MERRY-GO-ROUND

12th November - 23rd January 2021

Anne Athena Ralph Anderson Basil Beattie Dominic Beattie Juan Bolivar Samson Bonson Katjarra Butler Nellie Ngampa Coulthard Neill Clements Tim Ellis Lucy Giles Nyarapayi Giles Fiona Grady Tess Jaray Hannah Luxton Nongirrna Marawili Alice McCabe Ursula Napangardi Marks Tjanpi Desert Weavers Tom Norris Myra Patrick Herbert Naja Utzon Popov Alice Wilson Neil Zakiewicz

24 Howie Street, London, SW11 4AY e. info@jgmgallery.com t. 07860325326 WWW.JGMGALLERY.COM Open by appointment only until 2nd December

Purchase, viewing, collection and delivery are all available during mandatory closure

Information about the artists and descriptions of the artworks can be found the end of the catalogue

Queen Aya, 2019

Hand built ceramic sculpture, painted with ceramic pigment and gold lustre 47 x 35 x 23cm ÂŁ5,000

Anne Athena

Companion, 2019

Hand sculpted ceramic, painted in ceramic pigment and gold lustre 63 x 30 x 22cm ÂŁ6,000

North Sea, 2019

Hand built and thrown ceramic vessel, painted with ceramic pigment and gold lustre 65 x 35cm ÂŁ5,500

Anne Athena

Creature Bed, 2020

Hand sculpted ceramic, painted in ceramic pigment and gold lustre 18 x 26 cm ÂŁ2,500

Untitled (Houseplant Chalkboard), 2019 Acrylic on Aluminium 65 x 45cm ÂŁ3,600

Ralph Anderson

Untitled (Houseplant Palette), 2019 Acrylic on Aluminium 65 x 45cm ÂŁ3,600

Untitled (Houseplant Felt Tip), 2019 Acrylic on Aluminium 55 x 35cm £3,200

Eddie Aning-Mirra

Mimih Spirit, 2020

Cottonwood (Bombas Ceiba) with Ochre Pigment and PVA Fixative 137 x 8 x 5cm £385

Mimih Spirit, 2020

Cottonwood (Bombas Ceiba) with Ochre Pigment and PVA Fixative 149 x 4 x 5cm £375

Basil Beattie

Bubble Wrapped, 2001 (top)

Screenprint on Aquarelle Arches 45 x 59cm ÂŁ850, framed

Stairing, 2001 (bottom)

Screenprint on Aquarelle Arches 45 x 59cm ÂŁ850, framed

Untitled, 2020

Spray Paint and Oil Pastel on Canvas 60 x 50cm £2,200

Dominic Beattie

Untitled, 2020

Spray Paint and Oil Pastel on Canvas 60 x 50cm ÂŁ2,200

Pattern Studies, 2020

Spray Paint and Oil Pastel on Khadi paper 42 x 30 cm ÂŁ350

Juan Bolivar

Tees, 2020

Screenprint on Cotton Each tee edition of 10 £120

Mimih Spirit, 2019

Leichhardt tree (Nauclea Orientalis) with ochre pigment and PVA fixative 88 x 4 x 4cm ÂŁ1,250

Samson Bonson

Mimih Spirit, 2019

Leichhardt tree (Nauclea Orientalis) with ochre pigment and PVA fixative 124 x 6.5 x 4.5cm ÂŁ1,450

Trenton Ikara

Mimih Spirit, 2019

Leichhardt tree (Nauclea Orientalis) with ochre pigment and PVA fixative 121 x 4 x 4cm ÂŁ395

Katjarra Butler

Ngamurru, 2019

Acrylic on Canvas 146 x 121cm £6,500

Tjuntala Ngurangka (Country with Acacia Wattle), 2019 Acrylic and Oil on Canvas 122 x 152cm £5,200

Nellie Ngampa Coulthard

Neill Clements

A6 Collages, 2001

Painted Paper Collages 14.9 x 10.5cm ÂŁ100 each

Komorebi Days, 2020

Plaster, Handmade Paper, Paint 29.5 x 24 x 8cm £2,500

Crepuscular Rays, 2020

Plaster, Handmade Paper, Paint 33 x 22 x 6.5cm £2,500

Tim Ellis

Antisolar Points, 2020

Plaster, Handmade Paper, Paint 28 x 31 x 13cm ÂŁ2,500

Lucy Giles

Yellow Bit in the Grass, 2017 Oil on Gesso Panel 50 x 61cm £2,400, framed

A Short Trip to France, 2019 (top) Oil and Pencil on Canvas 40 x 45cm £1,950

Lucy Giles

Crane, 2018 (top) Oil on Gesso Panel 33 x 33cm £900, framed

Egg, 2016 (bottom) Oil on Canvas 40 x 45cm £2,100 framed

Nyarapayi Giles

Warmurrungu, 2019 Acrylic on Canvas 148 x 179cm £9,850

Fiona Grady

Prisms II, 2020

Lazercut Perspex, Acryclic Box and Silver Mirror Base 15 x 20 x 20cm £450

Prisms I & III, 2020

Lazercut Perspex, Acryclic Box and Gold Mirror Base 15 x 20 x 20cm £450

Citadel (Dark), 2001 Screenprint 60 x 37.5cm £1,100, framed

Tess Jaray

Citadel (Light), 2001 Screenprint 60 x 37.5cm £1.100, framed

Hannah Luxton

Star Stream, 2019

Oil on unprimed Belgian linen 120 x 95 cm ÂŁ2,800

Hannah Luxton

Dreaming Moon, 2020

Oil on unprimed Belgiam linen 90 x 75 cm ÂŁ1,950

Baratjala, 2020 Acrylic on Paper 56 x 76cm £2,200, framed

Nongirrna Marawili

Baratjala, 2020

Acrylic on Paper 56 x 76cm ÂŁ2,200, framed

From left to right Neil Zakiewicz, Untitled, 2020, spray paint on paper, 81 x63cm, £900 Alice McCabe ‘Wooden Flowers’ giant dried and prepared flowers on ikebana pins, £275 Alice McCabe floral wreaths, £250 available to order until 13 December Naja Utzon Popov, ceramic vessels, £340 - £670 Hannah Luxton ‘Star Stream’ 2019, oil on unprimed Belgian linen, 120 x 95cm, £2800

Rattled Protea Wreath, 2020 Floral Wreath 60 x 60cm £250

Eucalyptus Harvest Wreath, 2020 Floral Wreath 60 x 60cm £250

Alice McCabe

Magic Life, 2020 Floral Wreath 60 x 60cm £250

Whirled World, 2020 Floral Wreath 60 x 50cm £1,200

Alice McCabe

Table Ring, 2020

Floral Wreath 30 x 35cm £145

Flipside Garden: Winter/ Summer, 2020

Seasonal dried flowers, hand cut tokens from RHS Magazines, floral twine, parcel string, wool, chickenwire 120 x 110 cm ÂŁ1,950

Alice McCabe

Flipside Garden: Spring/ Autumn, 2020

Seasonal dried flowers, hand cut tokens from RHS Magazines, floral twine, parcel string, wool, chickenwire 120 x 95cm ÂŁ1,950

Yarla Jukurrpa (Bush Potato Dreaming) 2020 Acrylic on Canvas 90 x 120 cm £1,250

Ursula Napangardi Marks

Yarla Jukurrpa (Bush Potato Dreaming) 2020

Acrylic on Canvas 90 x 120 cm ÂŁ1,250

Eucatastrophe 2020 Ceramic Earthenware 46 x 26 cm £1,700

Sundown 2020

Ceramic Earthenware 50 x 27 cm £1,150

Tom Norris

Eucatastrophe Part Two 2020 Ceramic Earthenware 50 x 26 cm £1,450

Techno Sloth 2020

Ceramic Earthenware 48 x 28 cm £1,350

Village Myths 2020

Ceramic Earthenware 48 x 28 cm ÂŁ850

Fair Play 2020

Ceramic Earthenware dimensions tbc ÂŁ600

The Navigator 2020

Ceramic Earthenware dimensons tbc ÂŁ990

Budgerigar Dreaming - Ngatijirri Jukurrpa 2019 Acrylic on canvas 150 x 180 cm £7,500

Myra Patrick Herbert

Vessel 2020 Ceramic 18 x 16 cm £340

Naja Utzon Popov

Vessel 2020

Ceramics 28 x 26 cm ÂŁ420

‘Untitled (Altruistic Painting III, II, I)’ 2020 (from left to right) Mixed media on voile 156 x 158cm £7950

Alice Wilson

Untitled, 2019 Spraypaint on Paper 34 x 26 cm unframed £600 (left) 44 x 35 cm framed £700, framed (centre, right)

Untitled, 2019 Spraypaint on Paper 69 x 51 cm unframed £750 (left) 81 x 63 framed £900 (right)

Neil Zakiewicz

Untitled, 2019 Spraypaint on paper 69 x 51 cm unframed ÂŁ750

Anne Athena (Anne Lykke) was born in Aarhus Denmark 1984. Lykke’s practice springs from her

deep interest in human behaviour, spirituality and psychology, human beings and the stories of their lives, the history of humanity and its development and habitation on this planet. She works within the realms of figurative, surrealism and symbolism to create narratives that opens a window to the unseen worlds of the human being. Her research method is auto-ethnographic, a concept that deals with collection meaning instead of data. AL´s ceramic practice is her medium wherein she can materialize her studies and contemplations. The aesthetics are heavily influenced by traditional ceramics; pattern, ornamentation, the figure and the vessel.

Anne’s practice demonstrates her intense interest in human behaviour and her skill as a major ceramic artist. The majestic works, finely painted to tell her stories, both autobiographical and mystical, are simply magical from every viewpoint. She has a passion for historical art and design - her work alludes to traditional shapes, patterns and ornamentation acting as a veil for the intensity of content. Her skilled drawing and mark making has developed and evolved from her earlier art practice of painting, allowing a unique language, evidenced on the evocative works in our exhibition.

Anne Lykke holds a BA in ceramics from The Royal Danish Academy of Fine Arts(2014) and a MA of ceramics from the Royal College of Art (2019). Her work is held in collections worldwide.

Ralph Anderson (b. 1977, Glasgow) brings together the transient qualities of light and the viscous nature of acrylic paint on aluminium and plywood surfaces.

The structures are enhanced by the application of fluorescent paint on the reverse of each work, projecting a coloured glow on the supporting wall, and bringing the surrounding environment into play. He loves to play with the juxtaposition of representational and non-representational imagery in his work, mixing it up to excite the viewer. Anderson’s paintings hover between illusion and physical reality, investigating gesture, form and the drawn line whilst also playing with the notions of representation and non-representation in art.

Recent career successes include two major solo exhibitions at JGM Gallery, commissions for H Club, London and an installation of work in Eurostar’s Business Premiere Lounge at the Gare du Nord in Paris.

He will have his third solo exhibition with JGM Gallery in 2021.

Basil Beattie RA (born 1935) is a British artist, whose work revolves around abstraction and is known for its emotive and gestural forms.

Born in West Hartlepool, County Durham, Beattie attended the West Hartlepool College of Art from 1950 until 1955. He continued his education at the Royal Academy schools from 1957 until 1961. He then began a long teaching career: during the 1980s and 1990s, Beattie taught at Goldsmiths College in London.

Beattie’s unusual use of hieroglyphs with signs and characters arranged in a cellular format was displayed with a 1986 production called Legend. 10 ft by 12 ft its originality and multi-layered appearance was a hallmark of a painter who had many one-man solo exhibitions, as well as the normal group shows, including a significant event at Curwen Gallery in 1990. He was shortlisted for the Jerwood Painting Prize in both 1998 and 2001, in addition to the Charles Woolaston Prize in 2000. An exhibition of paintings produced from the 1990s was held at Tate Britain in 2007 and his works are part of the Tate permanent collection.

BIOGRAPHIES Dominic Beattie (b.1981, London) is an abstract painter/sculptor and furniture designer. His work is

based upon Modernist principles, specifically ideas of innovation and experimentation with abstraction, and an emphasis on materials, techniques and processes. His new works are a continuation of his exploration into colour and pattern. With each new series over the last few years he has to developed a more nuanced painting language.

This series, like many others, has been informed by an interest in textiles and an attempt to translate the hands-on artisanal approach to craft into painting. The series is directly informed by vintage crochet blankets found at car boot fairs and charity shops. He was inspired by the intense colours and simple grid based patterns of the blankets. Early attempts at painting them were very simple direct copies of the styles he found, they have recently mutated into something more akin to a glyphic language.

Beattie has recently exhibited his work at The Saatchi Gallery, The Royal Academy, JGM Gallery and Fold Gallery. In 2015 he won the UK/Raine prize for painting. In 2018 he curated the exhibition ‘Harder Edge’ (A Multigenerational Survey of Recent Abstraction) featuring 17 artists at The H Club, Covent Garden, and later toured to the Saatchi Gallery. In 2019 he co curated ‘HABITAT: artist furniture or things that might be confused as furniture’ at JGM Gallery. He has had solo exhibitions at JGM Gallery and FOLD, UK

Juan Bolivar (b. Caracas, Venezuela 1966) paintings negotiate the tension between meaning and

form. The central preoccupation in recent works has been the intertextual merging of references from early European avant-garde (painters like Malevich, Mondrian and Van Doesburg), with popular culture and rock music references (bands like AC/DC, Def Leppard and Thin Lizzy). Both are specialisms in their own right so for example few may have heard of Ivan Kliun, a contemporary of Malevich, or Tygers of Pan Tang, from the ‘new wave’ of British Heavy Metal (NWOBHM) in the late 1970s.

“I wanted to make these layered references more accessible. During a residency at the Bauhaus Foundation in Dessau, Germany in 2019 I developed a series of works which presented the names of Bauhaus masters (such as Albers or Piet Mondrian), depicted in the font of iconic rock bands (AC/ DC and Def Leppard respectively). Staying at the famous Prellerhaus in the former Bauhaus School, I meticulously painted these merged references onto standard white t-shirts, using the internal colour scheme designed by Hinnerk Scheper for the Bauhaus building.”

The works were made by hand just like paintings; substituting canvas for t-shirts but became in the process precious unique objects. The t-shirt series produced for this exhibition have been silk-screen printed by a music merchandise supplier.

Bolivar presented his solo exhibition High Voltage at JGM Gallery in 2017. He has twice been a recipient of a Pollock-Krasner award. His works are included in The Government Art Collection, and selected for significant exhibitions such as New British Painting at John Hansard Gallery, University of Southampton and East International at Norwich School of Art. His work was included in Nanjing Museum’s first international exhibition of contemporary art where he was a prize winner. Recent projects include a residency at Macro Museum, Rome, and Bauhaus 100: Utopia in Crisis; a group exhibition travelling to Weimer, Germany.

Katjarra Butler (b. 1946, Australia) is a senior artist living and working in Tjukurla, a remote

desert area of Western Australia. She paints her “Country” the works are landscape maps and almost autobiographical memories of the desert lands where she spent her younger years, living a traditional nomadic life with her family, hunting and gathering bush food.

Katjarra’s painting style is more like western Abstract Expressionism or Colour Field painting well known in Western art, however indigenous artists in the remote western desert were never aware of these art movements. Her palette is always interesting and intensely powerful; and her broad compelling brush strokes her own. Butler’s work jumps out with an individual voice.

“Painting Country, like singing Country, is a form of caring for it. Artists like Butler can show their love of Country and care for the places they love by painting, and that act is at least as powerful as the art they create.” - Claire G Coleman

Neill Clements studied at Staffordshire University (BA Hons Fine Art, 2004) and Wimbledon College of Art (MA Painting, 2009) and has exhibited across the UK and internationally. He is interested in creating work with a material and visual presence; tangible objects that invite scrutiny. His painting is about making and looking; process and the visual. The work stands on the belief that painting is at its most compelling when it addresses the specific strengths and unique abilities of the medium; when it concentrates on the fundamental.

He believes that “one of painting’s great strengths is its frankness: pigment applied to support; paint on a surface. It is not reliant on technology and it requires neither specialist knowledge nor mastery of esoteric technique (although of course it does not preclude these things). This simplicity and openness is the likely reason it has endured and will, undoubtedly, continue to endure. The scope for variety and invention is massive while the basic foundations of the medium remain secure.”

Tim Ellis (b. 1981, Chester) examines the process where by art and craft objects from one culture

come into close contact with another. This coming together leads to an exchange in value and shift in meaning. Ellis conducts in-depth research into cultural products, how they are made, used and displayed. Sometimes using found objects and other times abstracting from pre-existing designs, these are transformed to form totemic sculptures and paintings. The material decisions and finishing given to the objects and paintings suggest a utility, beyond that of their original function.

The artworks in MERRY-GO-ROUND are pieces were made after researching the pioneering group of artists from the pattern and decoration movement. He became fascinated by combining elements of his own drawing designs with handmade papers as constructions, layering, cutting and constructing three dimensional objects giving a new sense of pictorial space. They are inspired by the Japanese Komorebi, which translates as ‘the scattered light that filters through when sunlight shines through trees’.

Ellis intuitively responds to the displaced and forgotten imagery and materials: adding, adapting, and abstracting the information in order to develop a series of responses that suggest the appearance of another culture or alternative society, yet they remain unspecific, leaving the viewer to determine their origin.

Ellis graduated from The Royal Academy Schools, London, in 2009. He has exhibited internationally in solo and group exhibitions at Whitechapel Gallery, London; The Metropolitan Arts Centre, Belfast, Northern Ireland; One Art Space, NY; and FOLD Gallery, London (solo). He was featured in the book ‘100 Painters of Tomorrow’, Thames & Hudson and is in the collections including the Saatchi Collection, The Glenfiddich Collection, and Swiss Life. He will have a solo exhibition at JGM Gallery in 2021.

BIOGRAPHIES Lucy Giles (b. 1975, Hitchin) studied Painting at Glasgow School of Art (1994-1998). During the

third year of her degree she embarked on an exchange program to The Victoria College of the Arts, Melbourne, Australia. There she was invited to join a group from the school, lead by the Head of Painting and Artist, Victor Majzner, to visit Aboriginal communities in Central and Western Australia.

It was a life changing experience for the artist. Exploring the repeated discarded brightly coloured “rubbish” in the landscape, learning and spending time with the aboriginal people brought a whole new perspective to her practice.

This profound effect has developed with her practice and can be seen in her new work. She describes the process of making as “a mix of observed shapes from sketchbook drawing notes made on location; and memories or feelings evoked at the time of building the composition into a painting. I can’t leave a painting until I know it’s finished, even if that means re-visiting it over many months or years…”

She has exhibited at Jeannie Avent, London; Corr Gallery, Falmouth; and The Royal Academy Summer Exhibition, London.

Nyarapayi Giles (c. 1940 - 2019, Australia) was born in the remote Gibson Desert in Western Australia. She travelled throughout the Western Desert Region with her mother and step-father, hunting, gathering bush tucker and camping in the traditional way of her ancestors. Her knowledge of the Inma (ceremonies) Tjukurpa (dreaming stories) associated with the country here is extensive.

Nyarapayi spent her youth living the traditional nomadic life of her people until her family were moved from their land to settle in missions in the 1960s.

Nyarapayi settled in Tjukurla when the community was first established in the 1980s. She works with ‘purnu’ (wood carving) and still enjoys hunting in the bush. She learned to make baskets woven from spinifex in the 1980s and has a large basket on permanent exhibition on at the Queensland Art Gallery.

Nyarapayi Giles works explore her country and associated Tjukurrpa in an exquisite and unique expression of colour and movement. Nyarapayi has gained recognition on as a key artist amongst her peers in the Contemporary Indigenous Art movement. Her works are collected by collectors and institutions in Australia and internationally.

Fiona Grady (b. 1984, Leeds) creates site-responsive drawings on walls, windows and floors using sequences of dispersing geometric shapes. Her practice recognizes the relationship between architecture, installation art and decoration; often using traditional mediums in a modern context. She plays with light, surface and scale; each piece changes with the light of day emphasizing the passing of time and the ephemeral nature of the work.

For MERRY-GO-ROUND she has created “Star Burst” a festival door installation taking the colours of Christmas red, green and gold with the addition of blue to design a star shapes in the empty spaces between the vibrant vinyl triangles. Her artworks “Prisms” are optical illusions composed from interlocking fluorescent perspex triangles on mirrored silver and gold bases. Confined within a vitrine they glow as they capture light and their shapes are mirrored to create the illusion of diamonds.

She has had solo exhibitions at the University of Brighton; The Eye Sees, Arles, France; and Chapter Arts Centre, Cardiff. In 2019 she was selected by the Mark Rothko Memorial Trust to receive a bursary and residency at the Mark Rothko Foundation in Daugavpils, Latvia. She has created public

commissions for Walthamstow Wetlands Visitor Centre, London; Exchange House Broadgate (British Land) London; Heal’s Tottenham Court Road Flagship Store; ITV and Watts Gallery Artists’ Village, Guildford. Her work is in a number of private and public collections worldwide including Paul Smith Collection and the Tim Sayer Collection (bequeathed to Hepworth Museum, Wakefield).

Tess Jaray RA is a British painter and printmaker. Born in Vienna in 1937, Jaray grew up in

rural Worcestershire, England. She taught at The Slade School of Fine Art, UCL from 1968 until 1999 where she was the first female teacher. Over the last twenty years Jaray has completed a succession of major public art projects. In 1999 Jaray became Reader Emeritus in Fine Art at the Slade. She was made an Honorary Fellow of RIBA (Royal Institute for British Architects) in 1995 and a Royal Academician in 2010.

The impact of Renaissance architectural spaces Jaray encountered on her travels in Italy were formative for the development of her distinctive technique. In these ceilings she saw how simple lines interacted to transform space, powerfully inducing emotional responses. Writing on Jaray’s paintings of the 60s Jasia Reichardt said they could be called ‘”ceiling geography” because they suggest views of an interior seen from below... Her paintings suggest some underlying mystery through the suggestion of architectural perspective.’ Much of her career as a painter has been spent investigating the quality of effects geometry, pattern, repetition and colour have on space. The patterns she creates evoke spatial ambiguities and shifting structures which work on the viewer’s perceptions in subtle ways.

Hannah Luxton (b. London 1986) works from her secluded studio within Epping Forest. Her

paintings have a dreamlike quality, slowing time as they elude direct interpretation. In their ambiguity, she seeks to activate imagination to move us beyond our physical boundaries of human time and space.

“Star Stream” was borne out of a recent visit to numerous waterfalls on Hannah’s latest excursions in Iceland. A Star Stream is the term for a group of stars that move together in the same gravitational pull of a galaxy. Stars are suspended in the white powdery spray of a waterfall. Hannah wanted to paint orbs that contained all the colours of the rainbow at once, and on close inspection, somehow she has done just that. Layered within a luminous traditional oil medium are yellows, greens, pinks and blues all merging into one.

“Dreaming Moon” presents two loved motifs in Hannah’s repertoire, the mountain and the puddle which could also be a lake - she never leaves a trace of scale so your imagination can decide how grand or intimate this world is. In this beguiling painting, the grand mountain is reduced to an intangible state, like a dream. The pool below shines and glistens in the light, and the moon’s reflection is suspended within the layers of oil glaze.

She graduated from the Slade School of Fine Art MA (2012) and Kingston University, Fine Art BA (2008).

Luxton has exhibited widely in London in solo and group exhibitions, including the Drawing Room, London; ArthouSE1, London; Blank 100, London (solo); and internationally including India, the USA and Iceland. In 2018 she completed a research trip to the north of Iceland, after first discovering the country through The Fljotstunga Travel Farm Residency, Iceland Award in 2015. Prizes and awards include the Denton’s Art Prize shortlist (2019); Arts Council England Project Grant (2018); Betty Malcolm Scholarship for Stage and Decorative Painting (2012) and the Painter Stainers Bursary (2011).

BIOGRAPHIES Nongirrna Marawili (b. 1938, Australia) is an indigenous Australian artist working on the remote

coast of Arnhem Land. She is noted for her bark painting using bold imagery. Marawili began her career as a printmaker, but in recent years has further refined her skills in painting to become one of the most unique artists working at Yirrkala today Her highly sophisticated works on paper reflect an ingrained, natural understanding of her culture, history and environment. Nongirrna’s striking use of pink pigment (recovered from recycled print toner cartridges) alludes to her strong cultural ties, whilst simultaneously crossing artistic boundaries that only a senior woman of her strength could even contemplate.

Nongirrna Marawili is inspired by the atmospheric effects that are created as country is brought to life through the movement of wind, water or unseen forces. Marawili does not simply document sites in country, she captures the dynamism of a living landscape, radically transformed and re-imagined to realise a very personal artistic vision.

Alice McCabe (b. 1984, Melbourne, Australia) is a multi-media artist, creating floral installations,

paintings, performances and art education sessions using flowers and cheap or free materials of an ephemeral nature. Underpinning her work is a love of misunderstanding and humour, gleaned from a keen interest in Dada. Most of her works contain a joke or clue in the title to help the viewer get closer to - or further away - from the content of the piece. Integral to her practice as a floral artist is to create both sustainable and conceptual designs drawing attention via flowers and their meanings to point to other contexts alongside their beauty.

Her floral tapestries made from dried, repurposed and foraged floral materials inserted into a mesh structure in gestures almost like painting. Given their exposure to sunlight the materials will change colour over the course of the exhibition, reminding us of the seasons and referencing the fascination for bringing nature indoors as well as our increased observation of nature this year. Atop of the natural background are badges of chopped up ephemera from exhibitions visited, botanical drawings and the artist’s archive of photographs ‘inspired by nature’. These tokens insert a sense of distance from floral material and reading of landscape, teasing our ability to understand nature and our representation of it.

She studied Fine Art Painting at the University of Brighton before moving to Switzerland to research and perform at “There-There School of English Dada.” She completed a Masters in Arts Education at the Zurich University of the Arts in 2014 exploring ‘misunderstanding as a tool for communication.’

With fifteen years experience as a florist, she started her own business Alice McCabe Flowers in 2016, offering assistance to artists wishing to work with flowers as well as offering more conceptual event design. Recent projects includes the creation of floral displays for launch of BBC Blue Planet II, One Planet: Seven Worlds and new Natural History Programme, at M&S Arena, Liverpool 2017, 2019 and 2020; and The Cultivar Residency, sponsored by The Museum of the Flat Earth, Fogo Island. She was nominated for the ZF Kunststiftung Scholarship, Zeppelin Museum Friedrichshafen, Germany (2015).

Ursula Napangardi Marks (b. 1979, Australia) is a young artist following in the traditions of

the Warlpiri people, who now live in small towns in the Tanami Desert. Her paintings depict Jukurrpa (Dreaming Stories) of the Bush Potato and Bush Tomatoes - stories handed down to her from her grandparents.

When the flowers are on the tree the women know that the bush potatoes are ready to dig for. The women look for long, thin cracks along the ground, made from the vines of the potato plant and dig

where the cracks are. The potatoes are sometimes more than one meter deep and the women gather them in wooden dishes, called parraja Bush potatoes are cooked on the coals, and have a sweet taste.

Bush tomatoes found all over Ursula’s desert country. The ripe tomatoes are everywhere. Sometimes a stick is used to push the seeds out and then they are dried in the sun or near a fire. My grandmother sometimes cooked them in the fire for us to eat.

Her bold confident lines and beautiful use of colour is informed not only by her personal cultural history, but also by working for the last 10 years with Warnayaka Artists such as Lily Nungarrayi Hargraves, Kitty Napanangka Simon and Rosie and Molly Napurrurla Tasman.

Tom Norris (b. 1990, UK) hand builds, throws, casts and models in clay. The material and process of clay and ceramics allows him to make meaning in the world. He is interested in the craft and the transformative properties of the material. His art practice brings together invisible, imagined worlds alongside private and publics lives.

“My approach to art making takes on features that sit between the vernacular of the everyday and balances them with specific readings of art history and cultural production. Creating ideas that juxtapose the high and low, past and present and made and found. Replication is at the centre of my artistic practice.”

“The Ceramics I produce tie together these readings with specific interpretation through colour, gesture and the use of the pictorial. The vessel forms themselves are often taken from the history of ceramics.

The recognisable; known form, works for me as a surface to then map an imagined, abstracted world.

A sideways reality. The joy and expression in the use of colour on the vessels are entertaining features that for me are companions of the style of painting I love. The naivety of the pictorial images and the broad abstract planes. These aspects of the surface in my work move beyond reference and become sign or symbol.”

Norris gradated from MA Ceramics, Kingston University (2020). He has exhibited his work extensively in the UK including exhibitions at London Art Fair; Artemis Gallery, London; Stanley Picker Gallery, Surrey and he regularly exhibits with JGM Gallery.

Myra Patrick Herbert (c. 1946) uses a very fine dotting technique, giving a shimmering effect

to her paintings. Myra depicts her Dreamings - the Jurlpa (Small Barn Owl), Malu (kangaroo) Witi (Ceremonial Pole), Bush Vine, Snake, Cockatoo and Budgerigar (ngatijirri).

Ngatijirri is a bird with a hooked beak, a small green bird. It is yellowish across the forehead.

Budgerigars fly from tree to tree search for food for the young ones. It flies all over our country and knows all the trees, creeks and water holes. They all get together and fly out to billabongs. They sleep in hollow trees near their special billabongs. Budgerigar dreaming belongs to the people in the skin groups Japaljarri, Napaljarri, Jungarrayi and Nungarrayi.

In 2018 Myra was selected to participate in Parrtjima, an indigenous light festival in Alice Springs. Her paintings were translated into visual light projections and a collaborative installation of sounds and sights of the budgerigar. She is senior law woman in the Lajamanu community in the central desert region of Australia.

BIOGRAPHIES Naja Utzon Popov is a Danish sculptor, textile designer and ceramicist who is internationally

oriented in her work. After 6 years in Australia and 15 years in London, she is now back in her native Denmark, where she based in the old Burmeister & Wein shipyard in Copenhagen.

Naja (pro. Nai-ya) was born in Copenhagen, Denmark in 1973 into a family of artists. Her creative genes are inherited from her grandfather Jørn Utzon, a Danish architect most notable for designing the iconic Sydney Opera House in Australia. Her mother, Lin Utzon, is an eminent Danish artist and her father is acclaimed Australian architect, Alex Popov.

Innately influenced by the wealth of nature around her during her younger years, Naja’s style embraces encounters with the environment which have been translated into a collection of sculptures, glassware and hand woven rugs. She has created gravity-defying clay sculptures for the Rosendahl corporate headquarters in Copenhagen and a design for a presentation sculpture was commissioned by the Institute of Architects in Barcelona. A monumental outdoor sculpture entitled ‘Gathering’, which rises from the ground like ancient columns formed from Welsh slate, was commissioned for the corporate collection of the Danish organisation, Humana.

Her work constantly surprises us with its raw beauty; the influence of her formative years in Australia can be seen in the formation and gestures of her ceramic works and drawings.

Alice Wilson (b. 1982, UK) works with plaster, construction timber, landscape, photography, and paint to realise ideas. Landscape is used in Wilson’s practice as a means to discuss concerns with experience, access and expectation. The work’s interrogation of how we negotiate landscape is as an allegory of our relationship to social, educational and political structures. From functional objects to towering abstract constructions, Wilson’s work attempts to acknowledge its situation and surroundings through form and sometimes also function.

Wilson’s practice moves between painting and sculpture, the artists stretcher bars are often used as a trope to frame the work as opposed to support, exposing the support structures that are normally enveloped in canvas. In her new ‘Altruistic Paintings’, Wilson has approached the canvas in a way akin to sculpture, constantly working around the surface and painting on both the front and the back. Each work excavates a further element of the photographic image that is at the basis of all three works.

Wilson is an Arts Council and British Council supported artist. She recently completed a residency and solo exhibition at Godsbanen, Denmark, and has exhibited at domobaal, Saatchi Gallery, London Art Fair and Wimbledon UAL. Wilson will held her inaugural solo exhibition ‘ISLAND’ at JGM Gallery in the summer of 2019.

Neil Zakiewicz (b. 1971, London) new paintings are a looser riff on his recent experiments with

spraying, folding and stencilling; the paper is torn and creased, the paint is splattered and layered.

Fluorescent colours intermingle, alternately bright, then muddy. A congelation of yellow, pink, blue to make an abyss of black. The edges are brought to the centre - periphery in the centre stage.

Zakiewicz graduated from Goldsmiths University of London, MA Fine Art in 2003. He has exhibited internationally including: Dalston Lane, London (solo); domobaal, London (solo); House of St Barnabas, London; Turps Gallery, London; Cell Project Space, London; Konstakuten, Stockholm; and the Samsung Institute for Art and Design in Seoul. He was Artist in Residence at Middlesex University, (2011 – 2012) and has exhibited at JGM Gallery as part of ‘Habitat’ in 2019.

Lucy Giles ‘Topless’ 2020 (wall, right) Oil on canvas 170 x 160 cm £7,000