Information on artists and prices
Artists exhibiting in London Bridge Hotel OPEN
Albeiro Rojas Tomedes Gail Seres-Woolfson Henrietta MacPhee Joanna Brinton Joanna McCormick Lloyd Durling Pablo RodrĂguez Blanco Ray Bridge Richard Starbuck Russel Herneman Shirley Hunter Steve Chapman Stephen Dunn Ying Chang
If you have any enquires about the artwork on display please ask at Reception
Albeiro Rojas Tomedes
Oil and gloss paint skin cut-outs woven and mounted on board 160 x 160 x 15cm £4950 Tomedes is inspired by the richness of nature and the traditions he grew up alongside in the Amazon. His innovative, creative process aims to fuse the boundaries of painting and sculpture. Much of his work explores the liminal space in-between these practices, whilst examining how modern life and industrialisation can damage fragile cultures. Using a highly distinctive technique that he developed, oil and gloss paint is dried in large trays to create a layer of “skin”. Whilst the underneath is still wet, Tomedes peels off the skin, carefully leaving the underside to dry, thus creating the unusual raw material used in his works. Freed from traditional constraints and artificial boundaries, the dried but malleable paint is given an independence that allows new forms of expression.Tomedes’ main aim was to find a different and freer way of using paint to extend it beyond a flat surface. From weaving dried strips of gloss paint through to works formed out of “destructive creativity”, Tomedes’ further extends his investigation of creation, destruction and the innate qualities of paint. “I felt driven to find a style that could fully express my own inner experiences. Some of my works are made very deliberately almost ritually - methodically following traditional patterns. Others are broken, ripped apart, cut, destroyed and violently attacked. Many of Tomedes’ works can alternatively be viewed as a painting, a sculpture or an art installation, stimulating thought about the role that paint can take and the form produced.
Education: Royal College of Arts, Graduate Diploma Art & Design: Fine Art - Current Camberwell College of Arts (UAL), BA (Hons) Painting 2015 Awards/Prizes: FBA Futures Award â€“ Winner, Mall Galleries Federation of British Artists - Raw Talent, Invention Award - Pop My Mind Community www.tomedes.co.uk Instagram:@tomedes.artist
Gail Seres-Woolfson 1. Dancing City Mixed media on board 90cm x 61cm £1600 ‘Dancing City’ explores movement, space and architecture and the feeling of navigating through the landscape. Dancing smog engulfing geometric construction; surges of colour against urban grey; chimneys, windows and signposts within a complex landscape of abstract shapes and colliding planes. 2. Urban Blueprint Mixed media on board 75cm x 61cm £1500 ‘Urban Blueprint’ explores movement, space and architecture in the city. Created during a residency with Art Number 23 next to London Bridge Station, Seres-Woolfson finds pleasure in the juxtapositions and constant evolution of the landscape around her. Collaged photography, abstracted shapes and dynamic lines meet loose and fluid gestural marks. A palette of brick brown and steel grey contrasts the bold yellow and deep blue lifted from plastic hoardings. Forms and mixed materials are layered one upon another to create a reimagined space in which buildings are both anchored and suspended. The ‘blueprint’ of the title references the technical architectural plan vital for accurate construction, and yet Seres-Woolfson playfully offers the viewer a collection of blocks, lines and ephemera which seem to invite rearrangement and multiple configurations and eschew a single, static point of resolution. About the Artist Seres-Woolfson both observes and reimagines the metropolis around her, fusing familiar elements with an unpredictability and openness.
The layered surface of her paintings constructs illusory depth, and recalls the textures of the city, and notions of time and urban archaeology pervade the work with references to Victorian architecture, Modernist aesthetics, contemporary street furniture, and the inked / erased plans which speak of buildings that are yet to shape our future. Education: Diploma in Fine Art (First Class), The Art Academy London 2014 - 2017 Awards: Shortlisted, Evening Standard Contemporary Art Prize, 2017, Shortlisted, Lynn Painter-Stainers Prize, 2017, Recipient, The Concept Space Summer Exhibition Awards; Overall Impact, 2017. www.gailsereswoolfson.com www.instagram.com/gailsereswoolfson
Urban Blueprint Dancing City
Henrietta MacPhee 1.
Blackbird Splash (bowl)
Glazed ceramic 10 x 34 x 34cm £350
2. Koi (bowl) SOLD Glazed ceramic 25 x 25 x 25cm £480 3.
Sparrow Shadow (bowl)
Glazed ceramic 10 x 34 x 34cm £350
Henrietta MacPhee is a British artist (b.1985). She graduated with a Diploma in Ceramics from City Lit in 2017 and works from her studio based in South London. Her artistic practise is centred in ceramics. Modelling by hand and painting on the clay she creates a language that blends the visual and tangible to create entertaining illusions and a sense of complexity that traverses the border between 2D and 3D. Through a fresh child-like perspective of the world, she portrays scenes of poetic tenderness and humour, interweaving metaphors for embracing life’s diversity of peoples and their cultures. It is playful, representing an innocent yet thought provoking relationship with the material form. Education: Diploma in Ceramics, City Lit, Holborn, 2015-2017, Art Foundation, Camberwell College of Art, London, 2008-2009, BA Classical Studies, Kings, 2004-2007
Awards:The Eaton Fund, 2018, Shortlisted for the RBA Rome Scholarship, 2018, Oppenheim-John Downes Memorial Trust Visual Arts Award, 2017, Shortlisted for the Zsuzsi Roboz Scholarship, Morley College, London 2017 www.henriettamacphee.com Instagram: @etta_mac
Blackbird Splash (bowl) Blackbird splash (Bowl), 2018, glazed ceramic 10 x 34 x 34cm £350
The healing bird, 2018, glazed ceramic, 31 x 33 x 23cm £975
Blackbird splash (Bowl), 2018, glazed ceramic 10 x 34 x 34cm £350
Koi (bowl) 2018, glazed ceramic, 25 x 25 x 25cm £480
Sparrow shadow, 2018, glazed ceramic, 10 x 34 x 34cm £350
Sparrow shadow, 2018, glazed ceramic, 10 x 34 x 34cm £350
Sparrow Shadow (bowl)
Joanna Brinton Material and Method 1.
Silksreen print of monoprint on paper Edition of 10 70 x 100cm
2. Sack Silkscreen print of monoprint on paper Edition of 10 70 x 100cm ÂŁ450 3.
Silkscreen print of monoprint on paper Edition of 10 70 x 100cm ÂŁ450
Material & Method is an exploration of surface and form through the direct inking and printing of found objects. Wooden fence slats, a concrete paving slab and a hessian sack form the basis for this series in which grids and rhythms intersect with form. About the Artist Joanna Brinton works in a site responsive way to devise projects with and for public realm settings including schools, libraries, hospitals and playgrounds. Her practice incorporates process based print work and architectural interventions from pavilions and wood stacks to large vinyl banners. She has undertaken projects and outdoor commissions for South London Gallery, Great Ormond Street Hospital, Southwark Council, Whitechapel Gallery and the National Trust.
Education: Associate Artist, Plymouth University, 2014 – 2015, MA Book Arts (Distinction) Camberwell College of Arts, 2011– 2013, BA (Hons.) Critical Fine Art Practice, Central St. Martin’s College, 1997–2001 www.joannabrinton.org Instagram: @joannaruth.b
1. If Only The Moon 2. HMS Impregnable 120cm x 90cm 120cm x 90cm £6000 £6000 Materials: The paintings are in oil paint, on canvas, Each canvas is stretched on a wooden stretcher, and primed with rabbit skin size and gesso. I use oil of spike lavender mixed with oil paint for the first layer, and then mix my paints with linseed oil, poppy oil and essential oils of rose and lavender. I use Old Holland oil paints on my work. “HMS Impregnable” and “If Only the Moon” are an exploration of the wonder and fascination for floral motifs in our history, and a metaphorical description of the power of flowers to uplift and revive the spirit in times of adversity. Vibrant blue roses dance across the canvas, surrounded by rich, cloud streaked blue skies above, and the choppy waters of deep green sea below. The source for the roses springs from an abandoned hospital screen discovered in the 1990s, when my art expressed itself through installations. Prime Minister Margaret Thatcher rolled out Care in the Community. Hospitals and institutions closed. I attended an auction of furniture and equipment and found a hospital screen. The poignancy of its chintz rose pattern inspired me to start painting again. The patina on the fabric, rich with emotional resonance. Sanderson Chelsea, 1950s style retro. English beauty, wonder, fascination. I started drawing and painting as an experiment. Describing and capturing process, rendering flowers. Within the paintings can be found 83 names. Some of the people tragically affected by the Government’s “Welfare Reform” programme, as documented in Ken Loach’s film “I, Daniel Blake”. For example, Colin Traynor suffered from epilepsy. He was denied disability living allowance and found fit for work. His seizures increased due to stress. He won his appeal five weeks after his death. His father said: “I firmly believe – 100% believe – that the system this government introduced has killed my son.” Other elements include butterflies, sailors, birds, fish and mermaids. A Japanese kitsune fox transformed into a woman. Darwin’s famous ship HMS Beagle, chased by a sea monster. Poetry and song lyrics, including the artist’s own.
About the Artist
Joanna’s passion is painting. Having been given her first set of oil paints at the age of 12, she fell in love with the medium and its expressive force. Joanna paints and draws in watercolour on paper, and in oil on canvas, creating large and small scale “intuitive” works. Using vibrant colours and a broad range of painterly techniques. Free scumbling and translucent brushwork. Intensely fine lined detail drawn or written in paint onto flat colours across the surface. Stencilling using hand made stencils. Her work is quintessentially English, with a strong inspiration from history, and other cultures across the world, in particular Japan. Joanna's work snatches inspiration from retro imagery and from texts - poetry, song lyrics and reminiscence sessions. Victorian scrap books and medieval chap books. Wallpaper and textile designs. William Morris and Sanderson. Old photographs and botanical illustrations, such as those by Maria Sybilla Merian. She weaves historical and political narratives into a wonderland fairytale world, that viewers are encouraged to freely interpret and create their own story from. ‘Joanna specialises in artist residencies. She teaches at The Thomas Calton Centre in Peckham, for Southwark Adult Learning Services. She runs art sessions at The Union Chapel in Islington. Jo is currently working with Meet Me At the Albany, documenting their creative sessions at independent living schemes throughout Lewisham, in collaboration with Southwark based artist Dick Graham.’ www.joart.info E: email@example.com F: Joanna McCormick http://joannamccormick.blogspot.com/
If Only the Moon
Lloyd Durling 1.
Oil on paper 30cm x 21cm ÂŁ550
Oil on Paper 42cm x 30 cm ÂŁ750
Oil on paper 42cm x 30cm ÂŁ750
These delicate works on paper are from a new series exploring the interface between painting, drawing and collage. Central to the series is an intense engagement with oil paint and paper. This material is used as the ground for a series of paintings where texture is as important as colour in the play between the surface of the paper and the various densities of paint. With this comes an expanse of associations that push beyond simple categorisations of abstraction, figuration or scale. The information in each painting, given by gesture or mark, is reduced to a fleeting register of brush on the surface, as if each mark has to count. They contain a tension from this, enforced visually by the likes of a pillar, sphere or roundel teetering on the edge. There is a balance between expressive play and a tight control, a control which in itself is not indicative of applying a limitation but allows the image to resonate beyond the boundary of the paper. Framing is an essential aspect of the production, the internalized framing and edge of the support defining the content, yet part of it. With the works on display colours, shapes and textures are brought together as if the paint has been cut into or torn away.
The interest in keeping a gestural ground on the paper draws on the ephemeral quality of Medieval wall paintings, where the paint appears to hover on the rough surface of the wall. Education: Birmingham Institute of Art & Design, 1997â€“2000, Solihull College of Technology 1995 â€“ 1997 Awards: Pollock-Krasner Foundation, USA,2017, Oppenheim-John Downes Memorial Trust, UK, 2014, The Eaton Fund, UK, 2011, Oppenheim-John Downes Memorial Trust, UK, 2011 www.lloyddurling.com
Pablo Rodríguez Blanco Children Masks
Acrylic on paper and colour papers Diptych 50cm x 50cm £300 per artwork
Two masks that replicate a similar shape. A mask behind a wall or simply a black plane. The replicated shape is a mask worn by a child. The child is wearing a costume consisting of the mask, a piece of fabric, a branch and moss. The child is in a photograph that does not explain the reason or purpose of the costume. The photograph is in a book about the mystery behind games. I am interested enough in the mystery behind games. Based on games and simple shapes, I investigate everyday norms and power dynamics, particularly within the boundaries of the educational space. There is a kind of common knowledge that comes from children’s games that intersects with our collective memory of broader social interactions, even violence. Education: MA Sculpture, Royal College of Art, London, UK, 2017 – 2019 BA Fine Art, Pontificia Universidad Católica de Chile, Santiago, Chile, 2009 – 2013 www.pablorodriguezblanco.com
Ray Bridge Owl
Made from faux leather on chicken wire frame, beak eyes and claws from air drying clay. Height 40cm, Width 90cm, Depth 70cm ÂŁ300
Ray is from Bermondsey where he attended local schools and gained a CSE in art and design. Since redundancy in 2017 he has been concentrating on his love of painting and sculpture using a wide range of materials, influenced by British sub-culture and the natural world. This piece Owl tries to capture the moment the bird is about to take off, made from wire frame and covered in material recycled from a sofa. firstname.lastname@example.org
Richard Starbuck 1.Cosmic Giggles 4 Oil on wood 5 x 7 inches £220
2. Cosmic Giggles 2 Oil on wood 5 x 7 inches £220
My more recent work plays with the idea of mixing colour, I have never been a colourist, I have always felt uncomfortable with colour. At art school, I was constantly told off for "muddying" or "dirtying" my paint, so I've always tried to be as clean as possible by using just one single colour, preferably black. But with these paintings I wanted to play with the idea of mixing the paint on the surface, with expressive brush strokes almost teasing each other, some touch and become infused, others stay untouched. The paintings are often small and abstract, I like the intimacy of it. From a distance, it appears quiet, but up close it speaks with movement and texture within the crevices of paint. Repetitivity is constant in my work, early works were very laborious with small marks and shapes repeated over an area. Over time my work became more expressive with movement, using the subject of hair as a signifier, past works focus on concealment and suggestion, hinting at what could be lurking just out of sight. Now my work explores more abstract subject matter, its about the paint its self and what it hides/reveals beneath it. Education: Fine Art Degree at City and Guilds London Art School 2003 – 2006, Masters at City and Guilds London Art School 2006 - 2007 Prizes: Shortlisted for the Threadneedle Art Prize 2012, Shortlisted for the Barbican Artworks Open Prize 2013 Instagram: @richiestarbuck101 www.richardstarbuck.com
Cosmic Giggles 4
Cosmic Giggles 2
Russel Herneman Portrait of Zsuzsanna Zsigmond Pencil and nice paper 60cm x 87cm ÂŁ1000
I worked up the portrait of Zsuzsanna from a series of photographs taken in the grounds of Kingâ€™s College. It took two attempts. In the first set Zsuzsanna wore a black leather jacket which, it later became clear, was too dark to draw properly, so I photographed her again, this time wearing a white blouse. I started the drawing at her face using a really very sharp pencil for detail and smudge sticks and graphite for soft skin textures. The blouse and legs were drawn with a style which became looser as I moved down, ending with her shoes which are just outlines. In an attempt to give the finished drawing some energy, I propped it against a wall and threw water at it.
About the Artist I am an award-winning illustrator, cartoonist, designer and art director of The Sunday Times. I studied art in east London and Kent. My recent awards include Pocket Cartoon of the Year and prizes in illustration and design from the SND and the European Newspaper awards. I also exhibited work at the Society of Graphic Fine arts annual open show. I live in Surrey and in my spare time I like to bang on about my awards.
Portrait of Zsuzsanna Zsigmond
Shirley Hunter Peregrinate
Cotton organdy, textile dyes, wire, stitch Flexiable dimensions ÂŁ4000 Stemming from an interest in how the calligraphic, arabesque and geometric lines and shapes found in Islamic art have been used as a means of recording and transporting stories across time, geography and cultures, Iâ€™ve used a repetitive and rhythmic folded surface as a means to explore the passage of time. The undulating shapes draw the eye around, over and through the surfaces, revealing surprising relationships between line, marks, colour and texture. The surface, torn and repaired, disrupts the narrative and invites the viewer to take pause and look closer. peregrinate. verb. to journey or travel from place to place. to travel through or over. to live in foreign country. to go on a pilgrimage. About the Artist Shirley Hunter is a mixed media artist working with textiles, print, stitch and photography. Born in 1958 in Greensboro, North Carolina, she has lived and worked in London since 1992. Instilled with a passion and desire to make, shape and craft from an early age, Hunter has worked as a dressmaker and an interior architectural designer, both of which inform her current work. Largely self-taught, her experience has been supplemented by more formal study in New York City, Paris and London. More recently she's developed a fine art practice, completing the City Lit Advanced Textile Art Course in 2018. Hunterâ€™s work draws upon diverse strains of haptic and visual experience, exploring themes of crossing borders of time, place and culture. Her desire to explore the meditative qualities of repetition and rhythm of movement across a surface have led her current work to find a voice in folded sculptural installations.
She's currently continuing her studies on the City Lit Fine Art Course where she is focussing on printmaking and experimental photography. Education: BA Economics, 1981, School of Draping, Paris France, 1991, City Lit Advanced Textile Art Course, 2016-2018, City Lit Fine Art Course (currently) www.shirleyhunter.com Instagram: @creativehunter03 Email: email@example.com
Steve Chapman The Naturist
Wood cut on revolving plinth £595 The Naturist is a gnome for modern life. A garden ornament for the 21st Century that is bold in both its nakedness and its rotation. Nobody knows what the Naturist’s actual name is. About the Artist Steve is interested in creativity and the human condition and his artwork explores the relationship between the two. In addition to his distinctive ink drawings, he specialises in blending the 2D and 3D world through large and small pieces of hand cut and hand-painted wooden characters that he often installs and leave in public places. He has sold work across three continents and has exhibited alongside the likes of David Shrigley, Pablo Picasso and Henry Moore. He is also known for his conceptual art pieces including “Inexpert 2018”, a sold-out event where speakers gave talks on subjects that they had little or no knowledge of and he is the host of the world’s first silent podcast “Sound of Silence” which has featured the silence of some very well-known guests. As well as his art he is a much sought after speaker and writer on creativity and is author of the books “100 Crap Faces” and “Can Scorpions Smoke?” He is at his best when he doesn’t quite know what he is doing. Instagram and Twitter: @stevexoh www.somethingsidid.com
Stephen Dunn Ripe Berries in the Forest Acrylic on canvas 122cm x 102cm £4500
What can be said about a painting, you want it to sing, you want it to glow and crackle perhaps, in fact almost have a life of its own. With this particular painting the density was important to make that a possibility and get close to the trees, glimpses of colour and structure that’s broken down, giving a more tactile feel to the forest and a proximity where you can almost smell the undergrowth or at least consider the thought. Any painting always grows from within itself, if you knew what the final painting would be, then there’s no discovery. The overlays of marks, shapes, lines and colour create a visual dialogue that you have with the canvas, a movement, a flowing story as the painting unfolds, different choices and directions that the painting could move in. This painting was part of a series of paintings all of which have a similar density, energy and high level of activity. About the Artist After completing my foundation course at Bournville School of Art, I acquired a fine art degree from Lanchester Polytechnic and then an M.A. in Painting from Chelsea School of Art and have been fortunate to be able to paint on a continuous basis since then. After leaving Chelsea my studio has been in Rotherhithe and having that stability in a workplace has been very beneficial to my practice. I’ve exhibited on a regular basis in this country including several one man shows and have also exhibited in Germany (Berlin) and Japan (Osaka, Nagoya). Currently, another work of mine is on show at the Constructors Gallery, Blackfriars Bridge. www.stephendunn-paintings.co.uk
Ripe Berries in the Forest
Ying Chang 1.
Illusive Luminaire’ No.1
3D printed in nylon £920 made to order
Illusive Luminaire’ No. 2
3D printed nylon £720 made to order
Paper 45cm x 23cm dia £710
‘lllusive Luminaire’ is a light group at the crossroads of the virtual and physical worlds. With the aid of additive manufacturing, the unconventionally formed lights break the archetypal mould of everyday objects. The outcome is a series of shapes that are lit and can be stacked in endless possibilities through fitted magnetic connections. The shapes take inspiration iconic architectural forms, their seemingly ornamental details help to create intricate shadows and manipulate the illumination. The forms and the way Light emits are tailored to complement each other. Furthermore, those charismatic forms are as aesthetically pleasing on standby as they are illuminated. ‘Mallebable State’ is a selection of objects created with a process that evolved from an experimental project ‘Sketch Objects.’ It explores the characteristics and expands the limits of paper. By layering sheets of paper with glue, the treated material becomes malleable that enables the maker to create various forms and ‘freeze it in that state. Once dried, it bears the strength of wood and the aesthetic resembles leather or plaster.
About the Artist Ying Chang is a London Conceptual designer. Her work driven by expanding the characteristics limites of materials and explore the process. then contextualizes her finds to offer an alternative or reinterpretations of archetypal objects. She believes theoretical investigating is an indispensable process in producing truly meaningful practical work. Ying Chang was awarded a master degree at Royal College of Art in 2014, among selected ours and grants are ‘ADAGP’ Design Award, ‘Pure Talent Contest’, Emerging Talent Award. www.yingchang.co.uk
London Bridge Hotel has everything you need in a London hotel, relaxed yet comfortable and contemporary accommodation; a great location and transport links and the buzz of the city just outside the door. Situated in the heart of the historic and thriving Borough of Southwark, London Bridge Hotel provides an excellent base from which to enjoy all the attractions of the capital, The Shard, the newly regenerated Shard Quarter, Borough Market and the River Thames. Whilst here you must pay a visit to Quarter Bar & Lounge, the hotelâ€™s bar which offers a chic design with a relaxed and comfortable atmosphere. 8/18 London Bridge Street, London SE1 9SG Tel: +44 (0) 20 7855 2200 Email: firstname.lastname@example.org www.londonbridgehotel.com
Team London Bridge ensures London Bridge excels as a leading place for global commerce and continues to develop as a pioneering local centre for enterprise, culture and entertainment. Art in London Bridge isnâ€™t confined to traditional galleries, it is waiting to be discovered in all kinds of interesting locations. This initiative by partners London Bridge Hotel, Team London Bridge and Southwark Council is an innovative new approach to supporting local artists. www.atlondonbridge.com
Art in London Bridge isn’t confined to traditional galleries; it is waiting to be discovered in all kinds of interesting locations. This ve...
Published on Feb 1, 2019
Art in London Bridge isn’t confined to traditional galleries; it is waiting to be discovered in all kinds of interesting locations. This ve...