A R T I S T S F O R T H E B L U E M A R I N E F O U N D AT I O N
BLUE MINDS TURNING TIDES T H U R S D A Y 2 4 T H J U N E – T U E S D A Y 6 T H J U LY 127 Sloane St SW1X 9AS London
Organisers Julia Campbell Carter Art Advisor / Guest Speaker / Curator Nico Kos Earle Curator Andrea Hamilton
Visual Artist / Writer / Curator Amber Nuttall
Environmental Consultant Maya Sanbar Visual Artist / Film Director
68 Kinnerton St SW1X 8ER London
Artists for the Blue Marine Foundation
Callum Innes
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Anne de Carbuccia
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Anna Barriball
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Marcus Lyon
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Phillip Hunt
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Mariele Neudecker
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Renelio Marin
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Bridget Smith
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Josefina Nelimarkka
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Gideon Rubin
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Adrian Houston
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Kukoff
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Dawit Abebe
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Andrea Hamilton
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Carola Dixon
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Emma Critchley
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Aigana Gali
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Sophie Von Hellermann
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Gregor Hildebrandt
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Crystal Fischetti
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Karolina Woolf
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Emma Elliott
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Jordi Raga
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Maya Sanbar
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Kate Braine
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15%
OF ALL THE PROCEEDS ARE GOING TO THE BLUE MARINE FOUNDATION
JULIA CAMPBELL CARTER Art Advisor / juliacampbellcarter@gmail.com / +44 (0) 7714 328015
Untitled Lamp Black / Delft Blue, 2020 Oil on linen 62 x 60 cm (24.4 x 23.6 in)
CALLUM INNES Callum Innes (born 1962) is a Scottish abstract painter, a former Turner Prize nominee and winner of the Jerwood Painting Prize. He lives and works in Edinburgh, Scotland. Innes' first major London exhibition was hosted in 1990 at Frith Street Gallery, London. One of Britain’s best known abstract painters, Callum Innes works in the language of monochrome painting, rendering color fields within geometric grids or dividing his canvases bilaterally. For his ongoing series of “Exposed Paintings”, Innes engages in a process of addition and subtraction, layering pigments onto the canvas, then removing the oil paint with washes of turpentine.
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JULIA CAMPBELL CARTER Art Advisor / juliacampbellcarter@gmail.com / +44 (0) 7714 328015
N.57 War 250 x 180 cm (98.4 x 70.8 in) Ed. 1 of 1 This work is a special donation with more than 80% of proceeds going to the Blue Marine Foundation. Please click on this link to learn the story behind this image. It has a beautiful handmade thick frame that it sits in not shown in this image. www.annedecarbuccia.com
ANNE DE CARBUCCIA Anne De Carbuccia is an Italian environmental artist, photographer and founder of One Planet One Future. Established with the aim of raising awareness on climate breakdown and human-caused threats to the planet, de Carbuccia mounts public exhibitions around the world, with an integrated education programme for sparking individual and collective action. Anne de Carbuccia’s images are of fast disappearing environments, animal species and cultures. But there are no tricks, no quick swipe of Photoshop to inject an animal or particular sunset. She simply waits and waits until the right image is before her. War is a 1/1 unique photographic work, originally purchased from the Time Shrine Foundation. “These are symbols of time, not death, and I build shrines to time. They are static installations in a natural lively environment,” she explains, pointing to the transient nature of human existence and the resilience of the earth. Her work is both a reminder of the urgency to change individual habits and a plea to re-imagine the future.
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JULIA CAMPBELL CARTER Art Advisor / juliacampbellcarter@gmail.com / +44 (0) 7714 328015
Screen (Moonlight), 2018 Ink and pastel on paper 220 x 91 x 5 cm (86.6 x 35.8 x 2 in) £ 28,000 + VAT Framed ANNA BARRIBALL Anna Barriball’s work seeks to pin down the fleeting and reveal something unseen. Her intensely haptic sculptural drawings develop alongside moving image works that evolve from spontaneous discoveries and the channeling of natural forces. The works meditate on the relationship between proximity and distance, and explore the subjectivities of experience, memory and impression. Moving across different mediums Barriball demonstrates how the aesthetics of everyday life can be reimagined or transformed in unexpected ways. Her work investigates what lies beyond the surface, often working at the boundary between interior and exterior she combines the real with the felt or sensed. Recently referencing the language of colouring techniques from early cinema, employed to indicate the time of day or emphasise atmosphere, Barriball’s work continues to reflect her enduring interest in temporality across still and time-based mediums.
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JULIA CAMPBELL CARTER Art Advisor / juliacampbellcarter@gmail.com / +44 (0) 7714 328015
Screen (Rose), 2018 Ink and pastel on paper 220 x 91 x 5 cm (86.6 x 35.8 x 2 in) Framed ANNA BARRIBALL Anna Barriball’s work seeks to pin down the fleeting and reveal something unseen. Her intensely haptic sculptural drawings develop alongside moving image works that evolve from spontaneous discoveries and the channeling of natural forces. The works meditate on the relationship between proximity and distance, and explore the subjectivities of experience, memory and impression. Moving across different mediums Barriball demonstrates how the aesthetics of everyday life can be reimagined or transformed in unexpected ways. Her work investigates what lies beyond the surface, often working at the boundary between interior and exterior she combines the real with the felt or sensed. Recently referencing the language of colouring techniques from early cinema, employed to indicate the time of day or emphasise atmosphere, Barriball’s work continues to reflect her enduring interest in temporality across still and time-based mediums.
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JULIA CAMPBELL CARTER Art Advisor / juliacampbellcarter@gmail.com / +44 (0) 7714 328015
EXODUS VI West Lamma Channel, South China Sea (2011) Collectors Edition SOLD OUT 2/3 Museum Edition 220 x 110 cm (86.6 x 43.3 in)
MARCUS LYON Marcus Lyon (b.1965) was born and raised in rural England and studied Political Science at University. Commissioned and exhibited globally, his works are held in both private and international collections, including the Detroit Institute of Art, the Museum of Fine Arts Houston, the Arts Council Collection (UK) and the Smithsonian Air & Space Museum, Washington DC. The 21st century saw his work move beyond traditional forms as he began to incorporate sound & science into his practice. He has created extensive bodies of work on dance, identity & globalisation. Outside the art world, Lyon is a determined social entrepreneur: A TED speaker, he currently serves as a Board Director of Somerset House and Leader’s Quest as well as supporting BLESMA and Home-Start UK as an Ambassador.
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JULIA CAMPBELL CARTER Art Advisor / juliacampbellcarter@gmail.com / +44 (0) 7714 328015
TIMEOUT I Marina Del Rey, California, USA (2015) 4/7 Collectors Edition 1/3 Museum Edition 160 x 80 cm (63 x 31.5 in)
MARCUS LYON Marcus Lyon (b.1965) was born and raised in rural England and studied Political Science at University. Commissioned and exhibited globally, his works are held in both private and international collections, including the Detroit Institute of Art, the Museum of Fine Arts Houston, the Arts Council Collection (UK) and the Smithsonian Air & Space Museum, Washington DC. The 21st century saw his work move beyond traditional forms as he began to incorporate sound & science into his practice. He has created extensive bodies of work on dance, identity & globalisation. Outside the art world, Lyon is a determined social entrepreneur: A TED speaker, he currently serves as a Board Director of Somerset House and Leader’s Quest as well as supporting BLESMA and Home-Start UK as an Ambassador.
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JULIA CAMPBELL CARTER Art Advisor / juliacampbellcarter@gmail.com / +44 (0) 7714 328015
Untitled #3, 2011 Oil on canvas 198 x 213.3 cm (78 x 84 in)
PHILLIP HUNT Phillip Hunt is a South African artist who lives in a tiny coastal fishing village, just before the lip of Provincetown, in Cape Cod. Abrupt and constantly evolving, the geological contours of this coastline give form to Hunt’s sense of place as something we perceive emotionally. “It is possible to take walks that shift from dense forest to lunar like dunes within minutes. This is emotional space. Especially in winter. In painting I like the idea of disappearing into an image or emotion. The landscape here can be very much like that.” Hunt’s paintings tilt us into a moment of the sublime; rich swathes of colour draw us into deep pools of reflection; we surrender our imaginations before monolithic shapes that encircle the horizon. They express something lasting and ancient about our relationship with the earth, redolent of creation stories from the Lakota Sioux of South Dakota, who believed that humans emerged from the Wind Cave into the upper world, and were astonished by colour and space. Painting through the winter season, working with oils on canvas, he produces only monumental work a year.
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JULIA CAMPBELL CARTER Art Advisor / juliacampbellcarter@gmail.com / +44 (0) 7714 328015
Nothing Will Stay the Same, 2019 Mixed media, wood, fibre-glass, water, salt (based on William Bradford’s ‘Scene in the Arctic’ ca.1880) 48 x 54 x 48 cm (18.9 x 21.2 x 18.9 in) plus plinth Ed. 2 of 2 © Mariele Neudecker Photo: Benjamin Jones Courtesy: Pedro Cera, Lisbon
MARIELE NEUDECKER Mariele Neudecker uses a broad range of media, including sculpture, film, and sound. Her practice explores the formation and historical dissemination of cultural constructs around natural and technological worlds and notions of a Contemporary Sublime. Neudecker looks at our interpretation of representations of landscapes, throughout art-history in paintings, photographs or as part of our memories and consciousness. Nothing Will Stay the Same, addresses the subject of Arctic exploration / landscape, as represented in William Bradford’s ‘Scene in the Arctic’ (1880). Neudecker's interest in landscape and nature has been influenced by the philosophical, historical, and political dimensions of the Romantic Sublime of the 19th century and she is examining its contemporary relevance and potentials today. Paintings by Friedrich, Dahl, de Loutherbough, Bradford, Balke and others, have been influential on Neudecker's practice. In her ongoing series of ‘tank-sculptures’, Neudecker investigates and the threshold of temporary illusion, determining the cognitive process tied to the perception of a simulacra. The work stands still, yet continuously changes, between this temporary illusion of a reality and the reproduction and (mis)placement of its parts.
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JULIA CAMPBELL CARTER Art Advisor / juliacampbellcarter@gmail.com / +44 (0) 7714 328015
Detail:
Calais – Dover, 1991/98 Horizontal montage of 44 R-type photographs 2.9 x 285 cm (1.14 x 112.2 in) Ed. 2 of 2 © Mariele Neudecker © Photo: Crown Copyright: UK Government Art Collection (own 1st edition)
MARIELE NEUDECKER Mariele Neudecker uses a broad range of media, including sculpture, film, and sound. Her practice investigates the formation and historical dissemination of cultural constructs around natural and technological worlds and notions of a Contemporary Sublime. Neudecker looks at our interpretation of representations of landscapes, throughout art-history in paintings, photographed or as part of our consciousness. Neudecker made the set of photographs Calais – Dover as a student, taking regular shots with a camera, fixed to the side of the ferry crossing the Channel between England and France, exposing the film every 7 minutes. The project confounded her interested in maps, cartography, scale and size and wanted to capture the event as a representation, that could be seen as a photographic map, without moving your head later, in1998. She has made several works since, where a static camera looking at landscape: either plotting the 60th Parallel North, capturing the changing weather conditions, or taken from a moving viewpoint from a ferry, hot-air balloon or train. The interpretation of a representation of the Channel has taken on different meanings since then, and has gained new layers of relevance in the light of migration, Europe and Brexit.
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JULIA CAMPBELL CARTER Art Advisor / juliacampbellcarter@gmail.com / +44 (0) 7714 328015
Much Was Decided Before You Were Born, 2001 Photoprint on Alu-dibond 151 x 122 cm (59.4 x 48 in) Ed. 2 of 5 © Mariele Neudecker Photo: Benjamin Jones Courtesy: Pedro Cera, Lisbon
MARIELE NEUDECKER Mariele Neudecker uses a broad range of media, including sculpture, film, and sound. Her practice investigates the formation and historical dissemination of cultural constructs around natural and technological worlds and notions of a Contemporary Sublime. Neudecker looks at our interpretation of representations of landscapes, painted throughout art-history, photographed or part of our consciousness. Much Was Decided Before You Were Born, is a close up photograph of a tank-work with the same title, depicting a detail of a painting, but this tree is represented inverted, upside down. The inversion relates not only to our ocular perception, but also to invisible, inner organs, embryos or brain-stems. The surrounding fog implies both infinity and containment – treating the notion of a Contemporary Sublime as a specimen. The viewer is asked to scrutinise both the tree /object inside as a ‘model’, as well as the context of landscape in its contemporary, art historical, socio-political reading – both read as metaphorical specimen.
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JULIA CAMPBELL CARTER Art Advisor / juliacampbellcarter@gmail.com / +44 (0) 7714 328015
Whales and Sharks Acrylic and oil pastel on canvas 233.6 x 182.8 cm (92 x 72 in)
RENELIO MARIN Renelio Marin is a New York based, Cuban born artist. He spent his formative years in Havana and studied at the San Alejandro School of Fine Arts until 1993. Resettling in the United States, he then earned a BA in Studio Art from Hunter College in 2009, and an MA in Media, Culture and Communication from New York University in 2011. Renelio’s practice is delineated by two modes of production. The first is linked to the surrealist method of automatic drawing. “In the early 1990’s in Havana, while studying at the Academy of Fine Arts, the work of psychologist Carl Jung became a major influence.” Renelio uses drawing to access hidden depths of the mind, with the narrative in his accumulative drawing series created through free association. The second is painting, which enfolds the historical narrative to his life in Cuba during the Cod War years into a the cannon of modern art. Painting for Renelio is not also a mode of expression or way to deal with personal traumas. “Is also a way of becoming. The place where the art is made influences the result of the art being made.” This painting represents a memory of his leaving Cuba by sea.
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JULIA CAMPBELL CARTER Art Advisor / juliacampbellcarter@gmail.com / +44 (0) 7714 328015
Blueprint for a Sea (rising), 2015 Cyanotype print on aluminium 108.5 x 230 x 4 cm (42.7 x 90.6 x 1.6 in) Ed. 4 of 4 + 1 AP (#4/4)
BRIDGET SMITH Bridget Smith works with photography, video and site-specific installations to explore the relationship between the real and the imagined through the spaces that we occupy. Her artwork addresses our conflicted desire to feel both connected and transported: within society, the landscape and the wider universe. She is known for a style that is both documentary and reliant upon the imagination using the transformative properties of light, colour, pattern and scale to create a space where the ‘unreal’ emerges as an aesthetic experience. Whilst the themes have remained consistent throughout Smith’s career her approach now includes an exploration of photography itself: as medium, process and materiality. Smith works with the full spectrum of tools available to an artist interested in photographic practices: the earliest 19th century photographic processes and technologies, the further developed analogue processes of the 20th century, as well as the digital and robotic technologies of the 21st century. Her approach to photography interweaves multiple positions: analogue and digital, still and moving, the photograph as sculpture, the photograph and object, and animating the still image. From her earliest documentary photographs the cinema interior and its component elements remain a recurring theme alongside a more recent interest in the depiction of light and the representation of infinite space.
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JULIA CAMPBELL CARTER Art Advisor / juliacampbellcarter@gmail.com / +44 (0) 7714 328015
Kairos, 2017-2018 Weather process on silk (Site-specific installation) 700 x 140 cm (275.6 x 55.1 in)
JOSEFINA NELIMARKKA Art and atmospheric phenomena merge into multisensory experiences that challenge perception and interaction with the world. In her research-based practice, Nelimarkka is engaged with the politics of air, the circulation of cli- mate and the phenomenology of data. Her works encourage the view- er to rethink their relationship with the environment and bring the critical connections between atmosphere, ecosystem and society into question. In their ephemerality; moving images, words, colours and sounds emerge from the invisible and inaccessible; continuous processes and virtual realms transform with weather, location, active material, nano microscopy and re- al-time data. Performative installations and online works depend on the nat- ural phenomena, atmospheric memory and interactive technology. Col- laboration with scientists, material engineers and technologists is ongoing. Josefina Nelimarkka graduated from the Royal College of Art in Lon- don and the Academy of Fine Arts in Helsinki. In 2018-19, she was the art- ist-in-residence at SPACE Art + Technology. Her works have been exhibit- ed at Helsinki Art Museum, Varbergs Konsthall, Techfestival in Copenhagen, Sinne Gallery and Tate Modern in London among other galleries and sites.
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JULIA CAMPBELL CARTER Art Advisor / juliacampbellcarter@gmail.com / +44 (0) 7714 328015
Boat, 2021 Oil on linen 40.5 x 40 cm (16 x 15.7 in)
GIDEON RUBIN Rubin is a contemporary artist who works with themes such as childhood, family and memory. The grandson of the Israeli painter Reuven Rubin and the son of a diplomat, Rubin was greatly influenced by art and culture growing up. Gideon Rubin has had numerous international solo exhibitions; most recently "A Stranger's Hand" at Galerie Karsten Greve, Paris (2020), "Gideon Rubin" at Monica De Cardenas, Milan (2020), "Black Book' at the Jerusalem Artists' House (2020), "Warning Shadows" at Galerie Karsten Greve, Cologne (2019), "Fragments' at Gallery EM, Seoul (2018), 'On the Far Side of the Mirror' at Galerie Karsten Greve St. Moritz (2018), 'The Kaiser's Daughter' at Hosfelt Gallery, San Francisco (2018), 'Black Book' at the Freud Museum, London (2018), 'Memory goes as far as this morning' at Chengdu MoCA (2016), Herzliya Museum of Contemporary Art Israel and San Jose ICA (2015/16).
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JULIA CAMPBELL CARTER Art Advisor / juliacampbellcarter@gmail.com / +44 (0) 7714 328015
Dead Sea 101 Pigment print on Somerset Archival paper 300 gsm 140 x 120 cm (55.1 x 47.2 in) Ed. 1 of 3
ADRIAN HOUSTON Adrian Houston, whose stunning images for the celebrated Mr & Mrs Smith series of travel guides helped put the brand on the map, is one of the UK's most talented and successful photographers. Son of celebrated portrait artist Esther Craig, Adrian started his career in style, securing the coveted position of assistant to legendary photographer Michael Joseph shortly after graduating. His exceptional eye for detail, and his meticulous and creative yet relaxed approach, earned Adrian a number of high profile commissions, from the Sultanah of Phang, to the Dalai Lama, and Jim Carrey. Determined not to remain studio bound, Adrian began to travel to some of the world’s most unexplored and inhospitable terrains. The powerful results of his photography soon found their way onto everything from advertising campaigns to magazine covers.
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JULIA CAMPBELL CARTER Art Advisor / juliacampbellcarter@gmail.com / +44 (0) 7714 328015
Selfie, 2018 Mixed technique on canvas 90 x 90 cm (35.4 x 35.4 in)
KUKOFF Kukoff is a Togolese artist based in the capitale Lome. In his early 40s now and prior of becoming an established artist he studied philosophy and architecture. Since 2000 Kukoff has been featured in exhibitions and competitions worldwide including all of West Africa and Europe (i.e..: France, Belgium, Italy). In his own words, Kukoff describe his work as “a swing that travels restlessly between the figure and pure abstraction where all expression is bare and raw”. In Kukoff’s world the man is always faceless. A way for him to go beyond appearances and individualities and to touch the interiority of things and beings, which he tried to show in the ultimate reality of their essence. Plant fibre is the reference material that marks his works.
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JULIA CAMPBELL CARTER Art Advisor / juliacampbellcarter@gmail.com / +44 (0) 7714 328015
Mutual Identity 35, 2021 Mixed Media Drawing on Paper 70 x 100 cm (27.5 x 39.3 in)
DAWIT ABEBE Dawit Abebe, (B.1978), graduated from the Alle School of Fine Art and Design, part of Addis Ababa University with a diploma in painting, sculpture, graphics, photography and industrial design in 2001. His work relies on vibrant, lively colours, which at times contradict the dark subject matter, addressing contemporary concerns about the environment, such as high-tech urbanisation and human idea of progress. In 2001, he founded the Habesha Art Studio in his native Ethiopia, where he continues to be a full-time artist-in-residence. In addition to numerous successful international exhibitions across Africa, Europe and the Middle East, Abebe has also worked with charities such as UNICEF to hold workshops for street children in Arba Minch, Jinka and Addis Ababa.
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JULIA CAMPBELL CARTER Art Advisor / juliacampbellcarter@gmail.com / +44 (0) 7714 328015
Time and Water Grid Silver gelatin print 38 x 25 cm (15 x 9.8 in) Unframed 49.4 x 36.4 cm (19.4 x 14.3 in) Framed
ANDREA HAMILTON Andrea Hamilton is a multi award-winning UK-based conceptual artist and photographer best known for her extensive images of the ocean, natural phenomena and the Kelvin scale. Her work encompasses numerous photographic genres including portraiture, still life, long exposure and landscape. Her systematic collection of subjects within a strict conceptual framework (Chroma, Tidal Resonance and Luminous Icescapes) over extended time periods has resulted in comprehensive archives. These are retrospectively organised according to common visual characteristics (movement, colour, light) into series which highlight specific themes: the nature of time and memory, our relationship with the environment, colour theory, being, and the representation of truth. Hamilton’s work is held in numerous private and corporate collections, including The Vault 100, and has published numerous books, including London Everyday for the Mayor of London. Her most recent accolade was Gold at the Tokyo International Foto Awards, 2020.
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JULIA CAMPBELL CARTER Art Advisor / juliacampbellcarter@gmail.com / +44 (0) 7714 328015
Enchanted Islands No.2 Archival pigment print on Hahnemühle paper 110 x 88 cm (43.3 x 34.6 in) Ed. of 6
ANDREA HAMILTON Andrea Hamilton is a multi award-winning UK-based conceptual artist and photographer best known for her extensive images of the ocean, natural phenomena and the Kelvin scale. Her work encompasses numerous photographic genres including portraiture, still life, long exposure and landscape. Her systematic collection of subjects within a strict conceptual framework (Chroma, Tidal Resonance and Luminous Icescapes) over extended time periods has resulted in comprehensive archives. These are retrospectively organised according to common visual characteristics (movement, colour, light) into series which highlight specific themes: the nature of time and memory, our relationship with the environment, colour theory, being, and the representation of truth. Hamilton’s work is held in numerous private and corporate collections, including The Vault 100, and has published numerous books, including London Everyday for the Mayor of London. Her most recent accolade was Gold at the Tokyo International Foto Awards, 2020.
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JULIA CAMPBELL CARTER Art Advisor / juliacampbellcarter@gmail.com / +44 (0) 7714 328015
Foam and Blue Basslets, 2020 Digital Collage Mounted on Perspex 150 x 150 cm (59 x 59 in) £ 3,600 + VAT 100 x 100 cm (39.4 x 39.4 in) £ 2,400 + VAT Ed. of 3
CAROLA DIXON Carola C. Dixon is an interdisciplinary artist and environmental activist using technology to examine humanity's ever-evolving relationship to the natural world. Raised between Italy and Australia, they moved to New York in 2015 where they subsequently completed a degree in Fine Arts at Columbia University. Since 2020 they have been based in London where they work from their studio in Peckham. Dixon has shown across galleries New York, including the Living Gallery in Brooklyn and the Wallach Art Gallery in Harlem, and London where their work is currently on show in the 2021 Every Woman Biennial, and at BaBa Gallery in Kennington Oval.
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JULIA CAMPBELL CARTER Art Advisor / juliacampbellcarter@gmail.com / +44 (0) 7714 328015
Walking, 2015 C-Type photographic print 66.6 x 100 cm Ed. of 5 No’s 1-3
EMMA CRITCHLEY Emma Critchley is a British artist who uses a combination of photography, film, sound and installation to explore the human relationship with the underwater environment as a political, philosophical and environmental space. A Royal College of Art alumni she has developed works funded by organisations including The National Media Museum, Arts Council England, and the European Regional Development Fund. Her work has been shown extensively nationally and internationally in galleries and institutions including The Australian Centre of Photography, the ICA Singapore, The National Portrait Gallery, the Royal Academy, BALTIC Centre for Contemporary Art and Tate St Ives. In 2019 she completed a short film ‘Common Heritage’, about the imminent threat of deep-sea mining for rare earth minerals, with experts in deep sea ecology and law at the National Oceanography Centre and Universities of Plymouth & Southampton. In collaboration with artist Lee Berwick, Emma has developed a large-scale public soundscape about underwater acoustic pollution, working with organisations including the British Antarctic Survey, the Californian Ocean Alliance and the National Maritime Museum. In 2019, Emma was the winner of the EARTH WATER SKY residency programme with Science Gallery Venice, for her Ice Memory Project. The resulting 2-screen film installation was launched in the official Italian virtual pavilion of the Venice Architecture Biennale 2021.
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JULIA CAMPBELL CARTER Art Advisor / juliacampbellcarter@gmail.com / +44 (0) 7714 328015
Suspended Diptych, 2015 Photographic prints 60 x 50 cm each (Sold as a pair) Ed. of 5
EMMA CRITCHLEY Emma Critchley is a British artist who uses a combination of photography, film, sound and installation to explore the human relationship with the underwater environment as a political, philosophical and environmental space. A Royal College of Art alumni she has developed works funded by organisations including The National Media Museum, Arts Council England, and the European Regional Development Fund. Her work has been shown extensively nationally and internationally in galleries and institutions including The Australian Centre of Photography, the ICA Singapore, The National Portrait Gallery, the Royal Academy, BALTIC Centre for Contemporary Art and Tate St Ives. In 2019 she completed a short film ‘Common Heritage’, about the imminent threat of deep-sea mining for rare earth minerals, with experts in deep sea ecology and law at the National Oceanography Centre and Universities of Plymouth & Southampton. In collaboration with artist Lee Berwick, Emma has developed a large-scale public soundscape about underwater acoustic pollution, working with organisations including the British Antarctic Survey, the Californian Ocean Alliance and the National Maritime Museum. In 2019, Emma was the winner of the EARTH WATER SKY residency programme with Science Gallery Venice, for her Ice Memory Project. The resulting 2-screen film installation was launched in the official Italian virtual pavilion of the Venice Architecture Biennale 2021.
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JULIA CAMPBELL CARTER Art Advisor / juliacampbellcarter@gmail.com / +44 (0) 7714 328015
Figures of Speech Series 1 No.1&2, 2012 C-Type photographic prints 67.6 x 101.6 cm Ed. of 5
EMMA CRITCHLEY Emma Critchley is a British artist who uses a combination of photography, film, sound and installation to explore the human relationship with the underwater environment as a political, philosophical and environmental space. A Royal College of Art alumni she has developed works funded by organisations including The National Media Museum, Arts Council England, and the European Regional Development Fund. Her work has been shown extensively nationally and internationally in galleries and institutions including The Australian Centre of Photography, the ICA Singapore, The National Portrait Gallery, the Royal Academy, BALTIC Centre for Contemporary Art and Tate St Ives. In 2019 she completed a short film ‘Common Heritage’, about the imminent threat of deep-sea mining for rare earth minerals, with experts in deep sea ecology and law at the National Oceanography Centre and Universities of Plymouth & Southampton. In collaboration with artist Lee Berwick, Emma has developed a large-scale public soundscape about underwater acoustic pollution, working with organisations including the British Antarctic Survey, the Californian Ocean Alliance and the National Maritime Museum. In 2019, Emma was the winner of the EARTH WATER SKY residency programme with Science Gallery Venice, for her Ice Memory Project. The resulting 2-screen film installation was launched in the official Italian virtual pavilion of the Venice Architecture Biennale 2021.
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JULIA CAMPBELL CARTER Art Advisor / juliacampbellcarter@gmail.com / +44 (0) 7714 328015
Frontiers, 2015 Photographic print 101.6 x 76.2 cm Ed. of 5
EMMA CRITCHLEY Emma Critchley is a British artist who uses a combination of photography, film, sound and installation to explore the human relationship with the underwater environment as a political, philosophical and environmental space. A Royal College of Art alumni she has developed works funded by organisations including The National Media Museum, Arts Council England, and the European Regional Development Fund. Her work has been shown extensively nationally and internationally in galleries and institutions including The Australian Centre of Photography, the ICA Singapore, The National Portrait Gallery, the Royal Academy, BALTIC Centre for Contemporary Art and Tate St Ives. In 2019 she completed a short film ‘Common Heritage’, about the imminent threat of deep-sea mining for rare earth minerals, with experts in deep sea ecology and law at the National Oceanography Centre and Universities of Plymouth & Southampton. In collaboration with artist Lee Berwick, Emma has developed a large-scale public soundscape about underwater acoustic pollution, working with organisations including the British Antarctic Survey, the Californian Ocean Alliance and the National Maritime Museum. In 2019, Emma was the winner of the EARTH WATER SKY residency programme with Science Gallery Venice, for her Ice Memory Project. The resulting 2-screen film installation was launched in the official Italian virtual pavilion of the Venice Architecture Biennale 2021.
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JULIA CAMPBELL CARTER Art Advisor / juliacampbellcarter@gmail.com / +44 (0) 7714 328015
Aral Acrylic, Oil on canvas 200 x 200 cm (78.7 x 78.7 in)
AIGANA GALI Aigana Gali is a multidisciplinary artist who works across a wide range of media, from canvas and paper to textiles and film, with a process that is delineated by the character of each series. Born on the ancient crossing of the Great Silk Road in Almaty, Kazakhstan, to a Georgian mother and Kazakhstani father, Aigana’s formative years were spent in the wild, open cradle of the Eurasian Steppe. Trained as a dancer, her artistic sensibility was fine tuned to the rhythmic character of place, in particular the vibrational quality of light: how the waves bounce or shadows are cast in the shifting theatre of colour, which mirrors the ocean. This rich cultural heritage is an infinite source to her work, and this painting comes from her ongoing series Steppe. Since her first solo exhibition at Kazakhstan’s preeminent contemporary, The Almaty Art Gallery, in 2014 Gali has been recognised as one of the rising stars of Kazakh art, and has exhibited widely. Her works are held in both private and public collections in Russia, Europe and Kazakhstan.
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JULIA CAMPBELL CARTER Art Advisor / juliacampbellcarter@gmail.com / +44 (0) 7714 328015
Ultramarine Surfer Acrylic on canvas 230 x 180 cm (90.5 x 70.8 in)
SOPHIE VON HELLERMANN Von Hellermann's paintings recall the look of fables, legends, and traditional stories that are imbued with the workings of her subconscious rather than the content of existing images. Her romantic, pastel- washed canvases are often installed to suggest complex narrative threads. Von Hellermann applies pure pigment directly onto unprimed canvas, her use of broad-brushed washes imbues a sense of weightlessness to her pictures. Von Hellermann's paintings draw upon current affairs as often and as fluidly as they borrow from the imagery of classical mythology and literature to create expansive imaginary places. In subject matter and style, von Hellermann tests imagination against reality.
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JULIA CAMPBELL CARTER Art Advisor / juliacampbellcarter@gmail.com / +44 (0) 7714 328015
Weit ist das Meer, 2021 Magnetic vhs coating, adhesive tape, acrylic on canvas 89 x 144.5 cm (35 x 57 in)
GREGOR HILDEBRANDT Conceptual, Berlin-based artist Gregor Hildebrandt transforms the near-obsolete relics of recording technology, like VHS, cassettes, and vinyl records, into sculptures, paintings, photographs and installations. To make his signature paintings, Hildebrandt applies tapes directly to the canvas, making impressions with them before finally adhering the cassettes themselves. He is also known to craft massive installations from these materials, including wall-sized “membranes” of extracted recording tape and galleries filled with old vinyl LPs that have been tackily remade into bowls. Though his formal vocabulary draws on minimalist and found-object traditions, Hildebrandt is just as interested in the references to pop culture and nostalgia embedded in the lost recordings.
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JULIA CAMPBELL CARTER Art Advisor / juliacampbellcarter@gmail.com / +44 (0) 7714 328015
Mama Qucha, 2021 Acrylic, oil, oil pastel, emulsion, black tea, chili powder and turmeric on canvas 300 x 100 x 13.4 cm (118.1 x 39.3 x 5.2 in)
CRYSTAL FISCHETTI Crystal Fischetti’s work is a healing practice that transverses the physical realm with the non- physical one. Rooted in movement, rituals, and shamanism, she works with energy, light, and dance to create uplifting experiences that awaken the spectator. Her artistic approach is a portal to new perceptions, invoking and inviting self-knowledge; a journey towards authenticity, awareness, and connection. The core of Crystal’s multi-layered practice takes the form of sculpture, painting and site-specific installations. With a blending dialogue between life and practice, the resulting work is at once intuitive, performative and organic; a response to a transcendental sensitivity in which she expresses her deep search for life, magic, and truth.
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JULIA CAMPBELL CARTER Art Advisor / juliacampbellcarter@gmail.com / +44 (0) 7714 328015
Tears, 2021 Royal Blue Solid Glass Ed. of 6
Tears, 2021 Turquoise Solid Glass Ed. of 6
KAROLINA WOOLF Karolina Woolf is a London-based artist from Prague, Czech Republic. As a professor she lectured History of Art, sculpture, and ceramics in Charles University of Prague for 14 years. Working with glass, clay, resin bronze and PLA filament, Karolina’s sculptures confuse the static nature of sculptural form, making them move and change as they are observed so that glass is almost ice, filament is flesh and bronze is as malleable as clay. The agility of these pieces reflects the artist’s own physicality and devotion to corporeal expression and dance, and her use of sculpture to explore the vitality of feeling contained in each of her subjects and each of her materials. In bearing witness to movement through moments of darkness, these works dynamically herald the arrival of new light. My inspiration dwells in the words of Lucy Foster, ‘Underneath the sky, the ocean stays where it is, moving. The water holds, like a cradle, it wraps around and enfolds. Even the sky yearns for the embrace of water: blue, so blue that it could be three dimensional, or four or five or six or seven dimensions of blue – a state of blueness… The light changes gear, oozes into a gentler pace that is no less powerful, no less seductive a gleam. It seems to grow wiser, deeper. It is impossible not to look at this light, the great, glowing, inexplicable glory of it. Forward free, says light to water.’
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JULIA CAMPBELL CARTER Art Advisor / juliacampbellcarter@gmail.com / +44 (0) 7714 328015
The Swimmer PLA Filament Ed. of 6
KAROLINA WOOLF Karolina Woolf is a London-based artist from Prague, Czech Republic. As a professor she lectured History of Art, sculpture, and ceramics in Charles University of Prague for 14 years. Working with glass, clay, resin bronze and PLA filament, Karolina’s sculptures confuse the static nature of sculptural form, making them move and change as they are observed so that glass is almost ice, filament is flesh and bronze is as malleable as clay. The agility of these pieces reflects the artist’s own physicality and devotion to corporeal expression and dance, and her use of sculpture to explore the vitality of feeling contained in each of her subjects and each of her materials. In bearing witness to movement through moments of darkness, these works dynamically herald the arrival of new light. My inspiration dwells in the words of Lucy Foster, ‘Underneath the sky, the ocean stays where it is, moving. The water holds, like a cradle, it wraps around and enfolds. Even the sky yearns for the embrace of water: blue, so blue that it could be three dimensional, or four or five or six or seven dimensions of blue – a state of blueness… The light changes gear, oozes into a gentler pace that is no less powerful, no less seductive a gleam. It seems to grow wiser, deeper. It is impossible not to look at this light, the great, glowing, inexplicable glory of it. Forward free, says light to water.’
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JULIA CAMPBELL CARTER Art Advisor / juliacampbellcarter@gmail.com / +44 (0) 7714 328015
Like a Stone Carrara marble on a blue steel base 145 x 44 x 41cm (Shark 50 x 33 x 25 cm)
EMMA ELLIOTT Emma Elliott MRSS is a British sculptor whose central concerns are the incongruous and hypocritical aspects of humanity, and the impermanence and fragility of the natural world. For Elliott, art should seek out a reaction; a feeling or discussion. It should wrestle with society and its elements of rigidity. With experimentation and raftsmanship integral to her practice, Elliott uses material, symbolism and form to provoke, question and connect the dots between the refined and the primitive, and the physical and the spiritual. Elliott works in marble, salvaged from stone yards both in the UK and Italy, and repurposes off-cuts from larger industrial projects into works of art. Recent exhibitions include on form - Asthall Manor, The Summer Exhibition - Royal Society of Sculptors, The Sunny Art Prize Exhibition, Art For Youth and The London Group Open. Her works are held in a number of prestigious private collections, including 10 Downing Street, and Alex Soros Foundation.
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JULIA CAMPBELL CARTER Art Advisor / juliacampbellcarter@gmail.com / +44 (0) 7714 328015
Whale Shark Moroccan black marble 22 x 39 x 20 cm
EMMA ELLIOTT Emma Elliott MRSS is a British sculptor whose central concerns are the incongruous and hypocritical aspects of humanity, and the impermanence and fragility of the natural world. For Elliott, art should seek out a reaction; a feeling or discussion. It should wrestle with society and its elements of rigidity. With experimentation and raftsmanship integral to her practice, Elliott uses material, symbolism and form to provoke, question and connect the dots between the refined and the primitive, and the physical and the spiritual. Elliott works in marble, salvaged from stone yards both in the UK and Italy, and repurposes off-cuts from larger industrial projects into works of art. Recent exhibitions include on form - Asthall Manor, The Summer Exhibition - Royal Society of Sculptors, The Sunny Art Prize Exhibition, Art For Youth and The London Group Open. Her works are held in a number of prestigious private collections, including 10 Downing Street, and Alex Soros Foundation.
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JULIA CAMPBELL CARTER Art Advisor / juliacampbellcarter@gmail.com / +44 (0) 7714 328015
Embedded Breccia medicea 27 x 65 x 30 cm
EMMA ELLIOTT Emma Elliott MRSS is a British sculptor whose central concerns are the incongruous and hypocritical aspects of humanity, and the impermanence and fragility of the natural world. For Elliott, art should seek out a reaction; a feeling or discussion. It should wrestle with society and its elements of rigidity. With experimentation and raftsmanship integral to her practice, Elliott uses material, symbolism and form to provoke, question and connect the dots between the refined and the primitive, and the physical and the spiritual. Elliott works in marble, salvaged from stone yards both in the UK and Italy, and repurposes off-cuts from larger industrial projects into works of art. Recent exhibitions include on form - Asthall Manor, The Summer Exhibition - Royal Society of Sculptors, The Sunny Art Prize Exhibition, Art For Youth and The London Group Open. Her works are held in a number of prestigious private collections, including 10 Downing Street, and Alex Soros Foundation.
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JULIA CAMPBELL CARTER Art Advisor / juliacampbellcarter@gmail.com / +44 (0) 7714 328015
Boxed - in Breccia dorata 12 x 36 x 24 cm
EMMA ELLIOTT Emma Elliott MRSS is a British sculptor whose central concerns are the incongruous and hypocritical aspects of humanity, and the impermanence and fragility of the natural world. For Elliott, art should seek out a reaction; a feeling or discussion. It should wrestle with society and its elements of rigidity. With experimentation and raftsmanship integral to her practice, Elliott uses material, symbolism and form to provoke, question and connect the dots between the refined and the primitive, and the physical and the spiritual. Elliott works in marble, salvaged from stone yards both in the UK and Italy, and repurposes off-cuts from larger industrial projects into works of art. Recent exhibitions include on form - Asthall Manor, The Summer Exhibition - Royal Society of Sculptors, The Sunny Art Prize Exhibition, Art For Youth and The London Group Open. Her works are held in a number of prestigious private collections, including 10 Downing Street, and Alex Soros Foundation.
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JULIA CAMPBELL CARTER Art Advisor / juliacampbellcarter@gmail.com / +44 (0) 7714 328015
Brain Coral, 2020 Alabaster, on marble/wood base 70 x 45 x 70 cm (27.5 x 17.7 x 27.5 in)
JORDI RAGA Born in Valencia in 1979, Jordi studied arts in Spain, Italy and Greece, obtaining a bachelor’s Degree in Fine Arts and a scholarship to study marble sculpture in Carrara in 2001. He moved to France to learn about architecture and heritage restoration, and found a way of living and travelling that took him to work on the Acropolis of Athens and later to England, where he worked on both Gloucester and Canterbury Cathedrals. Jordi’s work is part of public and private collections around the world. Currently lives and works in Oxfordshire.
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JULIA CAMPBELL CARTER Art Advisor / juliacampbellcarter@gmail.com / +44 (0) 7714 328015
Growth Study II, 2021 Portuguese marble 120 x 30 x 30 cm (27.5 x 17.7 x 27.5 in)
JORDI RAGA Born in Valencia in 1979, Jordi studied arts in Spain, Italy and Greece, obtaining a bachelor’s Degree in Fine Arts and a scholarship to study marble sculpture in Carrara in 2001. He moved to France to learn about architecture and heritage restoration, and found a way of living and travelling that took him to work on the Acropolis of Athens and later to England, where he worked on both Gloucester and Canterbury Cathedrals. Jordi’s work is part of public and private collections around the world. Currently lives and works in Oxfordshire.
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JULIA CAMPBELL CARTER Art Advisor / juliacampbellcarter@gmail.com / +44 (0) 7714 328015
Conduitions sculpture series Capture the essence of materialised messages washed up on the sea
MAYA SANBAR Maya Sanbar is a London based Palestinian-Lebanese multi-disciplinary artist, with a practice centered on storytelling. Her work explores both physical and psychological boundaries through immersive and site specific installations. These highlight the elements we share and help us to mediate the space we occupy. Equally important for Maya are voices lost in the wind, and stories that might never be heard, in this spirit she will be giving the Ocean a voice for Blue Minds. She will also be screening ‘AQUARELA’, taking audiences on a journey through the transformative beauty and raw power of water. Filmed at a rare 96 frames-per-second, the film is a visceral wake-up call that humans are no match for the sheer force and capricious will of Earth’s most precious element. From the frozen waters of Russia’s Lake Baikal to the throes of Hurricane Irma and Venezuela’s mighty Angels Falls, water is AQUARELA’s main character, with director Victor Kossakovsky capturing her many personalities in startling detail. Official Selection Venice Film Festival 2018, she will show this as a double bill together with her Oscar qualifying short animation film FOOTSTEPS ON THE WIND, created with Sting’s song Inshallah, about displacement – both climate and conflict refugees - premiering at the Serpentine Gallery on the 24th of June.
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JULIA CAMPBELL CARTER Art Advisor / juliacampbellcarter@gmail.com / +44 (0) 7714 328015
Selection of glazed ceramic works
KATE BRAINE Kate Braine is a London based artist, who practices a wide range of mediums, including pottery, sculpture and design. Born in London and having studied sculpture at City & Guilds School of Art, Kate’s career centred on bronze portrait busts and body casts. Kate’s subsequent courses in ceramics at the Park Walk and Marlborough schools, led her to a fascination with pottery and clay. Having produced ceramics over the past two decades, Kate has now become a full time potter. Kate has created portrait busts of well-known figures, including Sir David Tang, Ian Board and Francis Bacon. Kate produced a full-scale body cast of music legend, David Bowie, which was later shown at The Gallery in Cork Street within his one man exhibition. Kate was also commissioned by Felix Dennis to produce a life-size sculpture of Chuck Berry. In addition, Kate’s works have featured in exhibitions at Argile Gallery, Art for Mayfair and The Mall Galleries and have appeared in a number of charity auctions. In addition, Kate founded iconic jewellery company, Legge and Braine, with Charlotte Legge in 2003, following their time together at City & Guilds School of Art.
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Elisabetta Cipriani invites world leading contemporary artists to create aesthetically innovative and socially relevant jewellery projects. Since the opening of her namesake gallery in 2009, Elisabetta’s pioneering vision has redefined the boundaries between jewellery and fine art, capturing the imaginations of artists and collectors across the globe. The gallery has collaborated with over 40 critically acclaimed painters and sculptors, including Ai Weiwei, Chiharu Shiota, Giulio Paolini, Ilya & Emilia Kabakov, Carlos Cruz-Diez, Enrico Castellani, Erwin Wurm, Giorgio Vigna, Jannis Kounellis, Rebecca Horn, and Pedro Cabrita Reis, to name a few. The creative process begins with Elisabetta persuading the artist to create a wearable art project. These are challenging projects for the artists who are often approaching the realm of jewellery for the first time. Through a process of experimentation, the artist creates a series of prototype sketches which encapsulate their artistic poetics. Elisabetta and the respective artist follow the making process very closely, and, once the prototype has been approved by all parties, either the artist or a specialised goldsmith produce the final piece. The end result is an exceptional jewel which represents the most intimate expression of the artist.
ELISABETTA CIPRIANI Jewellery by Contemporary Artists
The gallery’s projects can be found in museums and private collections across the globe, including Musée des Arts Décoratifs, Paris; Museum of Art and Design, New York; World Jewellery Museum, Seoul; and The State Hermitage Museum, St Petersburg. A number of Elisabetta Cipriani’s jewellery collaborations are featured in From Picasso to Koons: The Artist as Jeweller, the international touring exhibition of artist jewellery curated by Diane Venet. Elisabetta Cipriani participates in leading art and design fairs, including Design Miami and Design Basel, TEFAF Maastricht, Artissima Turin, MiArt Milan, PAD London, and PAD Monaco.
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JULIA CAMPBELL CARTER Art Advisor / juliacampbellcarter@gmail.com / +44 (0) 7714 328015
Sassi, 2020 Mixes media magnetic brooch Variable dimensions Unique and signed
GIORGIO VIGNA Giorgio Vigna was born in Verona, Italy, in 1955. He received his artistic training between his hometown, Venice, Rome and Milan, where he currently lives and works. An artist operating at the boundaries between reality and imagination, Vigna explores the line between what is and what appears to be. His works, which spam from sculpture to jewellery and from works on paper to site specific installations, reflect the breadth and depth of his constant research. Vigna’s works are part of public and private collections among which: MAD, Museum of Arts & Design, New York, USA; The State Hermitage Museum, S. Petersburg, Russia; Honolulu Museum Of Art, Honolulu, Hawaii; Museo di Castelvecchio, Verona, Italy; IMA, Indianapolis Museum of Art, Indianapolis, Indiana, USA; Museo degli Argenti, Palazzo Pitti, Florence, Italy; Miaao, Museo Internazionale delle Arti Applicate Oggi, Turin, Italy; The Olnick Spanu Art Program, New York, USA; Design Museum, Helsinki, Finland; Civica Raccolta delle Stampe Achille Bertarelli, Castello Sforzesco, Milan, Italy; Museum Barbier-Mueller, Geneva, Switzerland.
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JULIA CAMPBELL CARTER Art Advisor / juliacampbellcarter@gmail.com / +44 (0) 7714 328015
Spring Flower & Gingko Hand sculpted silver gold plated rings Unique and signed
ANIA GUILLAUME Ania Guillaume (Polish-Belgian, b.1956) is a Monaco-based sculptor and painter. Her inspiration comes from the natural environments of East and West. The artist traveled incessantly, but Japan and the Mediterranean coast were the places that most influenced her. In sculpture as much as in jewellery, there is a strong perception of the spiritual natural universe as well as the pleasant tactile quality of its textures. The first jewellery pieces were made in 2011 in gilded bronze and later she moved to silver gold plating. Guillaume’s work has been exhibited at: Toyama Museums, Osaka, Aïchi ; National Art Center ,Tokyo and Malborough gallery in Monaco. Her work is present in private collections in Europe, Asia and the USA, among others the Mutuelle St. Christophe Collection in Paris and the Zelie & Louis Martin Chapel in Paris that the artist renovated completely.
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ANDREA HAMILTON Visual Artist Andrea Jarvis Hamilton (born in 1968, Lima, Peru) is a UK-based conceptual artist and photographer best known for her extensive series of photographic images, or typologies, of the ocean, natural phenomena, and the Kelvin scale. Her work encompasses numerous photographic genres including portraiture, still life, long exposure and landscape. Her systematic collection of subjects within a strict conceptual framework (Chroma, Tidal Resonance and Luminous Icescapes) over extended time periods has resulted in comprehensive archives. These are retrospectively organised according to common visual characteristics (movement, colour, light) into series, which highlight specific themes: the nature of time and memory, our relationship with the environment, colour theory, being, and the representation of truth. Hamilton's works examine the durational capacity of photography and the contingency of both past and future, as related in Roland Barthes’ notion of time. For example, in her Water Works series Tidal Resonance, shown at Delahunty in 2014, we see the ocean preserved in an infinite present; time suspended in motion. Hamilton is also interested in the transformative power of the camera to turn one representation of nature into another: her Panterfällen series of photographic images, taken in 2008 during a trip to the Biological Museum in Djurgården, shift the static diorama into a landscape portrait. Hamilton frequently employs photography to create images that highlight the emotional potential of our environment. Since 2000 she has been building a series of seascape photographs, Colour of Time, into a library of more than 16,000 images. Seeking to capture the maximum chromatic variation in one place through rigorous documentation, Hamilton sets constant parameters of location and distance of tripod from the water’s edge, centring the frame on the horizon line. Time and Water is the first book from this series exclusively featuring black and white, long-exposure images of the ocean. In these she questions the nature of perception, the fabric of memory and our experience of time through the process of repetition and constancy. “My photographs follow the law of a series, and the notion of ‘the serial’, capturing the changing mood of nature from a single constant standpoint,” she states. Using a large-format Hasselblad camera and maximum exposure times (15 minutes) in moonlight, she creates smooth, time-worn images where the ocean's surface appears almost geological, as if fixed permanently in formation. www.andreahamilton.com wikipedia.org/wiki/Andrea_Hamilton www.instagram.com/andreahamiltonstudio
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JULIA CAMPBELL CARTER Art Advisor and Guest Speaker Julia Campbell Carter is an experienced art advisor based in central London. She offers discreet and professional art advice to private, corporate, and institutional clients who are looking to build their collections, sell specific pieces or gain a deeper understanding of the market. Julia was raised in Germany and Spain and speaks fluent English, German and Spanish and basic French. Growing up, her parents were passionate collectors of modern and contemporary art and Julia is now a serious collector herself. More importantly, she is not only interested in the aesthetic and beauty of art, but also in the economical value and investment potential of each piece. After studying law in Germany she moved to Spain where, for the last 20 years she has built a successful business dealing in luxury assets and property with her husband. From this, Julia has gained a unique understanding of acquisition and investment from a client perspective, has developed excellent negotiation skills, an in-depth understanding of the market and good relationships in the art world. Her primary focus is modern and contemporary art and over the years she has completed various art courses across Europe as well as at Christie’s in London. Using her expertise, experience and knowledge she will locate, negotiate and purchase art on your behalf and meet your requirements of taste, image and budget. For those who are looking to invest, Julia has a proven track record in acquiring pieces which increase in value and has a particular interest in new and emerging artists. Recently Julia started giving lectures about “Art as an investment” for the private clients of prominent german asset management companies in Frankfurt as well as banks in Düsseldorf. Julia’s clients say that on top of her business acumen, they appreciate her outgoing, positive personality and her ability to make art collecting a fun experience.
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CAN ARTISTS SAVE OUR OCEANS? "Even if you never have the chance to see or touch the ocean, the ocean touches you with every breath you take, every drop of water you drink, every bite you consume. Everyone, everywhere is inextricably connected to and utterly dependent upon the existence of the sea.” – Sylvia Earle, Blue Marine Foundation Ambassador
Scientists and artists alike are fine-tuned to observe the world, constantly responding to and recording the connectivity of life. But while scientists give us the facts, it is perhaps art that has the power to shift minds and turn tides from inaction to action. The artists in this show explore the intrinsically primordial nature of the ocean and water as a medium, as both the material from which life on earth emerged, as well as the primary component comprising the human body. Highlighting the ocean’s central importance in our lives, and giving voice to that which exists beneath the waves, many work in synchronicity and collaboration with marine scientists. Together, they show us how creative thinking can give us hope for a sustainable future. Blue Minds, an artist-led collective comprising of 26 world-leading creatives, frames the ocean as an endless source of inspiration and highlights why a healthy hydrosphere matters. This immersive show offers soundscapes, photography, installations, paintings, wearable art brands, ceramics, films, sculptures, workshops, talks, interactive media and discussion rooms. Inspired by the tireless work of marine biologists and in association with the Blue Marine Foundation, Blue Minds exhibition makes explicit the mutuality artists share with scientists. Where science gives us the tools to understand the complexity behind the beauty of nature’s integrated systems – such as the ocean’s conservation ‘hope spots’ teeming with life, documented in the film Blue Mission – art enables us to express our feelings about the world and provides a point of connection for the viewer.
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Blue Minds asks two central questions: why have we become disconnected from water, and how can artists help us to find creative solutions? If we consider art like the ocean’s surface – a beautiful mirror to the world – then the creative process can be likened to what happens beneath the waves. It is there, in that hidden space of trial and error, of observation and form creation, that we find solutions for a sustainable future. The world’s oceans, lakes, rivers and wetlands are collectively known as blue space and cover 71% of our planet. Their health and biodiversity is critical to our physical and mental well-being. The role of the ocean in regulating the Earth’s climate is increasingly understood, as is the extent to which extracting life from the ocean is damaging its capacity to absorb CO2 and release oxygen. Restoring life in the ocean is vital to the future of the human race. That’s why overfishing is so iniquitous. Blue Minds features a stellar line up of artists, co-curated by AH studios, Julia Campbell-Carter and Nico Kos Earle. Artists include Mariele Neudecker, Anne de Carbuccia, Andrea Hamilton, Marcus Lyon, Emma Critchley, Bridget Smith, Gregor Hildebrandt, Callum Innes, Phillip Hunt, Carola Dixon, Gideon Rubin, Anna Barriball, Emma Elliott, Kate Braine, Renelio Marin, Jordi Raga, Crystal Fischetti, Karolina Woolf and Dawit Abebe. They are joined by painter Aigana Gali and fine wearable art creator Elisabetta Cipriani Gallery, fresh from the successful Light Works show at AH Studio. Maya Sanbar will create an immersive experience, while Stories of Art, who take listeners on an art journey, will provide two lectures. What these artists share is a love for our blue spaces, and a commitment to documenting or responding to what is unseen or hidden from the public, under the sea. This show also celebrates a colour that amplifies our feelings for things. As fluid as water, blue has an infinite capacity to reflect how we feel. William Gass named it the, “Colour of interior life,” Bob Dylan got ‘Tangled up in Blue’, and colour theorist Wolfgang von Goethe wrote, “We love to contemplate blue, not because it advances us, but because it draws us after it.” Euphoric and sad, erotic or pure, blue is the expansive colour of both sea and sky, pregnant with possibility. It is a colour so conceptually variable it needs an adjective to qualify it. Our relationship to this hue is flush with our desire to reach what is difficult to grasp. Like a river running through your fingers, we are surrounded by blue but cannot easily embody it. As ephemeral as the blue vein that vanishes into red when flesh is cut, the dichotomy of blue is that it fills our skies and vast bodies of water, but remains largely hidden in the material world. The natural blue we see is caused by blue light waves: swimming pools, open skies, a butterfly’s wings or the iridescent tail of a peacock. Considered the colour of the heavens, our forbears could only make it from a semi-precious stone, lapis lazuli, and it was reserved for exalting religious love. For this, blue is the colour that most elegantly illustrates how we perceive but also what we believe; it touches the soul. Whilst most people love this colour, over the course of the last century, our relationship to blue space has changed dramatically, and communities who still depend on it for work, food and travel remain largely out of sight, and often out of mind. The genre of marine painting exploded in 17th-century Holland during the Dutch golden age, but perhaps the best-known works are J.M.W. Turner’s sublime marine paintings from the late 1700s and 1800s. Enraptured by the ocean’s light and energy, Turner captured the sheer force, magnificence and violence of the sea.
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The concept that art should ‘make one rapturous’ or ‘transcend the mundane’ underlies the concept of Romanticism, where the sublime opens up the possibility of crossings between the self and nature – of transcendence – and expresses the boundlessness of the universe. Like seeing our private feelings reflected in a storm, when we experience the sublime in art, we are connected to something greater than ourselves. This generative and amorphous idea has played a central role in western spiritual and ethical values. An unknown Roman writer, nicknamed Longinus by later readers, suggested the purpose of art was not merely to express the artist’s feelings but to arouse emotion in the audience. He identified this as a loss of rationality or alienation in the viewer which leads to identification with the creative process of the artist, and, “A deep emotion mixed in pleasure and exaltation”. Sublime works of art also give us what Christine Riding, curator of Tate show The Sublime (2010), calls: “A pleasurable terror in perceiving objects that might threaten or destroy us”. Today, the sublime holds particular relevance to works that reflect a contemporary awareness of climate change and how this has altered our relationship with the ocean – not just of its impact on us, but our impact on it. Since the advent of industrial fishing, there has been untold violence towards the ocean, and countless sea creatures. Blue Minded aims to address this issue and our disconnection, through a compelling selection of contemporary paintings, sculptures, photographs and films, to refocus our relationship to the ocean, and offer a meaningful connection through which we might collectively turn the tide… because as Sylvia Earle says, “No water, no life. No blue, no green.”
Nico Kos Earle @poemsforpaintings @_thecolourproject
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BLUE’s mission is to see at least 30% of the world’s ocean under effective protection by 2030 and the other 70% managed in a responsible way.
Our key strategic interventions are as follows: Securing marine protected areas to ensure the protection of at least 30% of the ocean by 2030. Developing models of sustainable fishing proving that low-impact fishing benefits marine life, local fishers and communities. Restoring marine habitats to revive and protect vulnerable and threatened species and to sequester carbon. Tackling unsustainable fishing by highlighting poor practice and developing solutions. Connecting people with the sea and enhancing ocean understanding across generations.
info@bluemarinefoundation.com 020 7845 5850
Venue kindly provided by: