London Staff Art Show: Inside Out

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live music from Ana Bon-Bon / Andrew Wickenden with Tom Campbell / Marine Kulture artworks by Adrian Cosma / Alan McQuillan / Anastasia Gereluk / Andrew Lindesay / Andy Clydesdale / Anna Ho / Chris Barr / Claire Undy / Colin Mortimer / F S D / Fiona M. McGovern / Graham Reid / Gwyn Williams / Harmony Johnston / Hayley Giles / Ian Bell / Ivgenia Naiman / James Lander / Jessica Mander / Joe Hewlett / Joseph Nichol / Karen Wright / Karin Kihlberg & Reuben Henry / Lynn Sivanand / Marcelo Borges / Mark Hudson / Mark Melvin / Mark Seiltz / Mike McClafferty / Mike McMillin / Nathalie Hambro / Paddy Gould and Roxy Topia / Patricia Oliveira / Patricia Pisanelli / Pennicott + Fleming / Perce Jerrom / Phil MacMahon / Rita Almeida Freitas / Ross Martin / Simon Shepheard / Stephen Gilbert / William Mackrell

in side ou t

LONDON staff art show

s u m m e r 2 0 11

a t H OWICK PL ACE

FOREWORD Simon de Pury, Chairman, Phillips de Pury & Company

It always amazed me, in all my years in the art world, to accidentally find out how many dealers, curators, museum directors or auctioneers had a secret past as artists. It is not widely known for instance that the collections of the Cabinet des Estampes at the Musées d’Art et d’Histoire in Geneva includes some works done by Thomas Krens, the visionary former Director of the Solomon R. Guggenheim Foundation, some time way back when he was himself an artist. Roger Mandle, Executive Director of the Qatar Museums Authority, was also an artist in his distant past.

The legendary dealers Ernst Beyeler and Jan Krugier enjoyed being artists themselves. It was apparently Alberto Giacometti who recommended to Jan Krugier that he might be better off abandoning his ambitions as an artist. In my own very distant past I also entertained the ambition of becoming an artist. Through the years I discovered that most of my colleagues, regardless of whether they were working on the specialist or the administrative side of the business, all at times at least intermittently gave in to the practice of art. I am therefore very happy that we can offer them the chance to use our beautiful premises at Howick Place for once to exhibit some of their own works.

ANA BON-BON “Nodding to old blues, gospel, and Tin Pan Alley tunesmithing, Vancouver’s Ana BonBon and her full-bodied voice and accordion playing bring a vintage, bawdy-house, bon-temps vibe to life” – Rupert Bottenberg, Montreal Mirror “Exotic prairie gospel” – the late, great Ray Condo (‘Canadian King of western swing’)

A blues cabaret songstress who delivers deep, esoteric blues roots music as readily as light-hearted double-entendre confections! Bon-Bon has relocated from the wilderness of British Columbia and Vancouver’s downtown eastside to London, where she continues to develop her delivery of rhythmic atonal jump blues, sensual spirituals, and countryfied cabaret, taking influence from 1930s cabaret, jump blues, Delta and Chicago blues, traditionals, spirituals, and western swing.

Coming from the renown North American west-coast roots scene, ‘The Fabulous’ Bon-Bon has concerts and interviews broadcast on CBC Radio, is a regular guest on the perversely diverse Accordion Noir radio, and recipient of the coveted Canada Council for the Arts funding for independent musicians. She most recently recorded a 45rpm with some of Vancouver’s best, squeezing every droplet from her new theme song ‘Bathtime’ and the rousing ‘Someone Let the Kitty Out’. Bon-Bon has previously released two solo albums and one EP with her country-blues duo, Bon-Bon & Rose and is a featured vocalist on two of alternative country punks Swank’s albums and video. She fronted and wrote songs on the side for a hard-rock band for four years and performed vaudevillian burlesque with the best as a principal member of uninhibited Empire Follies troupe in Canada. Her latest album ‘Bare Naked Blues’ album of all original blues, cabaret, and spirituals.

Ana Bon-Bon has appeared at the following venues: as hostess of regular nights Ana Bon-Bon Presents… and Ana Bon-Bon Sings Spirituals, and more, at the Railway Club and Marine Club in Vancouver, and as a performer at clubs, pubs, halls and events as musician, compère, and workshop hostess,at several festivals including Dawson City Music Festival, Salmon Arm Roots & Blues Fest, POP Montreal, Vancouver Film Festival, Stan Rogers Festival, RendezVous Sourdough Yukon, Rude Harsh, Cabaret, Vancouver International Burlesque Festival as musical hostess in Canada, Amal Blues Fest Sweden, Paris Fete de la Musique, and more. She has played at a variety of venues, including The Rex Hotel and Mitzy’s Sister in Toronto, The Hideout in Chicago, The Fernie Arts Centre and the Dream Cafe in British Columbia, The Black Dog in Edmonton, The Snake Pit and Bombay Peggy’s in The Yukon, Lydia’s in Saskatoon, Tease-O-Rama Burlesque conventions in California, The 12 Bar Club and the Blues Kitchen in London, and countless more. She has also been a regular guest act with Ray Condo & The Ricochets, The Twisters; on tours with Linda McRae and David P. Smith, shows/shared stages with Paul Pigat/Cousin Harley, Big Joe Louis, The Molestics, Guy Klucevsek, Geoff Berner, Alice Walker, Big John Bates, John Doe, Dita Von Teese, and The Subhumans; and has featured on CBC radio play, in concerts, and in interviews.

www.anabonbon.com http://www.myspace.com/anabonbon

Andrew Wickenden with Tom Campbell Andrew will debut tracks from his solo project The Plain Parade, before being joined by Tom on guitar, when as an acoustic duet they will cover a selection of songs, including new takes on some pop classics.

Andrew has played at the following venues: O2 Academy, Oxford; LSE, Holborn, London; Cargo, London; The Barfly, Camden; Buffalo Bar, Highbury, London; The Rhythm Factory, Whitechapel, London; The Spice of Life, Soho, London; The Hope & Anchor, Highbury, London; The Betsy Trotwood, Farringdon, London; The Dublin Castle, Camden; The Water Rats, Kings Cross, London.

www.myspace.com/theplainparade

MARINE KULTURE “Think Human League, Joy Division and all sorts of electronic goodness” – Rough Trade Records “It’s June, and summer is actually happening this time around … an emerging London band, Marine Kulture are embarking on a string of live gigs in the sweltering capital, to refresh the current musik scene with their aquatic electro rhythms and deep engaging electronic rock fused dance music for these times of austerity. Independence is a necessity and has been at the formation of the group’s live and recording output, and more music is being released this summer to continue on this path of self reliance.

“The group began as a solo project for DJ and independent London producer Mark Costello to create with his rapidly expanding home studio gear. This is not laptop-based production, he works only with hardware and builds tracks through synths and samplers that recall an earlier period of electronic music that is being rapidly forgotten. After a few self-released albums he decided that it was time to step up to a different level of the project “After meeting up with video artist/photographer Marcelo Borges in Brazil, who started playing bass guitar in the group to expand the low end of the music, Marine Kulture started to evolve, and with the addition of Marina Bulgareli on backing vocals and percussion and Luca Giudici on drums, the band transformed to the next stage of oceanic electro deepness with more exciting live gigs and more new music to follow, this band continues to take it’s rightful place in the world of independent dance music and sets to challenge the slowly dying major label music business.

“Marine Kulture sets sail for further adventures in this new world, and should be seen live to appreciate where this band is heading.”

– Laurence Kay, London

Discography

Point of View, CD, 2003 Undergrowth of You, CD, 2005 Remain, CD, 2007 ‘Remain’ / ‘Crazy Little Devil’s’, 7" vinyl, 2008 ‘Could of Cried’ / ‘Mirrors’, 7", Rough Trade, 2010: “Straight out of the gate with this fresh two-track assault from the excellent Marine Kulture.

Limited to 100 and hand-numbered. Think Human League, Joy Division and all sorts of electronic goodness.”

‘Process’ / ‘Christine’, 7" vinyl, Rough Trade, 2011: “Next up from Marine Kulture comes this double hitter of ‘Process’ backed with a cover of Siouxsie and the Banshees’ ‘Christine’. 150 vinyl copies only too. They do that goth, electronic Joy Division thing real good. Check it out.”

Marine Kulture have played at the following venues: The Vortex Jazz Club, Dalston; The Redroom at the Comedy Pub, Piccadilly; Dry Bar, Barbican; 93 Feet East, Brick Lane; Oh Bar, Camden; The Fiddlers Elbow, Camden; The Hope and Anchor, Islington; The Lark in The Park, Islington; The Windmill, Brixton; George Tavern, Whitechapel; Vibe Bar, Brick Lane; The Half Moon, Brixton; Maresia, Itapoa, Brazil; 92 Degrees, Curitiba, Brazil; Wonka Bar, Curitiba, Brazil; 229 Club, Great Portland Street, London; Big Moo Festival, Milton Keynes; Elixir Bar, Camden; Zigfrid Von Underbelly, Hoxton Square, London; Dublin Castle, Camden; Water Rats, King’s Cross, London. Tommy Flynn’s, Camden; Camden Rock, London; The Enterprise, Camden; The Spice of Life, Soho, London; Nanbucca, Holloway Road, London; Workshop at the Roadtrip, Old Street, London; The Bowery, New Oxford Street, London.

www.marinekulture.com

Adrian Cosma A Problem that Refuses Dissolution, 2011 Watercolour and pigment on paper. 149.5 × 66.5 cm.

artist’s statement

I aim to identify and examine new aesthetics of pictorial language taking in consideration the visual knowledge, the context and the semantics of an image.

I am mostly interested in studying the subject in a phase where matter, in process of dissolution, is losing its shape and structure, until a stage where the silhouette can still be identified.

Alan McQuillan Cold Comfort, 2011 Cast bronze and patina. 21 × 24 × 18 cm.

Anastasia Gereluk Untitled (6 Wise Men), 2011 (work in progress) Oil on board. 56 × 71 cm.

Anastasia Gereluk earned a Bachelor of Fine Arts at the beautiful Okanagan University in Canada, majoring in sitespecific installation and performance art. She was awarded a foreign scholarship for the Master’s Program at Boston School of the Museum of Fine Arts, and a Vancouver Foundation Artist Grant for developing collaborative performance art.

She has been working as performance artist for Christian Nicolay / Arthur Erickson, Richard Suarez, and Women in the Arts, Kelowna Art Gallery. She has made drawings and performances at Vancouver ITCH collective, Alternator, Moss Street Paint-In, TART Gallery, café and group exhibitions, Canada. She is also a preparator, custom framer and musician.

Andrew Lindesay The Consequences of Plagiarism (i.m. Edwin Morgan, with apologies), 2011 C-type print on FujiColor Crystal Archive paper. 112.5 × 76.5 cm.

This work is unique.

artist’s statement

This is a pale imitation of the visual poem ‘Message Clear’ by the Scottish poet, the late Edwin Morgan. The text comes from The Consequences of Pragmatism by Richard Rorty.

there is there is nothing there is nothing

there

there is

us

there is

us

there

there is

ourselves

we have

nothing

except

ourselves

us except

ourselves

nothing

except

ourselves

there is nothing

inside

there is

inside

ourselves

there

we have put

ourselves

there

deep down inside us

deep down inside us

we have

ourselves

there is

down inside

what we have put there

nothing deep

what we have

inside us

what we have

there is

deep

deep

deep down inside us

there is

there is

deep

we have

ourselves

inside us

nothing

except what we have

there is nothing

except what we have put there

nothing deep down

down inside us

there is

inside us

ourselves

there is nothing

inside us except

ourselves

there is nothing

inside us except what we have

there is nothing deep

inside us except what we have

what we have put there

ourselves

there is nothing deep down inside us there is nothing deep down inside us except what we have put there ourselves

Andy Clydesdale Section taken from Forgotten Hollywood from American Dream Machine [illustrated] Nine 2-colour risograph prints, mounted as one piece. Overall: 40 × 295 × 8 cm. Signed and dated on reverse. This work is 1 from an edition of 5.

Michael Jackson’s Funeral from American Dream Machine 3-colour risograph print. Overall: 30 × 40 × 3 cm including frame. Signed and dated on reverse. This work is unique.

I Can Dream from American Dream Machine 2-colour risograph print. Overall: 30 × 40 × 3 cm. Signed and dated on reverse.

This work is unique.

anna ho Four works, each Untitled, 2005 Digital C-type prints. Colour images: each 24.2 × 31.6 cm; black-and-white images: each 42 × 29.7 cm.

chris barr Untitled (Apollo), 2011 [illustrated] Framed book pages. Approximately 30 × 25 cm.

Basic Instructions Before Leaving Earth, 2011 Nasa stock image, iridescent film, silver box frame. Approximately 20 × 30 cm.

Shroud, 2011 Two-way mirror, found book pages, steel, adapted music stand, black cord and tassel. Each plate approximately 21 × 27 cm.

Untitled, 2011 Carbon paper, tin, black and gold picture nails. Approximately 29 × 21 cm.

claire undy 16/100, 2011 Mixed media on wooden stretchers. Overall: 260 × 220 cm; each of 16 pieces: 50 × 40 cm.

colin mortimer Social Networking [illustrated] Steel, brass and aluminium ironmongery. 200 × 70 cm.

Dirty Business Resin, Swarovski crystals. 9 × 7 cm.

Rule Britannia Carrier bags. 110 × 120 cm.

artist’s statement

This body of work aims to make the viewer look more deeply into everyday issues,both at home and around the world. Globalisation was intended to create greater transparency and understanding between cultures, leading to an improvement in people’s quality of life. Recently there has been disenchantment with this ideology and the global dream seems in danger of imploding.

F S D 07:52, 2010 C-type print on FujiColor Crystal Archive paper.

Blackberry 5.0 MP camera.

fiona M. mcgovern take it gracefully from The Grace Series, 2011 (detail) Oil on canvas. Approximately 150Â Ă— 100 cm.

graham reid Untitled, 2011 Light installation. Dimensions variable.

Gwyn Williams Untitled [illustrated] Solid concrete vase. Height: 30 cm.

Dic Aberdaron, 2011 Double-sided light box: wooden box, opal acrylic sheets with vinyl illustrations. Approximately 50 × 50 × 15 cm.

Harmony Johnston Untitled, 2010 [illustrated] Watercolour on Silk Habotai. 260 × 115 cm.

Untitled, 2010 Watercolour on Silk Habotai. 190 × 95 cm.

Untitled, 2009 Ink and acrylic on paper. 85 × 165 cm.

Untitled, 2009 Oil on canvas. 100 × 50 cm.

Hayley Giles Untitled (Mitcham), 2011 C-type metallic print. 76.2 × 101.6 cm.

ian bell Santa Fe, 2011 [illustrated] Dye destruction print, Diasec mounted.

45 × 75 cm. This work is from an edition of 4. There is further edition of 10, unmounted, 32 × 50 cm.

Pen y Fan, 2010 Dye destruction print. 32 × 50 cm. This work is 1 of an edition of 5.

Rockies, 2011 Dye destruction print. 32 × 50 cm. This work is 1 of an edition of 10.

ivgenia naiman Billionaires Fair, 2009–10 [illustrated] Oil on canvas. 110 × 122 cm.

Untitled from the series London/Montreal, 2001–11 Diptych: oil on black-and-white fibre photo paper.

Each panel: 50.8 × 61 cm.`

James Lander Without a title, 2011 Paper, PVA, nylon. 214 × 220 × 220 cm.

artist’s statement

To disrupt the architecture of the institution is to question what rights an individual has to their own body and to space. To subvert what is imposed from above is to interrogate notions of ascribed status and sovereignty, in Georges Bataille’s terms “an aspect that is opposed to the servile and the subordinate”. Situated aside from the bourgeois conception of autonomous art, defined by Peter Bürger as the “apartness of art from the praxis of life” historically associated with courtly patronage, the spectator is placed somewhere they cannot help but feel put-upon.

Choreographed spectatorship, enforced by common materials, embodies the opposite of aristocracy and develops Antonio Negri’s case for the empowerment of the poor person, asserting autonomy not in individual production, rather in the collective imagination of what art is not, as Jacques Rancière sets out “The autonomy is the autonomy of the experience, not of the work of art”. www.jameslander.co.uk

jessica mander Candice from the series Providence, Rhode Island, 2009 [illustrated] C-print photograph. 50.8 × 40.6 cm.

Other works in the series on show include: Raven, Crystal, Bambi, Cherry, Raquel, Chanel and Nikki, 2009 C-print photographs. Each: 50.8 × 40.6 cm.

Joe Hewlett Ruby’s World, 2011 [illustrated] Plasticine. Diameter: approximately 2 cm.

On the Swing, 2011 Lithograph. Approximately 35 × 25 cm.

On the Scooter, 2011 Lithograph. Approximately 35 × 25 cm.

Joseph Nichol Fairest of them all, 2011 Digital painting, using paint tool SAI and Photoshop.

Karen Wright Ettore Spalletti’s studio near Pescara, Italy, 2011 [illustrated] Digital photograph.

Giuseppe Penone’s studio in Turin, 2011 Digital photograph.

Lara Favaretto’s studio in Turin, 2011 Digital photograph.

artist’s statement

These are from a series of photographs of artist’s studios shot on my iPad in June 2011.

Karin Kihlberg & Reuben Henry Troxy Super Cinema, 2011 C-type print. 33 × 44 cm.

This is one of five images on show here from a series of 32 images depicting the locations of the ex-cinemas of Portsea Island, Portsmouth.

More information can be found at www.karinkihlberg-reubenhenry.org.

Lynn Sivanand Flyer, 2011 [illustrated] Oil on canvas. 40.6 × 45.7 cm.

Flood, 2011 Oil on canvas in two parts. Each: 40.6 × 45.7 cm.

Untitled, 2009 C-print photograph. 33 × 45.7 cm.

artist’s statement

Growing up, I wanted to be an artist. Now most of my art is a product of broken sleep. Flyer and Flood are among several furiously painted canvases, completed in a couple of hours late at night between days where I am busy not being an artist. The photograph was taken from a moving bus on the road between Brussels and Maastricht.

MARCELO BORGES God’s Reading Room, 2011 [illustrated] Burned Scandinavian wood. 270 × 90 × 80 cm. This work is signed and numbered 1/3 from an edition of 3.

43 Lungs, 2011 Photovideo installation: Giclée Hahnemühle print, 16 × 24 cm; SD card; 7" flat screen, artist’s frame, 29 × 36 cm.

Duration: 4 minutes 17 seconds, loop. This work is signed and numbered 1/3 from an edition of 3 plus 2 artist’s proofs.

Covent Garden 89, 2011 Giclée Hahnemühle print. 23 × 48 cm. This work is signed and numbered 1/7 from an edition of 7 plus 2 artist’s proofs.

Thames 89, 2011 Kodak metallic print. 11 × 24 cm. This work is signed and numbered 1/7 from an edition of 7 plus 2 artist’s proofs.

Peter Doherty The Libertines, London, 2009 66 Giclée prints. Each: 19 × 28 cm; hanging grid: 167 × 210 cm. This work is signed and numbered 1/3 from an edition of 3 plus 2 artist’s proofs.

Thom Yorke Radiohead, London, 2009 Kodak metallic print. 98 × 73 cm. This work is signed and numbered 1/7 from an edition of 7 plus 2 artist’s proofs.

Ian Brown, Oxford, 2009 Giclée Hahnemühle print. 73 × 57 cm. This work is signed and numbered 1/7 from an edition of 7 plus 2 artist’s proofs.

Nick Cave, London, 2009 Kodak metallic print. 98 × 72 cm. This work is signed and numbered 1/7 from an edition of 7 plus 2 artist’s proofs.

Bobby Gillespie Primal Scream, London, 2008 Giclée Hahnemühle print. 75 × 49 cm. This work is signed and numbered 1/7 from an edition of 7 plus 2 artist’s proofs.

Only Kick the Dead When They’re Cold, 2000 Video installation: DVD, Speakers, CT-4003M Chaser, PAR Spotlight. Duration: 4 minutes 17 seconds, loop.

This work is signed and numbered 2/3 from an edition of 3 plus 2 artist’s proofs.

EXHIBITED Curitiba, Brazil, 59th Salão Paranaense, 2002; São Luís, Maranhão, Brazil, Guarnice Film and Video Festival, 2002; Curitiba, Brazil, Marques de Sade Project, 2003; London, Shortwave Films, 2004; Brixton, London, SO NOW THEN, 2008 http://www.youtube.com/watch?v=_tSlk5j9TPI&feature=channel_video_title Unica Coisa, 2000 Single-channel VHS transferred to DVD. Duration: 75 minutes, loop This work is signed and numbered 1/7 from an edition of 7 plus 2 artist’s proofs.

EXHIBITED Curitiba, Brazil, Cinemateca de Curitiba, 2000; Curitiba, Brazil, Fundação Cultural de Curitiba, 2000; Tokyo, 23rd Tokyo Video Festival, 2001; Curitiba, Brazil, FREE ZONE Festival, 2001; São Luís, Maranhão, Guarnice Film and Video Festival, 2002; São Paulo, Brazil, TV Cultura, 2002; Curitiba, Brazil, TV Educativa, 2002; London, Shortwave Films, 2004; London, Brixton SO NOW THEN 2008 http://www.youtube.com/user/marceloborges#p/u/1/Oz61-cpSWdw http://www.youtube.com/user/marceloborges#p/u/3/pMCdwUEMAbA Johnny Rotten Sex Pistols, São Paulo, Brazil, 1996 Giclée Hahnemühle print. 75 × 99 cm. This work is signed and numbered 1/7 from an edition of 7 plus 2 artist’s proofs. Published in the Gazeta do Povo newspaper, Brazil, 1996 Johnny Rotten Sex Pistols, São Paulo, Brazil, 1996 Giclée Hahnemühle print. 49 × 54 cm. This work is signed and numbered 1/7 from an edition of 7 plus 2 artist’s proofs. Published in the Gazeta do Povo newspaper, Brazil, 1996.

http://fadeoutster.blogspot.com

mark hudson The Causeway, Poynings, West Sussex, 2008 [illustrated] C-type print on FujiColor Crystal Archive paper. 84.1 × 118.9 cm.

This work is unique.

The Huts, Åhus, Skåne, Sweden, 2008 C-type print on FujiColor Crystal Archive paper. 53 × 68 cm.

This work is from an edition of 5.

The Harbour, Åhus, Skåne, Sweden, 2008 C-type print on FujiColor Crystal Archive paper. 34 × 44 cm.

This work is from an edition of 10.

Maglehem, Skåne, Sweden, 2007 C-type print on FujiColor Crystal Archive paper. 34 × 44 cm.

This work is from an edition of 10.

Kristinehamn, Värmland, Sweden, 2009 C-type print on FujiColor Crystal Archive paper. 34 × 44 cm.

This work is from an edition of 10.

Mark Melvin T.R.Y., 2009 [illustrated] Aluminium-cased light box, lit with fluorescent tubes, with coloured vinyl. 64 × 46 × 18 cm.

From a series of 5 plus 1 artist’s proof.

Mirror no. 3, 2009 Mirror with teak frame (trapezium – light), blackboard paint. 69 × 36 × 2.5 cm. This work is unique.

Mirror no. 4, 2009 Mirror with teak frame (trapezium – dark), blackboard paint. 79 × 34 × 2.5 cm. This work is unique.

Mirror no. 5, 2009 Mirror with teak surround (rounded trapezium – light), blackboard paint. 71 × 37 × 2.5 cm.

This work is unique.

Stammer, 2007 Neon (white), aluminium shelf. 24 × 30 × 16 cm. From a series of 10 plus 1 artist’s proof.

Made with the support of the Uhoda Collection.

artist’s statement

T.R.Y. is a piece whose title is taken from text used in previous works made by Melvin, Tomorrow Remember Yesterday. The light box depicts the text in descending size, mimicking loosely the format of an optician’s eye chart. The piece appears clinical in its execution, with a message asking the viewer to contemplate the moment, be that their here-and-now or the moment of encounter with the artwork itself.

Stammer is a work inspired by Melvin’s friend Jim Tonge who suffers daily from a stutter.

The piece endeavours to articulate of moment of incoherent utterance through a piece of abstract, manipulated neon, a material we usually find bent to shape text and image.

Although Stammer is in a series of ten, no single piece is exactly alike in form.

Mark seiltz Untitled, one of five on show from a series of 16, 2011 Collage on book covers. Dimensions variable. http://markseiltz.com

Mike McClafferty Untitled, one of 5 on show from the series Without Looking, 1997 Black and white silver gelatin print. Dimensions variable.

viewfinder. While his work as an art director is all about composition and working to a specific brief, the Without Looking series of photographs is about throwing away the rule book and letting chance take over. “I keep my camera on me at all times,” he says. “There’s beauty and inspiration everywhere.”

artist’s statement

Since he first had the idea for the Without Looking project in 1997, he has photographed random moments in New York, Russia, Morocco, Sri Lanka and at fairgrounds and circuses all over England, snapping his camera to capture the scene without looking through the

This is the first public viewing of this project and any comments would be appreciated. For more information or to purchase any of the work, contact Mike on 07956 658871 or email him at mikemcclafferty@btinternet.com.

Mike McMillin Architectural Drawing: A-Z 1B 18 (4F 63), 2011 Wood, plasterboard, paint. 250 × 830 × 83 cm.

Nathalie Hambro Tools #1, ‘dies & taps’, 2011 Giclée print. 60 × 85 cm. From an edition of 3 plus 2 artist’s proofs.

Tools #2 ‘dies and taps’, 2011 [illustrated] Giclée print. 60 × 85 cm. From an edition of 3 plus 2 artist’s proofs.

Tools #3 ‘rods & u-bolts’, 2011 Giclée print. 65 × 90 cm. From an edition of 3 plus 2 artist’s proofs.

Tools #4 Architectonic Tower, 2011 Giclée print. 65 × 90 cm. From an edition of 3 plus 2 artist’s proofs.

Gutted, series #1, 2011 C-print. Set of 4: steel and aluminium, hand-tooled container. Each: 22 × 11 cm. Each work is unique.

Gutted, series #2, 2011 C-print. Set of 3: steel and aluminium, hand-tooled container. Each: 22 × 11 cm. Each work is unique. crime or suicide #1 (pills), 2011 C-print. 40 × 50 cm. This work is unique. crime or suicide #2 (glove), 2011 C-print. 40 × 50 cm. This work is unique. mirror, 2011 C-print. 30 × 40 cm. This work is unique.

artist’s statement

My new body of work is photography-based and mixed media. Some are grouped as installations, each with a hand-crafted handle, so the works become portable objects to look at, and re-assess in various contexts, thus assuming a nomadic role.

The images are both a tool for psychological exploration and conceptual art. Works are loosely fitting into themes: shoe fetishism, urban, industrial, and conceptual. nmh@nathaliehambro.com www.hambro-art.com

Paddy Gould and Roxy Topia Wiped Out, 2011 [illustrated] Painted ceramic. 7 × 18 × 8 × 7 cm.

Schoon Me, 2011 Pen and coloured pencil on paper. 35 × 30 cm.

EXHIBITION HISTORY

Contemporary Drawing, The Bohemia Space, Liverpool New Contemporary Art Part One, George and Jorgen, London Liverpool Reflections, Atelierhaus Salzamt, Linz, Austria Evil Night (with Sam Savage and Gema Melgar), Wolstenholme Projects, Liverpool

Hitler Night (with Ben Gould, Cormac Gould, Gary Dower and Clare McMahon), Wolstenholme Projects, Liverpool

Portrayal and Perpetration, Wolstenholme Projects, Liverpool 2008 More Than This, Oriel Dafydd Hardy, Caernarfon, Wales 2011 2010

2009

RESIDENCIES

2010 ‘Urban Interventions’, Atelierhaus Salzamt, Linz, Austria PUBLICATIONS

2010 The Drawing Paper, issue 1

www.topiagould.wordpress.com www.georgeandjorgen.com

Patricia Oliveira Composite I & II, 2011 Multi-channel video installation: black and white and colour Super-8 transferred to video. Duration: 9 minutes 11 seconds, loop.

Patricia Pisanelli Eliza Doolittle and friends, 2011 [illustrated] Fabric paint on Bob the Builder design sliced ham, vacuum sealed.

20 × 26 cm.

Mr. Griffin and wife, 2010 Fabric paint on Halloween design sliced ham, vacuum sealed. 20 × 26 cm.

Luncheon on the grass, 2009 Fabric paint on bear design sliced ham, vacuum sealed. 20 × 26 cm.

Immortalizing the famous friends, 2009 Fabric paint on bear design sliced ham, vacuum sealed. 20 × 26 cm.

Christmas day, 2010 Fabric paint on check pattern design sliced ham, vacuum sealed. 22 × 27 cm.

artist’s statement

These works are part of a series that has been in development since 2009.

They are paintings on slices of processed ham. The ham is produced with different shades of pink through the dyeing of the meat, forming children’s designs such as Billy the Bear and Bob the Builder or celebratory designs such as the Easter Rabbit or the Halloween pumpkin.

The paintings are made through a process similar to tattooing. They are portraits of real people or characters that represent different social status.

Patricia is a painter from São Paulo, Brazil, who has been living in London for the past five years. Since childhood she has been attracted by the appearance of industrialized confectionery and artificial-looking products.

Inevitably this has been incorporated into her artwork, in which she uses crisps, food colouring and jelly as some of her materials. Thinking of the fetishism of commodities in contemporary society, she brings such products into an arts context and explores notions of what is meant to be looked at and what is meant to be consumed.

Pennicott + Fleming Self-Portrait: Tom by Edwin / Edwin by Tom, 2010 LightJet prints. www.pennicottfleming.co.uk

Perce Jerrom Moloch Memorabilia, Great Owl on Dollar Bill, 2011 [illustrated] Framed photographic print. 96 × 36 cm.

Moloch Memorabilia, Great Owl of the Bohemian Club, 2011 Mixed media. 59 × 104 cm.

Phil MacMahon Dining Table ‘Good Choice Sir’, 2011 Lacquered box section, steel, cast concrete, glass. 80 × 160 × 80 cm.

Designed for Foreign Bear Studio, London. www.foreignbearstudio.com

Rita Almeida Freitas Untitled, 2010 Digital C-print. 27.9 Ă— 35.6Â cm. This work is from an edition of 4.

Ross Martin 3 6 8 10 12 (11), 2011 [illustrated] Acrylic on canvas. 74 × 74 cm.

3 55 77, 2011 Acrylic on canvas. 61 × 122 cm.

Simon Shepheard Emits [illustrated] Set of four digital photographic prints mounted on MDF board. Each: 50 × 50 cm.

Atacama Set of three C-type photographic prints. Each: 75 × 50 cm.

Tiana C-type photographic print. 100 × 67 cm.

Stephen Gilbert Untitled, 2011 [illustrated] Mixed media. 11.5 × 9.5 × 3 cm.

Untitled, 2011 Mixed media. 7 × 9.5 × 17.5 cm.

William Mackrell Between Sky, Day and Earth, 2010 [illustrated] Lambda C-type print. 125.2 × 114.5 cm.

Conical, 2010 Lambda C-type print. 101.6 cm × 101.6 cm.

Between Warm White and Cool White, 2010 Lambda C-type print. 90 cm × 63.5 cm

The 2011 London Staff Art Show comprises works of art by Phillips de Pury & Company’s London staff.

The exhibition includes works in all media, from painting and photography to sculpture and installation art, and reflects the contemporary practices of arts professionals active in the international art market.

Adrian Cosma Alan McQuillan Anastasia Gereluk Andrew Lindesay Andy Clydesdale Anna Ho Chris Barr Claire Undy Colin Mortimer F S D Fiona M. McGovern Graham Reid Gwyn Williams Harmony Johnston Hayley Giles Ian Bell Ivgenia Naiman James Lander Jessica Mander Joe Hewlett Joseph Nichol Karen Wright Karin Kihlberg & Reuben Henry Lynn Sivanand Marcelo Borges Mark Hudson Mark Melvin Mark Seiltz Mike McClafferty Mike McMillin Nathalie Hambro Paddy Gould and Roxy Topia Patricia Oliveira Patricia Pisanelli Pennicott + Fleming Perce Jerrom Phil MacMahon Rita Almeida Freitas Ross Martin Simon Shepheard Stephen Gilbert William Mackrell

Inside Out: London Staff Art Show 11 July through August 2011 (closed 29 August) Monday – Friday, 10am–6pm Phillips de Pury, Howick Place, London SW1P 1BB This is a selling exhibition and the artists are accepting offers for sale of the works. To get in touch with an artist, email londonstaffshow@phillipsdepury.com Sales & Enquiries Tom Campbell, Office Manager londonstaffshow@phillipsdepury.com +44 20 7318 4068

Acknowledgements This exhibition and catalogue has been made possible by: The Directors of Phillips de Pury & Company, London Simon de Pury, Bernd Runge, Finn Dombernowsky Show Co-ordinator and Project Manager Tom Campbell Curator-in-chief Arianna Jacobs Assistant Curators Emma Lewis, James Lander, Megan McGee, William Mackrell Catalogue Andrew Lindesay, Mark Hudson, Mike McClafferty, Tom Radcliffe Press Fiona McGovern Additional Volunteers and Assistants Andy Clydesdale, Gwyn Williams, Ian Bell, Jenny Thomas, Jon Stonton, Harmony Johnston, Luke Scanlon, Marcelo Borges, Mark Seiltz, Mike McMillin, Oliver Gottschalk, Rita Almeida Freitas, Sam Martin