 x 180 cm


29 Hot Specialties oil on linen 100 x 125 cm

NATHAN WALSH (born 1972 England) Walsh studied at the Liverpool School of Art before completing his Masters Degree at the University of Hull. Dealing exclusively with the urban landscape, Walsh’s work is a complex construction that draws on many influences, including American Precisionism, the aesthetics of place and the importance of the history of art. His work is an expression of often highly personal experiences of particular times and specific places. The quality of the works lies not only in their great technical skill but in Walsh’s ability to universalise his experiences to give them wider resonance. He has exhibited at the Royal Academy, Lambeth Palace and Eton College. Recently he has had hugely successful shows in London, California and Zurich. His work can be found in public and private collections worldwide.


(a) Death and the Maiden oil and tempera on panel 61 x 41 cm

(b) The Bonfire of Vanities oil and tempera on panel 76 x 99 cm

(c) Textoria Nervosa oil and tempera on panel 61 x 75 cm

(d) Pandora’s Box oil and tempera on panel 76 x 69 cm


30 The Fruit Tree oil and tempera on panel 65 x 61 cm PETER WELFORD (born 1964 England) Welford studied History of Art and Conservation at the universities of Manchester and London (Courtauld Institute of Art). He continued at the Courtauld as lecturer before spending eight years as an architectural historian and historic buildings consultant. Throughout this time however, he divided his focus between his architectural work and his painting. In 2000, he gave up his architectural consultancies to paint full-time. Peter Welford intends his art to be seen as a mirror. If its reflection is not always palatable, so be it. These paintings are not comforting salon pictures, but rather meant as a form of journalism. Their themes are provocative and sometimes political, not soliloquies but dialogues with the viewer. The allegorical nature of many of the subjects, and the veiled symbolism which lies within each painting, makes that dialogue the more rewarding. The more one looks, the more one finds.


© ALBEMARLE GALLERY MMXI


ALBEMARLE

Summer Collective 2011  

One selected new work from each of the 30 gallery artists exhibiting in this unique and exciting collective exhibition

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