Sight | Sound: An Exhibition of Works from Long-Sharp Gallery

Long-Sharp Gallery 1 North Illinois, Suite A Indianapolis, IN 46204 The Indianapolis gallery is open by appointment, though you can always explore our virtual galleries here. To inquire about works available, make an appointment in Indianapolis, or speak with a member of the gallery team: Telephone: +1 866 370 1601 Email: info@longsharpgallery.com www.longsharpgallery.com

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Sight | Sound explores the creative interrelations between the auditory and the visual. Some expressions are perhaps obvious, visual artists throughout history who have captured the likenesses of musicians in film, drawing, or paint - among those Andy Warhol’s drawings and photographs of Michael Jackson and Russell Young’s (UK/US) diamond dusted screenprint of Jimmy Hendrix. A second, slightly more attenuated group of works center song lyrics and melodies that have captured hearts and imaginations; these include Robert Motherwell’s Lyric Suite, text works by the late Chris Bracey (UK) and David Spiller (UK), and contemporary paintings by Shaunt’e Lewis (Indianapolis/US) and Constance Edwards Scopelitis (Indianapolis/ US). Perhaps the most subtle, the final selection of works in this exhibition explore the rhythm of creation, the objective and subjective appearance of sound. Artists whose works embody this theme include Daniel Mullen (Netherlands), Rachel Hellmann (Indianapolis/US), Tarik Currimbhoy (US), and Oliver Marsden (UK).

Table of Contents I. Musicians......................................................................................................................7 Andy Warhol..................................................................................................................9 Russell Young (UK/US)...............................................................................................15 II. Lyrics & Melodies......................................................................................................19 Robert Motherwell.......................................................................................................21 Chris Bracey (UK).......................................................................................................25 David Spiller (UK)........................................................................................................29 Bernie Taupin (UK/US)................................................................................................33 Shaunt’e Lewis (Indianapolis/US)...............................................................................37 Constance Edwards Scopelitis (Indianapolis/US).......................................................41 III. Rhythm......................................................................................................................45 Tarik Currimbhoy (India/US)........................................................................................47 Rachel Hellman (Indianapolis/US)..............................................................................51 Oliver Marsden (UK)....................................................................................................55 Daniel Mullen (Amsterdam)........................................................................................61

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I. Musicians

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ANDY WARHOL

(American, 1928-1987) Widely considered as one of the most influential artists of the twentieth century, Andy Warhol (1928-1987) is celebrated for his signature depictions surrounding daily objects of mass production. Identified as the first artist to convey the influence of mass media culture on the American life, Warhol created his most prolific works in the 1960s, when the US was quickly becoming a culture built upon television and mass consumerism. Consequently surrounded by a fascination with impactful and lasting images, audiences soon began to reject typical print media to embrace Warhol’s representation of media and commercialism. Throughout his successful career and numerous iconic collaborations, Warhol continued to firmly establish his patented impact of imagery on the development of our environment and identity. His beloved Campbell’s Soup cans and Coke bottles, as well as his silkscreen prints of famous personalities such as Marilyn Monroe and Elvis Presley are still widely celebrated today. Simply, Warhol is regarded as the King of Pop Art. His influence went beyond painting and printmaking.

Warhol founded The Factory in 1962, as a result of his interest in the mass production of his own works. In addition to serving as an industrial setting for his employees to extensively produce the artists’ prints and posters, The Factory also functioned as a performance venue for the Velvet Underground, and a filmmaking studio for his experimental films.

Born “Andy Warhola” in 1928 to Slovak immigrants, Warhol displayed an early talent for drawing and painting. Following high school, he enrolled in Pittsburgh’s Carnegie Institute of Technology, where he studied commercial art. After graduating in 1949, Warhol moved to New York to work as an illustrator for various magazines, such as Vogue and Harper’s Bazaar. He soon became one of New York’s most sought after and successful illustrators, and in 1952, he held his first oneman exhibition at New York’s Hugo Gallery. Warhol quickly became one of the most celebrated commercial artists in New York. His works were featured in every important magazine from Vogue to Harper’s Bazaar. The 1950’s also marked his most prolific period for his illustrating and publishing books – during this period he would go on to publish eight books.

In July of 1968, Warhol narrowly survived an attempt on his life by Valerie Solanis. Solanis, who had worked at The Factory occasionally, shot Warhol multiple times in the chest, proclaiming upon her arrest that he “had too much control over my life.” Throughout the 1970s, Warhol continued to produce art, as well as to expand his entrepreneurial interests through such ventures as founding Interview magazine as well as the opening of a successful nightclub. Warhol died tragically in February 1987 from complications following a gall bladder operation.

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About this work: Andy Warhol mentions Michael Jackson more than two dozen times in his diary, most often discussing their chance meetings. In 1984, Warhol was commissioned to create the cover for the March 19, 1984 edition of TIME Magazine featuring a portrait of Michael Jackson; that portrait now hangs in the National Portrait Gallery.

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Michael Jackson Year: 1984 Medium: Graphite on HMP paper Size: 31.5 x 24 in (80 x 60 cm) Frame size: 41.5 x 33.875 in (105.4 x 86 cm) Provenance: Estate of Andy Warhol (stamped) Andy Warhol Foundation for the Visual Arts (stamped) Long-Sharp Gallery Authenticated by the Authentication Board of Andy Warhol Foundation for the Visual Arts (stamp on verso), Foundation archive number (115.218) on verso in pencil, initialed by the person who entered the works into the Foundation archive.

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Michael Jackson Year: 1981 Medium: Unique gelatin silver print Size: 10 x 8 in (25.4 x 20.3 cm) Frame size: 17.5 x 16 in (44.4 x 40.6 cm) Provenance: Estate of Andy Warhol (stamped) Andy Warhol Foundation for the Visual Arts (stamped) Long-Sharp Gallery Authenticated by the Authentication Board of Andy Warhol Foundation for the Visual Arts (stamp on verso), Foundation archive number (FL05.00978) on verso in pencil, initialed by the person who entered the works into the Foundation archive.

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RUSSELL YOUNG

(British-American, b. 1959) Russell Young, (b. 1959) is a British- American artist best known for examining cultural icons, the nature of fame, and the American Dream through his large-scale silkscreens. His earliest breakthrough was his photography of George Michael for the sleeve of the album Faith in 1987. Young photographed many music stars throughout the 1970s and 1980s, including Bruce Springsteen, Bob Dylan, REM, The Smiths, Diana Ross, and many others. He went on to shoot over 100 music videos during MTV’s height in the 1990s, which brought him to the United States.

Young eventually moved to California, where he began his current practice with his sold-out show Pig Portraits in Los Angeles in 2003. The many series that have followed demonstrate his visceral, analog processes and signature use of diamond dust. He has exhibited across the world, including museum exhibitions at the Modern Art Museum Shanghai, Multimedia Art Museum Moscow, Polk Museum of Art, and the Goss-Michael Foundation.

Young’s work is included in many prominent private and institutional collections including those of Barack Obama, David Bowie, Drake, Angelina Jolie, David Hockney, Brad Pitt, and others, as well as The Getty Collection (Los Angeles) and The White House Collection (Washington, D.C.).

Russell Young’s works have crossed the auction block at all the world’s major auction houses, including Sotheby’s, Christie’s, and Phillips.

Russell Young lives and works in California and New York.

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Hendrix Wild Thing (Black and White) Year: 2023 Medium: Acrylic paint and enamel hand pulled diamond dust screen print on linen Size: 62 x 48 inches (157.48 x 121.92) Provenance: The artist’s studio Long-Sharp Gallery Click to view a film

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II. Lyrics & Melodies

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Image © Timothy Greenfield-Sanders Courtesy of The Museum of Fine Arts, Houston

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ROBERT MOTHERWELL (American, 1915-1991)

Robert Motherwell was born on January 24, 1915 in Aberdeen, Washington. His family moved to San Francisco when Motherwell was very young, and he received a fellowship to the Otis Art Institute in Los Angeles at only eleven years old. He attended undergraduate university at Stanford University (where he received a degree in Philosophy), and pursed his graduate studies at Harvard University and Columbia University.

New York became Motherwell’s permanent home in 1939; there, he met Surrealists like Roberto Matta and Max Ernst – though Motherwell would not embrace Surrealism as a whole, he did appropriate and embody the tenet of psychic automatism. For Motherwell, this meant painting without preconceived ideas – letting his brush wander. It was a tenet that pervaded his practice, and that he later taught to the likes of Willem de Kooning and Jackson Pollock. In this way, he became a bridge between the Surrealist movement and the movement he then helped to establish: Abstract Expressionism.

In 1949, Motherwell coined the term “The New York School” to encapsulate the Abstract Expressionist artists living and working in New York during the time, including among them Willem de Kooning, Franz Kline, William Baziotes, Jackson Pollock and, of course, Motherwell. In 1957, Motherwell met famed artist Helen Frankenthaler; their mutual interest in the poetry of abstract art would act as an additional influence on their respective works for the next several years.

Retrospectives of the artist’s works have been held across the globe. Museum collections include the Tate (London), the National Gallery of Art (Washington D.C.), the Museum of Modern Art (New York), among others. The artist died on July 16, 1991.

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About this work: Robert Motherwell’s Lyric Suite is a group of colored drawings on rice paper. The suite was Motherwell’s first foray into rice paper as a medium (apart from its use as collage material). He decided in 1965 – as a testament to pure automatism – that he would undertake to paint 1000 sheets of rice paper without correction or conscious thought.

During April and May of that year, Motherwell worked on the floor of his studio on First Avenue in New York, surrounded by sheets of rice paper, listening to a rendition of Alban Berg’s 1925 composition titled Lyric Suite.

Using a technique he had developed with German and American inks, Motherwell had painted nearly 600 sheets before receiving a call that his close friend (David Smith) had been in a car accident; when Smith died, works for Motherwell’s Lyric Suite were boxed up and cast aside. Soon after, Frank O’Hara (then-director at New York’s Museum of Modern Art) arranged the paintings in Motherwell’s studio and titled each.

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Lyric Suite Year: 1965 Medium: Ink on rice paper Hand signed with artist’s initials and dated ‘RM 65’ lower right Size: 11 x 9 in (27.9 x 22.9 cm) Frame size: 22.875 x 20.625 in (58.1 x 52.4 cm) Provenance: Dedalus Foundation, New York Acquired from the above by the present owner via Christie’s New York

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Image courtesy of The Guardian

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CHRIS BRACEY

(British, 1954-2014) Chris Bracey started his career as a graphic designer in the early 1970s before joining his father Dick in the family neon business. Spotting an opportunity in the West End’s burgeoning sex industry, he helped shape the Soho we know today with his provocative and alluring signage.

Commissioned to create signs for Neil Jordan’s 1986 film Mona Lisa, he went on to work on Stanley Kubrick’s Eyes Wide Shut, four Batman films and many other features. Bracey kept the backdrops from those films at Gods Own Junkyard in Walthamstow, where he also housed discarded shop signs, religious statues and many other items.

The “Neon Man” was well-known in fashion and retail circles, creating catwalk and in-store displays for some of the UK’s biggest labels and department stores.

Bracey also enjoyed recognition as an artist in his own right and staged a solo exhibition, I’ve Looked Up to Heaven and Been Down to Hell, in London in 2013.

Biography courtesy of BBC

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About this work: Chris Bracey’s bold neon signs often make simple proclamations like “Let it be” or “Is this the real life”. These phrases, hand-made in neon glass, frequently taken from mainstream song lyrics, sometimes incorporate salvaged neon signs (like the “Fantasy” neon in this piece).

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Is This The Real Life Year: 2014 Medium: Found lettering and signs constructed with new neon lettering Image size: 36 x 48 in (91.4 x 121.9 cm) Provenance: The artist’s studio Long-Sharp Gallery

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DAVID SPILLER (1942-2018)

A veteran of the British Pop Art movement, David Spiller grew up in its defining period. Juxtaposing pop culture with urban sensibilities, Spiller created his own unique style of fine art that is distinctly “David Spiller.” As Martin Gayford wrote in his catalogue essay for Spiller’s 2008 exhibition at Beaux Arts London: David Spiller’s pictures are much more than simply messages. A lot of them are also, an art historian might say, complex colour-field abstractions. […] To make works of this type, Spiller uses a technique that is, as far as I know, unique. He ‘floats’ the pigment onto pieces of canvas that he then sews together with incredible neatness and precision, so the final work is a sort of combine, made not with glue, like a collage, but with needle and thread. […] no one has ever, as far as I know, fitted geometrically precise square and oblongs of colour together in this fashion, like a precision-engineered quilt...

David Spiller’s place as an acclaimed artist was not achieved by happenstance. Spiller was trained in fine art and an early student of Frank Auerbach. He studied at the Sidcup School of Art (1957), Beckenham School of Art (1958-1962), and the Slade School of Art (1962-1965). During his distinguished career, Spiller had solo exhibits in over 10 countries (Austria, Belgium, Denmark, England, France, Germany, Holland, Italy, Spain and the United States). His work was exhibited at notable institutions such as the Rattingen Museum and Mannheim Kunstverein (Germany), Museum Van Bommel van Dam and Museum Utrecht (Holland), Museum Espace Belleville and Artcurial (Paris), the Royal West of England Academy (UK), and the Cornell Museum (Florida, US). His work is also in important public and corporate collections which include Hanwon Museum (Seoul), Foundation Carmignac Gestion (Paris), Harley Gallery Welbeck, Collection UCL, Morgan Stanley (Frankfort), and Belgacom Brussels. Important private collections also contain works by the artist; some are available on request.

When asked about his art, Spiller has said, “I really want to make paintings that put some magic on the wall. Some of them are straightforward things. Some are wild things. But underneath, it says ‘I love you.’”

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About these works: While many of Spiller’s titles often harken back to songs, the most pervasive influence of lyrics in his oeuvre is actually found scrawled across the surface of his paintings. Born and raised in the UK, Spiller often worked on the floor of his London studio, painting and stitching together his canvas paintings. He was accompanied by two things: his sewing machine and his boombox, the latter playing rock music on cassette tape. Lyrics from those songs - along with the artist’s own musings about love, hope, and nostalgia - are often scattered across Spiller’s paintings.

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It’s Only Love and That is All Year: 2002 Medium: Acrylic and pencil on canvas Hand signed lower right and on verso Size: 34 x 34 in (86.4 x 86.4 cm) Frame size: 35 x 35 in (89 x 89 cm) Provenance: The artist’s estate Long-Sharp Gallery Click to view a film

You Were Always on My Mind Year: 2003 Medium: Acrylic and pencil on canvas Hand signed and dated on verso Size: 41.75 x 41.75 in (106 x 106 cm) Frame size: 43.25 x 43.25 in (109.9 x 109.9 cm) Provenance: The artist’s estate Long-Sharp Gallery Click to view a film

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Image courtesy of the artist’s studio

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BERNIE TAUPIN (British, b. 1950)

Bernie Taupin is a lifelong visual artist. In the early 1990’s, painting became the main thrust of his creative endeavors. In his early work, Taupin was inspired by groundbreaking Abstract Expressionists including Hans Hoffman, Franz Kline, Anselm Kiefer, and Robert Rauschenberg.

Taupin says, “As in any creative field, we start by emulating work we like, following the path that ultimately leads to finding our own vision, a style we feel is original and unique in its own beliefs, on its own merits.”

Taupin’s artwork evolved from Ab-Ex explorations to a level of self identitfication followed by experimentations with text-based content and minimalist Pop Art concepts. By 2016 and 2017, works become sculptural constructions off and through the canvas and bound with cord and wire. Expressing with found objects and repurposed material and artifacts. Taupin’s multi-layered creations include manipulated flags, scorched paper, wax, wire, wood, corrugated cardboard, fabric, bubble wrap, and resin.

Biography courtesy of the artist’s studio

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According to the artist: “Deconstruction Blues is one in a series of several works depicting various styles and artists connected to traditional blues. In this piece, it is urban blues and Chicago blues in particular that are represented. Out playing and out performing one another for musical superiority in mostly dark cramped clubs, a practice called “cuttin’ heads”, is the theme behind Deconstruction Blues - The slashes of blues blood and burnt guitar suggesting the battle for dominance. For musical inspiration, think Muddy Waters, Elmore James, Buddy Guy, Little Walter and Sonny Boy Williamson.”

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Deconstruction Blues Year: 2020 Medium: Electric Guitar on mounted Music Cassette Tapes, acrylic paint, mounted on panel Size: 42 x 24 x 4 in (106.7 x 61 x 10.2 cm) Provenance: The artist’s studio Long-Sharp Gallery

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SHAUNT’E LEWIS (American, b. 1985)

Shaunt’e Lewis is a published Visual Artist and Illustrator. She was born and raised in Springfield Massachusetts and moved to Indiana in 2011. Her work centers around self identity, black culture and femininity. She specializes in colorful, bold illustration as well as murals and original paintings for private collectors and commercial clients. Her passion for art and entrepreneurship and her unmistakable style has led her to work with some amazing companies such as Visit Indy, West Elm, Meijer, Makers Mark, Jordan Brand, Pacers, Hoosier Lottery, Jiffy Lube, and many more.

Her work has also been featured in The New York Times, Complex Magazine, Hello Colorado and several local publications. Most recently, Lewis was awarded the Nickel Plate Arts “2022 Artist of the Year” Award.

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According to the artist: “Song Cry is my way of expressing those deep, raw feelings we all go through but sometimes can’t put into words. The bold colors and fluid lines are meant to capture that mix of sadness and resilience we feel during tough times, with music playing a big part in helping me tap into my emotions and channel them into my art. This piece really speaks to the healing power of art, letting us connect with our feelings in a way that words can’t always do.”

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Song Cry Year: 2024 Medium: Acrylic and gold leaf on canvas Hand signed and dated on verso Size: 40 x 30 in (101.6 x 76.2 cm) Provenance: The artist’s studio Long-Sharp Gallery

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CONSTANCE EDWARDS SCOPELITIS (American, b. 1955)

Constance Edwards Scopelitis graduated with a degree in fine arts from Indiana University. She continued her studies with legendary American figurative painter Isabel Bishop.

Further studies at the Art Students League in NYC set Scopelitis on a career path of executing large-scale narrative figure paintings and realistic formal oil portraits. Her portraits are in the collections of major American corporations, universities, and private individuals.

Scopelitis has been awarded national and international fellowships including Schildersweek in Holland, a fellowship grant to the Vermont Studio Center, and the Creative Renewal Fellowship through the Eli Lilly Foundation. Scopelitis also earned the DeHaan Artist of Distinction Award in 2020. She is regularly exhibited in national and international art fairs including Art Miami during Basel Week.

Scopelitis was selected as a Time-Based finalist for ArtPrize8 and her work is in the permanent collection of several Midwestern museums. While her master works are considered her graphite drawings, she is also known for her tech-oriented Lenticular prints, animated videos, and interactive touchscreen programs.

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According to the artist: “I have channeled Frida K way too many times during these last several years. I paneled and beamed my bedroom ceiling and wrapped myself in a soft blanket more often than I had patience. I was able to rekindle my love and memories of classic rock while convalescing. Bob Dylan wrote ‘Baby Blue’ and referenced blankets left on the floor.

I heard the lyric, ‘The lover who just walked out your door has taken all his blankets from the floor. The carpet too, is moving under you and it’s all over now, baby blue.’

Blankets are indispensable human possessions but I sure would like to leave mine on the floor and walk out the door.”

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Baby Blue Year: 2024 Medium: Colored pencil on wood panel Hand signed on verso Size: 30 x 30 in (76.2 x 76.2 cm) Provenance: The artist’s studio Long-Sharp Gallery

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III. Rhythm

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TARIK CURRIMBHOY

(Indian-American, b. 1954) Classically trained in the arts, industrial design, and architecture, Tarik Currimbhoy is a trifecta of artistic prowess. Having earned a Bachelor of Fine Arts and a Master of Architecture from the Pratt Institute, as well as a Master of Arts from Cornell University, Tarik later went on to teach at both institutions (Drawing at Cornell and Design at Pratt).

In both architecture and sculpture, Tarik searches for tranquility, simplicity and tactility, expressed in purity of both form and material. Inspired by ancient architecture of building blocks resting on each other in tension and compression, Tarik’s sculptures are “stories of structure and gravity”, held together under compression in stone and metal.

Tarik has mastered the juxtaposition of the old and the new, using handcrafting and ancient casting techniques to create sculptures that are modern andminimal in form. His design work has been published internationally and his sculptures may be found across the world in public spaces as well as corporate and private collections.

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According to the artist: “I draw my inspiration from medieval architecture - from Roman Arches, flying buttresses, the oculus of a cathedral. The inspiration for my Pendulum is Eero Saarinen’s St. Louis Arch. All of these beautiful structural elements are created with the distribution of weights and balances.

Pendulum’s shape is a half-circle, with the other half stretched and pulled to a gentle curving point. When at rest, the pendulum stands at a right angle; when it sways, it moves in a majestic manner, shifting its center of gravity, ‘ticking’. Because of its elongated shape, the pendulum has a hypnotic effect when it sways.”

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Pendulum Year: 2024 Medium: 316 Stainless Steel From a unique series of 11; this is 1/11 Stamped with artist’s initials and edition number on side Size: 10 x 5.375 x 1.25 in (25.4 x 13.65 x 3.175) Provenance: The artist’s studio Long-Sharp Gallery

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RACHEL HELLMANN (American, b. 1977)

Rachel Hellmann is a multi-disciplinary artist who is known for her ongoing series of meticulously-crafted geometric sculptures and paintings. Working both three-dimensionally and on paper, the resulting forms explore the way in which the viewer’s perception is disoriented by the distorted sense of gravity caused by the careful interplay of geometry, light, and color.

Rachel Hellmann lives and works in Indianapolis, Indiana. She holds an MFA from Boston University and a B.F.A. from the University of Dayton. Hellmann’s work has been exhibited widely both nationally and internationally at a variety of venues including the Addison Gallery of American Art (Andover, MA), the Zillman Art Museum (Bangor, ME), the Swope Art Museum (Terre Haute, IN), the Cristel DeHaan Fine Art Center (Indianapolis, IN), the Danforth Museum of Art (Framingham, MA), the Elmhurst Art Museum (Elmhurst, Ill) and Zona Maco Art Fair (Mexico City).

Hellmann has been the recipient of the Blanche E. Colman Award for Painting and the Constatin Alajalov Award. In 2015, she was the Edward E. Elson Artist-in-Residence at the Addison Gallery of American Art. She has also been awarded residencies at the Ragdale Foundation (Forest Park, IL), Platte Clove Preserve (Catskills, NY) and Playa (Eastern Oregon).

Hellmann’s work is inlcuded in a number of collections including the Zillman Art Museum, Fidelity Corporation, Dana Farber Cancer Institute, New York Presbyterian Hospital, Morgan Stanley, Cummins Inc, Cleary Gottlieb and the US Embassy in Colombo, Sri Lanka.

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According to the artist: “Clink and Absorbing Light are part of a series of works that were influenced by a visit to the Chicago Aquarium that I made with my daughter a couple of years ago. I was mesmerized by the reflective, otherworldly color that was created as light filtered through the tanks and bounced off of the vibrant colored surfaces of the aquatic life. The title Clink refers to the gentle echo that happens when two objects meet. I am interested in how color and perceptual experiences can have a similar vibration to that of sound.”

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Clink Year: 2022 Medium: Acrylic on wood Hand signed, titled, and dated in fine marker on verso Size: 27 x 25 x 3 in (68.6 x 63.5 x 7.6 cm) Provenance: The artist’s studio Long-Sharp Gallery Click to view a film

Absorbing Light Year: 2022 Medium: Acrylic on wood Hand signed, titled, and dated in graphite on verso Size: 23 x 29 x 3 in (58.4 x 73.6 x 7.6 cm) Provenance: The artist’s studio Long-Sharp Gallery Click to view a film

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OLIVER MARSDEN (British, b. 1973)

Oliver Marsden is a British painter whose work seeks to represent the invisible, natural, and physical forces of sound, motion, energy, and gravity. He plays with viewer’s perceptions of color, form, light, and space. His canvasses are imbued with a seductive resonant visual tension, that captures and holds the viewers’ gaze perfectly still while resonating a harmonious energy.

Marsden was born in Reading, UK and studied at Edinburgh College of Art in the mid-nineties.

It was here that he began exploring notions of “liquid reality”. Inspired by nature, biological structures, Morphogenesis, David Bohms’ “Implicate order”, Eastern philosophies, and contemporary music, his work achieved a psychedelic minimalism.

After art school, he lived in Miami and New Zealand before returning to Gloucestershire.

Damien Hirst noted about Marsden, “Olly Marsden picks up the challenge and makes a kind of science of painting and creates pictures that have nothing to do with Richter or Poons or Bridget Riley or Albers or even Op. They’re about the urge or the need to be a painter above and beyond the object of a painting. They are like sculptures of paintings.”

Marsden’s works can be found in private and public collections, including: Jumex collection, Mexico; David Roberts Foundation, London; Horiuchi Collection, Japan; Kresge Art Museum, Michigan; Murderme Collection, London; Robert Devereux Collection, UK; Royal Bank of Scotland; St James Group, London; and The Weisman Art Foundation, Los Angeles.

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About this work: Marsden’s delicate, precise lines in his Halo series are a study in rhythm: body, mind, and machine working in harmony. This series is a search for a balance - as Marsden describes it - a resonant visual tension where the painting begins to sing. Indeed, Marsden describes his Halo works as having voices, some soft and gentle, some loud and bright.

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Halo 21.03.23 Year: 2023 Medium: Acrylic on linen Signed and titled with unique OMS number on verso Size: 47.2 x 47.2 x 1.7 in (120 x 120 x 4.5 cm) Provenance: The Artist’s studio Long-Sharp Gallery

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About these works: Oliver Marsden paints sound in water. This series of works, his Harmonics, were inspired by a 2003 art studio located above a recording booth.

According to the artist: “Loud guitars from the recording booth below vibrated old wooden floorboards which in turn rippled water in a bucket… I watched and imagined paintings of giant liquid speakers.” He eventually created such paintings by setting his canvases spinning, in an effort to capture what he loves about water: “the restless expressive nature of water and how it makes energies visible.”

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Violet Blue Indien Noir Harmonic Year: 2024 Medium: Oil on canvas Signed and titled with unique OMS number on verso Size: 47.2 x 47.2 x 1.7 in (120 x 120 x 4.5 cm) Provenance: The Artist’s studio Long-Sharp Gallery

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Image courtesy of ArtConnect

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DANIEL MULLEN (Scotish, b. 1985)

Daniel Mullen’s work deals simultaneously with questions of absence and presence. His paintings offer a synthesis of these dualities by centralizing the viewer – first through an embrace of potent color, and then through an experience of geometric forms and perspective that bring the viewer to a threshold of an ever-receding space.

Daniel relies on his eye to create compositions, avoiding any digital aid. He works by applying thin layers of diluted acrylic paint, building up the saturation on the surface of raw linen.

Imperfections appear (only visible in person), revealing the hand of the maker and juxtaposing with the digitalization that the high precision can suggest from afar. This raises further questions of reproducibility and uniqueness, especially relevant in a time when the world is increasingly saturated by images and an online experience. Mullen aims to ground the viewer in a physical moment of presence.

Biography courtesy of ArtConnect

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About these works: Daniel Mullen creates optically dazzling works using a process that includes the application of thin, translucent layers of paint on exposed linen.

He uses painting as a meditative process of repetitive movement and rhythm, with the brush working as an extension of his person.

According to the artist: “In my work, I’m interested in phenomenology: to perceive something that is not present or at least that which seems undefinable, a space out of reach beyond our perception. Through the act of painting, I try to channel this experience for another viewer beyond my own mind’s eye by seeking to render colour, form and light perceivable.”

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colour interaction No. 1 Year: 2023 Medium: Acrylic on linen Size: 35.5 x 39.5 in (90 x 100 cm) Provenance: The Artist’s studio Long-Sharp Gallery Click to view a film

colour interaction No. 2 Year: 2023 Medium: Acrylic on linen Size: 35.5 x 39.5 in (90 x 100 cm) Provenance: The Artist’s studio Long-Sharp Gallery Click to view a film

colour interaction No. 15 Year: 2023 Medium: Acrylic on linen Size: 35.5 x 39.5 in (90 x 100 cm) Provenance: The Artist’s studio Long-Sharp Gallery Click to view a film

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