PLUS ONE NEWS Plus One Gallery - No.3 2012
Double Olympic gold medalist Dame Kelly Holmes with Plus One Gallery artist and BP Portrait Award Winner Craig Wylie. Photo by Jorge Herrera
Craig Wylie: Going for Gold Zimbabwean Craig Wylie has done it again; as yet another of his portraits has found itself with a place at the National Portrait Gallery! This time it’s a commission by National Portrait Gallery trustees. It shows Dame Kelly Holmes, retired athlete and twice over Olympic gold medalist runner. Dame Kelly sat for Craig last year and he is humble as ever of his talent: “I hope I have done justice to her natural elegance”. The first time Craig saw his art exhibited at the National Portrait Gallery was in 2008 when he won the BP Portrait Award, a competition which has been held at the prestigious location in Trafalgar Square each year since 1987. Maggie Bollaert, Director of Plus One Gallery says: “Craig is an artist with instant impact. Our first Solo Show for Craig Wylie immediately caught the eye of our longstanding clients. For anyone looking to build a collection or acquire an important piece from contemporary hyperrealism to add to their home, Craig Wylie is a given name in portraiture”. Craig Wylie is represented by Plus One Gallery. Pictured left: ‘L(phase)’ by Craig Wylie, oil on canvas, 190 x 127 cm
painted works that are blurry but with little interest in the potential spatial dynamics.” It is this phenomenon that his paintings wrest with- and so successfully portray with surprising results. You might call it ‘the world in a squint of the artist trying to grasp the whole of a scene.’
‘Flowers in White Carafe’, 84 x 84 cm, Acrylic on polyester
BEN SCHONZEIT RECENT PAINTINGS FROM NEW YORK September 12th – October 6th, 2012 The pioneering photorealist Ben Schonzeit is now challenging the notions of one of our basic senses which most of us take for granted; vision, and what it means to see. With his new Solo Show exhibited at Plus One Gallery his impeccable brushwork invigorates new life into the classic still life subject of flowers while exploring how our vision changes and the effect this can have upon art. Vision is arguably the sense that is most prized by contemporary society, from high-definition TVs and phones to cameras which can focus on the tiniest of details. Indeed, hyperrealism - what Plus One Gallery specialises in - is a type of art which is so precise and tight in its brushwork that it often goes beyond that which even digital imagery can create. One would be forgiven for thinking that Schonzeit’s carefully blurred flowers are the very opposite of all this; and yet, in these paintings it is as if the world is presented before our brain gets to it. Schonzeit’s work seems to faithfully reproduce not what we focus on- but what is at the corner of our eyes. His flowers are not simplified abstractions- but are actually the realities of the effects of our peripheral vision. As Schonzeit himself explains; “A very small part of what we see is sharp. All around the edges of our vision is soft and constantly changing. These paintings are all space with almost no surface. The surface of the painting appears to be transparent since there is nothing to focus on. I’m working on atmosphere and space in a way that I have never seen quite this way. Other painters have
Perhaps Schonzeit is a modern day Impressionist in that the unexpected effects he creates, and the new ways of seeing that he explores, can be traced back to such great artists. Nineteenth century Impressionism was partly about the desire to shed the limitations of classical methods of painting, preferring spontaneity and truth to nature over the polished clarity of the Salon. And so, Monet’s desire to be born blind so as to see with fresh eyes, can be seen in Schonzeit’s exploration of the peripheral (Schonzeit himself lost one of his eyes at a young age, an accident while playing with his friends); while the blurred forms of Schonzeit’s flowers elude the viewer just as Degas’s oblique and confused perspectives can do. Schonzeit succinctly sums them up as being ‘infinitely fascinating’, since the harder one tries to seek out the details, the more they melt into a beautiful shimmer, only to reform again as you start to look away. Schonzeit makes a final musing with a glint in his eye; “I’m embracing what I don’t know; learning, discovering and suffering the challenges. In the end perhaps I need new glasses...” We say, visit the exhibition and be prepared to look at the world with fresh eyes this September! 89-91 Pimlico Road, London SW1W 8PH www.plusonegallery.com Tel: 020 7730 7656 ‘Silk Peonies’, 40.5 x 40.5 cm, Acrylic on panel
Summer 2012 saw Plus One Gallery introducing Canadian artist Francois Chartier by exhibiting early works from his career. For a fun colour splash seeped in iconic history take a closer look at Chartier’s Pop Culture Icon series of paintings, available in the gallery and online www.plusonegallery.com. “We’re incredibly lucky to be able to exhibit these rare works from his early career, the last remaining from the extremely time consuming acrylic airbrush technique he used at the time” says Anne Marie Sjöholm, manager of the gallery. Chartier explains further: “I decided to use a stipple motion to create a grainy effect as opposed to the continuous spray usually associated with the airbrush. By constantly moving the airbrush while I spray I create thousands of dots. It’s a very unconventional way to do airbrush, and certainly not the fastest way to do airbrush, but that's what it took to make the paintings unique. To this date I never saw anything like it... The technique I used was inspired by an article I read about Don Eddy's technique - even if they are inspired by Don Eddy, Charles Bell and David Parish, I try very hard to make them my own and I’m very proud of what I achieved. They where done entirely free hand, no masking was used, no white paint, no mistakes allowed! They are definitively a proof of Exactitude.” In contrast his new oil paintings show a fresh direction of still life while losing none of the fun, not the least in Chartier’s trademark playful titles: ‘Good Night Charlie Brown’ (pictured above) & ‘Toto I Don’t Think we are in Kansas Anymore’ being the latest. Says Chartier: “Since realism has always been of tremendous interest to me, it was natural that this was the direction my art should take. Although my paintings are realistic my goal is to create, through the layering of mediums and the play of the brush, the illusion of depth and sense of presence beyond what is found in photographs.” We can only state: the artist has certainly achieved what he set out to do!
Hyperrealist Still Life: Precision x 3 Spanish Splendor: In today’s fast-paced and hectic world, Spaniard Antonio Castelló Avilleira offers us a rare moment of reflection in his superbly timeless new paintings. He arrests fleeting moments, such as the ripeness of fruit (see ‘Plums’, pictured below), while exploring nature at its most fragile. Looking at his paintings it is immediately clear that his exquisite artwork is not just another memento mori; watch as he breathes life into still life, seamlessly blending a classical technique of painting with a freshly modern photographic approach. It is not hard to see why Castelló Avilleira considers himself something of a documentary maker! In the artist’s own words: “My current series of paintings, I call ‘Living Nature’, is a project devoted to explore little details of nature. By means of the classic still life genre, I update iconographic motifs and therefore I completely strip the picture of any anecdotic element and I only depict those details which are real witnesses of the passing of time. I draw pictures which are modern, rare and contemporary with a documentary makers approach.” Fall’s Fruit: Fan’s of Castelló Avilleira’s paintings should keep a look out this fall for another of Spain’s most highly heralded artists; Pedro Campos! Pedro returns to one of his early themes, arguably what he is most famed for: delicately plastic wrapped fruits - the depiction of the contrasting textures so elusive and vivid all at once. Available at Plus One Gallery later this year. Francois Chartier, Antonio Castelló Avilleira and Pedro Campos are represented by Plus One Gallery.
October 17th – November 10th, 2012
MODERN ICONS IN OLD WOOD Internationally renowned artist Diederick Kraaijeveld creates exquisite wood assemblages that give a fresh spin on familiar American cultural icons in Plus One Gallery’s October show. As fans and collectors alike have come to expect, Kraaijeveld’s pieces have all been beautifully recreated from genuine, coloured vintage wood that the artist himself hand collects from around the globe; from tropical fishing boats to gorgeous 16th century Dutch mansions, the wood has all been salvaged and reused with great care. Given that a single work can require over a hundred pieces of differently hued wood, this collecting process is as important as the actual assemblage of the found materials- and indeed, Kraaijeveld sometimes refers to himself as ‘oud hout’, Dutch for ‘old wood’! Though the pieces are colourful, contrary to what it may initially seem, Kraaijeveld doesn’t use a drop of paint himself, preferring instead to preserve the original colours and hues- for as he has pointed out, the layers and layers of paint can create “a most beautiful combination”. This beautiful combination, of the original patina and of the untouched irregularity of
the wood’s surface, means that the provenance and history of each artefact shines through in his work- and with great effectiveness. It is highly appropriate that Kraaijeveld’s famous series of basketball shoes have been created from old basketball courts in Detroit, since the shoes are thus not only preserving a slice of basketball history, but are made from the very wood that the basket-ball players themselves threw hoops upon! It is clear that Kraaijeveld’s work isn’t just steeped in history; there is an unmistakable playfulness in them. Royal postage stamps, dollar bills and pound notes have not only been effectively recreated in wood, but also teasingly highlight how value is sometimes relative. As he points out, his works are built out of “materials that people have thrown away because they deemed it worthless”- the irony being that he reuses these forgotten pieces of wood to produce something highly precious. Indeed, he has more than succeeded in his goal “to create desirable works out of materials that people have thrown away thoughtlessly”. Visit the exhibition for an absolute guarantee to be brightened up by the positively superb works of art on display!
Carl Laubin, never an idle painter is currently working on one of his most ambitious paintings to date – a large capriccio commissioned by the committee of the prestigious Driehaus Prize which will include all ten winners of the prize to date. When asked to create the painting for their 10-year anniversary, Carl, who worked as an architect for many years, jumped on the idea: “Part of the interest lies in the fact that all the buildings depicted are by living architects, unlike my capricci of Vanbrugh, Hawksmoor, Wren, Palladio, Cockerell; although there are precedents in my works on Krier and John Outram.” Before the unveiling, get yourself up to speed on Carl’s work with the comprehensive and beautifully written ‘Carl Laubin: Paintings: The Poetry of Art & Architecture’. The book explores the developing ideas which have unfolded in the artist’s work of the last several decades; from the initially whimsical ideas, to the more elaborate architectural capriccio, and to his aweinspiring landscapes and seascapes. ‘Carl Laubin Paintings’ by John Russell Taylor and David Watkin (2007, Plus One Publishing in association with Philip Wilson Publishers) is available through Amazon online, selected book shops and Plus One Gallery. The Driehaus Prize was set up ten years ago by Chicago businessman and philanthropist Richard H. Driehaus to honour "a living architect whose work embodies the principles of traditional and classical architecture and urbanism in contemporary society, and creates a positive, long-lasting cultural, environmental and artistic impact.”
Psst…don’t forget the final solo exhibition of the year: LAST EXIT – ANDREW HOLMES | December 5th, 2012 – January 5th, 2013 The exhibition sees a continuation of Andrew Holmes’ interests in the impact of an oil hungry civilization To receive Private View invitations please sign up online or contact the gallery with your address details. Plus One Gallery, 89-91 Pimlico Road, London SW1W 8PH | Tel: 020 7730 7656 | firstname.lastname@example.org | www.plusonegallery.com