Artworks open 2015

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ARTWORKS OPEN 2015 SELECTED BY PAUL JOHNSON AND JONATHAN BALDOCK Dan Davis Erin Solomons Andrea Scopetta Justin Fitzpatrick Rebecca Ounstead Guy Marshall-Brown Murray Anderson Paul Mitchell Simon Linington Jinyong Park KYUNG HWA Shon Aisha Christison Samantha Donnelly Evelyn O'Connor Camilla Bliss Paul Dixon Alex Simpson Radek Brousil Fagner Bibiano Margita Yankova Mimei Thompson Peter Donaldson Tyler Mallison Kazuya Tsuji Silvia Lerin

Paul Johnson

Paul Johnson

Paul Johnson (b.1972) lives and works in London having studied at the Royal Academy schools and Glasgow School of Art. His recent exhibitions have included ‘A Sunless Sea’, Focal Point Gallery, Southend, UK, ‘There’s something about you that I’m unsure about’, Usher Gallery, The Collection Museum and ‘Madge Gill & Paul Johnson’ (cur. Paul Johnson), The Nunnery, Bow Arts, London.

Johnathan Baldock

Jonathan Baldock studied at the Royal College of Art and Winchester School of Arts. He has been awarded a fellowship by Kunstlerhaus Schloss Balmoral for 2015 and included in group exhibitions with La Galerie, Noisy-le-Sec, Paris, a two person exhibition with Emma Hart at L’Etrangere (June 2015), an online group project SUNSCREEN commissioned by EM15 for the Venice Biennale (2015). In 2016 Jonathan has an exhibition with Maria Zahle and Nicholas Pope at the Northern Gallery of Contemporary Art, UK, & Kunstforeningen & EMMA Espoo Museum of Modern Art.

This year ArtWorks Open received 543 submissions from 320 artists. I should like to extend a massive thank you to all those artists that put their work forward. Artists are first and foremost, without them there is no show. Without artists there would be no galleries, without artists there would be no curators. Without artists...... check out what Barnett Newman had to say about it. Paul Johnson and Jonathan Baldock selected a marvellous interdisciplinary show that looks to sculpture for it’s bedrock. The exhibition this year showcases more sculpture than any before it and in many ways continues the vision that David Kefford brought to it last year. Paul and Jonathan’s own creative journeys are manifest here in subtle and dextrous nuances. I thank them unreservedly for their generosity with time and their commitment to the project. Paul designed the card this year and played an important part in the installation. Some of the artists too have been involved with the installation of the show. A new departure that I hope continues in the coming years. Thanks to Neil Irons, Jonet Harley-Peters, Francesco de Manincor and Sharon van Heck who oversee and care for the exhibition. Ciao, Nadia Spita and Art Cafe London, thank you for being right on target and presenting the prizes. Mark Wainwright Director

Last year I was invited by the sculptor David Kefford to judge this interesting and curious open submission show. This was a surprisingly enjoyable experience and a privilege to do. Selecting emerging artists is a delicate process, which needs care, consideration and an open mind. What happens each year is a sort of ‘passing on of the baton’. Firstly you are invited to select, then the following year you invite someone new to select with. This creates an annual new development in the ArtWorks Open. This open submission exhibition is forever subtly changing direction. I decided to break the chain of friendship that was beginning to grow in the previous judges choices and invite someone I didn’t know, but whose work I had shown with. A few years ago in a former bunker, in Nuremberg, Germany, I took part in an intriguing group show. I found my work, in direct relationship with the artist Jonathan Baldock. In this relationship was an odd openness in both our works. This openness is something I am interested in both in my own work and others. So exploring this idea through quietly looking at hundreds of images with Jonathan seemed like a natural choice to me. Now the chain is broken, Jonathan will invite someone completely different next year, which I feel is really exciting for the Artworks Open’s future.

Both Jonathan and I trained as painters, but have both moved towards sculpture as our natural habitat. In Jonathan’s work there is subtle, soft, friction in making and outcome. My own work explores ideas of how objects and images transition historically, mentally and physically when filtered through the artist’s hand. On a quiet, grey Saturday in October, Jonathan and I sat down to go through over 500 submissions. We went through every single image and discussed not only its merits, but also what the artist to us as viewers was communicating. When we created our first shortlist we noticed that we were drawn to things that had a physical play with paint, but which ended up as a dialogue with sculpture. This of course still allowed for the paintings, photographs or sculptures that didn’t fit into that way of thinking to be considered too. The primary concerns when looking at these submissions were quite simple – does the work echo the artist’s ideas? Does it go beyond a well-crafted thing and communicate something ‘other’? The pieces chosen for the ArtWorks Open 2015 we think have this kind of echo in them, whether subtly or at times really directly. Selecting in this slightly subjective way reveals a collection of artworks we hope begin to communicate with each other. When discussing this with Jonathan, we were interested in the idea that the selected artists were possibly being chosen for a curious group show, instead of say a slightly random open submission show. This of course echoes how we encountered each other’s work for the first time. I have a painter friend, Neil Rummings, who once said casually to me “context is king” in relationship to making work. In a way we see this group of artworks as a context for these artists, to communicate with each other and create an open dialogue for themselves and their work. This for me creates an equation of artworks coming together in an open and connective context. Artworks Open 2015 has created further awards and prizes this year. Being in the position of awarding an artist a prize, both financially and artistically is such a joy. We created a shortlist of prizes and awards, once we had viewed the selected artworks in person. This led onto researching further the shortlisted artists. We decided to select four prizewinners, two artists will receive a financial award plus a solo exhibition opportunity and 2 artists will be selected for a 6-week residency. The residency awards for some artists could possibly be more rewarding than a financial injection. Having the time and space to explore their own practice is such a valuable thing. These awards are something that Jonathan and I are very keen on due to having experienced different places and periods of time, where our own work and thinking has expanded beyond recognition, due to a residency. I look forward to watching all the artists selected from past and present Artworks Opens emerge and progress in this slightly crazy thing we call the art world. Paul Johnson November 2015

Dan Davis

Beverly's Pills Oil on canvas 100 x 95 cm 1

Dan Davis

Education 2004 2003

Goldsmiths College, MA Fine Art Goldsmiths College, Post Graduate Diploma Fine Art

Group Exhibitions 2015 2013 2012 2011 2010

Summer Mix DKUK Needle in a Cloud Primitive Accumulation The Drowning World

Turps Gallery, London Ancient and Modern, London Fold Gallery, London Fold Gallery, London Airspace Gallery, Stoke on Trent

Solo Shows 2013 2009

Sodium Vapour Night Light Halcyon

Fold Gallery London Fold Gallery London

I find it curious the way in which context plays such a key role in shaping the way we are affected by a painting. I enjoy the way the context and meaning of a painting are in a constant flux. As soon as you say a painting is one thing, it almost immediately becomes the other. Depressing paintings can become funny because they are depressing, and that can make them deep and meaningful, but also maybe that’s shallow, but maybe even being shallow in a way is sincere, because at least that is honest to some people. But what are we being honest about? Aren’t artists supposed to be magicians or clowns or shamans? Maybe I am a sage bearing witness in this age and under this specific time and context, but all I really know is that today I was curious about an unsettling face and tomorrow I might not even recognise that I had a hand in making that face.

Erin Solomons

Mein Verstandesraum No. 12 Giclee Print 46 x 40 cm

Mein Verstandesraum No. 6 Giclee Print 46 x 40 cm 2

Erin Solomons

Education MA Photography, RCA BA Art Practice, Goldsmiths

Group Exhibitions 2015 2015 2014 2013 2012

SHOW 2015 OFFPRINT Topography Disarranged: Landscape, Dislocation, and Space Border Bodies l Mixing Cities Celeste Prize Exhibition

Royal College of Art, London Tate Modern, London Queen of Hungary, Norfolk Palazza Barone Ferrara, Bari, Italy Centrale Montemartini, Rome, Italy

Awards / Residencies 2015 2014 2012 2012 2012

Longlisted for Hariban Award Artist-In-Residence Towry Award for 'Best Installation' Finalist in Celeste Prize for Photography Warden's Purchase

Benrido Atelier, Kyoto, Japan Earthskin Muriwai, Auckland, NZ Chichester Art Trust, Chichester Celeste Network, Rome, Italy Goldsmiths College, London

Publications 2015 2015 2014 2014 2012

Persons in Location Image Contribution Image Contribution Image Contribution Image Contribution

Exit Strategies Hysteria' Vol. 5 Ellipsis', Vol. A Hysteria', Vol. 1 Millennium Images Catalog V

Erin Solomons’ practice investigates the authenticity and empathy of experiential emotions in the construction of identity. Her most recent work utilizes the landscape of the American West as an allegorical language to discuss the overmedicalization of the mind in the States. She has exhibited internationally, and has work in Goldsmiths’ College collection and private collections in the UK. In 2012, Solomons was shortlisted for the Celeste Prize in photography, and won an award through the Chichester Arts Trust. Recently, she graduated from the Royal College of Art, and is continuing her research in the MPhil/PhD program at UCA Rochester. Solomons was born and raised in Savannah, Georgia, USA. She now resides in London.

Andrea Scopetta

Untitled Figure; clay, dust, coffee and Alpine resin, Base; cement. 28 x 4 x 2 cm 3

Andrea Scopetta

Education Academy of Fine Art, Rome

Group Exhibitions 2015 2013 2013 2012

ArtWorks Open T-A-X-I BETTER THAN BETER Polline e cerniere

ArtWorks Project Space, London Almanac project, London Copenhagen Place, London Istituto Svizzero di Roma, Milan

Solo Shows 2010 2009 2008 2006

I’m not here/ I’m not her Aloe Vera Basico Nardiescopetta

400mq gallery, Ancona Zelle gallery, Palermo Paolo Erbetta gallery, Foggia fpac. Palermo

Sculpture is an attempt of getting a resistant piece of matter to carry an idea, a feeling. It has to be a vehicle of truth and my perception of what truth is, in order to find through forms ways of connecting to what It means to be human.

Justin Fitzpatrick

Residency prizewinner

I was still plugged in when he checked out Jesmonite, water bottles, MDF, wood, Spraypaint, acrylic paint, tubing, wire. 80 x 32 cm 4

Justin Fitzpatrick

Education 2013 - 2015 MA Painting RCA 1991-1994 BA Winchester School of Art

Group Exhibitions 2015 2015

Bloomberg New Contemporaries Bread and Jam

ICA, London 55 Whitbread Rd, London

Solo Shows 2014


Hockney Gallery, RCA

Awards / Residencies 2015

Troytown art pottery residency)

Open School East, Rose Lipman Building

I connect my practice with an expressionist tradition: where the artist is the subjective sensor, absorbing information and imagery from the outside world, attaching it to the internal, bodily feelings and emotional logic and then expressing it into the external world. I like the idea of an uncensored production process, where any and every idea, thought or image that arises from inside is ‘pissed’ out in a steady stream. To ‘piss’ out art is also an attempt to break down my canonised and internalised ideas of a ‘good’ subject for figurative art. Every idea comes out, not just the ones that I place value on. Because of the excessive mode of production, the studio becomes filled, cluttered with sketches, paintings, photos and sculptures. I have to be responsible for all the things that came out of me. I start to question them, and in this questioning a looping structure is initiated. There is a kind of Jungian movement of self-individuation, re-ingesting the excreted material, like an Ouroboros eating it’s own tail. The studio becomes a kind of soup of ego, where works bleed into each other, new combinations emerge and a heuristic ordering and re-arrangement of material happens.

Rebecca Ounstead

Hood Sculpture; Plaster, pigment, glass, MDF, Emulsion, Found Fabric 60 x 60 x 45 cm 5

Rebecca Ounstead

Education 2009- 2012 Nottingham Trent University

Group Exhibitions 2015 2015 2015 2014 2014

One Thoresby Street and S1 Sunscreen, EM15, 56th Venice Biennale No Grey Areas Duo show with Oliver Tirre Surfacing

One Thoresby Street Online Project curated by Candice Jacobs HAHA Gallery, Southampton HotelMariaKapel, Holland Hand In Glove, Bristol Art Weekender

Solo Shows 2014

Tassels 'n' That


Alien Radio - Installation commission in collaboration with Candice Jacobs GIRLS text commission

Bloc Projects, Sheffield

Projects 2015

Nottingham Contemporary Oriel Wrecsam

Awards / Residencies 2015 2014 2014 2013 2012

MSB Exchange Solo show and residency Duo show and residency Summer Lodge Residency Unit 7 Micro Residency

Bloc Projects, Sheffield and Stryx, Birmingham Bloc Projects, Sheffield HotelMariaKapel, Holland Nottingham Trent University Unit 7, Glasgow

Lured into a fetishistic play; materials beckon to be teased and manipulated, fluffed up and glossed. Swathes of organza lick cool steel, Egyptian cottons lay sodden, soft faux furs flirt with becoming sullied. Object becomes ornament. Painting becomes pattern. Fabric becomes framework. Arrangement and precise placement activates the work, suggestive of a lustful touch. Protruding. Straddling. Hanging. An aesthete's eye undresses the scene, noting moments of intimacy between materials. Brushed cotton fibres. Corpulent folds. Glossy blonde ponytails.A seasoned, tasteful awareness of colour palette, pattern and texture are inherent in creating a dialogue which is then performed through the components relationships and proximities to each other. The work endeavours to stimulate and titillate the observer. Proposed, Poised, Precise.

Guy Marshall-Brown

Leaf Green Worms Glazed Ceramics 35 x 20 x 20 cm 6

Guy Marshall-Brown

Education 2015 present

BA Hons Fine Art London Metropolitan

Group Exhibitions 2015 2015 2015 2015 2014

Creekside Open Art Emergency Response Centre Contact Ghost/New Life Christmas Pop-Up

APT, London Bank Space Gallery, London C4RD, London Iklektik Gallery, London C4RD, London

Guy Marshall-Brown is a London based artist, who uses ceramics as his primary medium. He constructs crude ceramic vessels that reference the strong ceramic traditions from around the world, however sees his hand built forms as a canvas upon which to paint. Guy’s work is often made in multiples too, with pieces being repeated, allowing for a Deleuzian reading of difference in repetition. This piece ‘Leaf Green Worms’ is a single art object that aims to combine elements of modernism and post modernism. The piece draws attention to materiality of clay, and the disruption of the surface, while the canvas of the exterior hosts abstract expressionist gestures.

Murray Anderson

Residency prizewinner

Helmet (House) concrete, jesmonite, oxidized iron paint 42 x 42 cm

Column pigmented jesmonite 52 x 16 x 16 cm


Murray Anderson

Education 2010 - 2012 MA Fine Art, Camberwell College of Arts

Group Exhibitions 2015 2015 2014 2014 2013

Unspecified Paradox City Bad Behaviour 4 Heavy Sentience Glasstress: White Light|White Heat

Vacuous Projects, Sluice_, London Centrum Kultury Zamek, Poznań + UP Gallery, Berlin Brixton East, London Block 336, London Berengo Centre for Contemporary Art & Glass, Venice

Solo Shows 2015


Curious Projects, Eastbourne

Awards / Residencies 2015 2014 2013 2011

Paradox City: Poznań, Poland ACE Grants for the Arts: Heavy Sentience project UAL/Berengo Studio Award British Research Centre (BRC): Nucleus Commission

WW Contemporary Art, London Art Fair, London, UK Alternative Space Loop, Seoul, Korea Seoul Olympic Museum of Art (SOMA), Seoul, Korea University of Porto, Porto, Portugal Royal Academy of Arts, London, UK

Publications 2014 2013 2011

Heavy Sentience Glasstress: White Light|White Heat Bright 6

Cambridge School of Art Venice Projects CCW Graduate School, UAL

My practice is broadly concerned with the affective potential of sculpture, re-remembrance of minor cultural castoffs, ambiguity, and empathy. Frequently lugubrious in countenance, the works consist of fragmented or isolated figurative objects, dissociated from a contextualizing provenance or narrative; they are in effect loners or outsiders. Caught in endless irresolution engendering an overarching mood, the artworks rely on imaginative involvement within the viewer, intimating an uncanny pathos to emotionally animate what lies behind the objects’ appearance.

Paul Mitchell

Core Bone, soil, hair, tape, glue, paper, glass, enamel spray 32 x 24 x 24 cm 8

Paul Mitchell

Education 2015 2001

MA Fine Art with Teaching and Learning in H.E, Kingston University, London MA Psychoanalytic studies, Tavistock Centre, London

Group Exhibitions 2015 2015 2015 2014 2014

ArtWorks Open Go Gentle. Collaboration Show Business One White Wall Archival

ArtWorks Project Space, London Central Park, NYC Stanley Picker Gallery, London Project Space, Kingston University, London Stanley Picker Gallery, London

Awards / Residencies 2015 2015

Signature Art Prize, Finalist Fellow of Higher Education Academy (FHEA)

Publications 2015 2014

Kingston University, London X-Marks the Bokship at Matt's Gallery, London

My work explores the relationship between the audience and objects within the space they generate. I think about these spaces as potential sites of an event which has happened, or is about to happen – curious – uncertain – on the edge. I’m concerned with the ambiguity of communication; what we choose to say and not say, choose to remember and to forget – leave out, turn a blind eye to, and events we imagine, embellish and invent. Using text as material, I explore the fragmentary and illusionary quality of screen memories. This is reflected in my playing with language and meaning and exploring the ‘signal to noise’ of the message. I often use multiple images and objects because I’m interested in how they might work together to create a new rhythm, resulting in an uncanny resonance. Print – Sculpture – Installation – Text – Video – Performance Paul David Mitchell – 2015

Simon Linington

Souvenir Acrylic, chalk, clay, cork, dust, jesmonite, plaster, rubber and sawdust in glass tube 66 x 2.5 x 2.5 cm 9

Simon Linington

Education BA Sculpture Chelsea University of the Arts, London Foundation Diploma in Art and Design Kingston University, Surrey

Group Exhibitions 2015 2014 2013 2012 2012

The things we make, make us The Prince’s Foundation for Children & the Arts Group Show Sculpture Shock I Love 3D

Eton Drawing Schools, Windsor Saatchi Gallery, London Londonewcastle Project Space, London Royal British Society of Sculptors, London Christie’s, London

Solo Shows 2015 2015 2015 2014 2013

Now Showing… Out of the Dark Dirty Matters In Circles Closer

The Manchester Contemporary, Manchester Concrete, Hayward Gallery, London Emma Thomas, Sao Paulo William Benington Gallery, London Space In Between, London

Projects 2015

Rhodes Art School

Grahamstown, South Africa

Awards / Residencies 2015 2010

Residency Emerging Artist Bursary Award

Pivo, Sao Paulo Royal British Society of Sculptors, London

Publications 2015 2015 2013 2012 2012

Simon Linington: Dirty Matters Dirty Matters Simon Linington: Closer Floored in peckham FLOOR

I have always thought that it is our relationship with the space around us that creates and controls our mood and behaviour. My studio and the surrounding area is very much an experiment with that idea. It is my interaction and intervention with these sites and the materials that I find there that manifests into my artwork. My space allows me to sit with projects for a long period of time, coming to them later with the freedom to use whatever process and materials are appropriate to convey the idea as it might now be. For Souvenir, I kept the sweepings from my studio floor over a period of several months and divided them into different colours and materials; typically chalk, clay, acrylic and dust. I broke these up with a blunt instrument and sieved them down to a fine dust. The material was then poured into a glass tube at intervals; reminiscent of the Victorian pastime for collecting coloured sands on the Isle of Wight from where I grew up.

Jinyong Park

Sculptural Painting (Black Dog) Acrylic on Paper 50 x 50 x 50 cm 10

Jinyong Park

Education 2015 2012

MA Painting, Royal College of Art, London BA Fine Arts, Kookmin University, Seoul (First class honors)

Group Exhibitions 2015 2015 2015 2015 2015

The Elbow Room Prize 2015 Graduate Art Prize 2015 Show RCA 2015 Surface, Materiality, Space You Never Look at Me from the Place from which I See You

The Gallery on the Corner, London Herbert Smith Freehills, London Royal College of Art, London Hockney Gallery, London Blyth Gallery, London

Awards / Residencies 2015 2015 2014 2013 2013

First Prize, The Elbow Room Prize Shortlist, Graduate Art Prize Longlist, Paint Like You Mean It Shotlist, Constance Fairness Award Excellent Records Award

Elbow Room, London Works in Print, London Interview Room 11, Edinburgh Royal College of Art, London Kookmin University, Seoul

What primarily interests me is the phenomenological experience. I concentrate on the present phenomenon happened to be now and here in working process. I unfold myself into random objects, ever changing light, velocity of atmosphere, and habitual or simultaneous decisions. My practice deals with fleeting wall drawings and a range of works on paper. The wall drawing is subjectively responsive to the individual character of the space while my body becomes a transmitter of the unfixed sensory data onto the wall which in turn serves as a projection surface to be confronted by viewer. Repetitive gesture is for me a direct and natural way of draining the entangled texture of the world. The paper work examines various dimensions by focusing on the quality of surface itself. As such, my work attempts to trace the bottomless history of sense inherent my body and to provoke viewer’s senses in more terms of their body through its character of insubstantiality and physicality.


The Trace of Stillman Drawing on silver reflective paper 53 x 76 cm 11


Education PhD Candidate, Royal College of Art (Painting)

Group Exhibitions 2015 2015 2015 2015 2015

Mindful Mindless Why Would I lie? (Research Biennial) Uncovered Invisible Remnants You never look at me from the place which I see you The Face of Seong Nam_City Rock

Seoul Olympic Museum of Art (SOMA), Seoul, Korea Royal College of Art, London, UK University of Porto, Porto, Portugal Blyth Gallery, Imperial College, London, UK SeoungNam Arts Centre, Seoungnam, Korea

Solo Shows 2016 2016 2013 2012 2010

WW SOLO AWARD The surface of the city and the depth of the psyche Psychogeographic Contemporary Abstract Landscapes Psychogeographic Abstract Landscapes In London Fragments of the Chicago City Maze Project

WW Contemporary Art, London Art Fair, London, UK Alternative Space Loop, Seoul, Korea Seoul Olympic Museum of Art (SOMA), Seoul, Korea Royal Academy of Arts, London, UK School of the Art Institute of Chicago, USA

Projects 2014 2007-2009

Collaboration Design Project (Pocket square design) Volumes in the Paper-cup

Paul Hedge and Hales Gallery, Drake’s Koyang mental hospital, Korea

Awards / Residencies 2015 2015 2012 2015 2011-2012

Winner, WW SOLO AWARD 2015 Winner Winner Residency(Visiting Artist) Residency(Starr Scholar)

WW Contemporary Art, London Art Fair, London, UK Alternative Space Loop, Seoul, Korea Seoul Olympic Museum of Art (SOMA), Seoul, Korea University of Porto, Porto, Portugal Royal Academy of Arts, London, UK

Publications 2015 2015 2013 2009

Alumni Spotlight, Q&A with Kyung Hwa Shon Uncovered Invisible Remnants Psychogeographic Contemporary Abstract Landscapes Artists with New Concepts written by Dr. Jeongsook Lee

School of the Art Institute of Chicago,Chicago, USA Pure Print Elements, University of Porto, Porto, Portugal Monthly Art Magazine (Dec), Seoul, Korea Incheon Women Artists’ Biennale International Symposium for the Women Artists in the ‘Post-Feminism’ Era panel, Incheon, Korea

My artwork explores the reciprocal relation between a city and the imagination through the eyes of a city phantom, ‘Stillman’. The uncovered invisible remnants of ‘Stillman’ make the city a field of excavation where everything is buried, hidden, and remaining undiscovered. Through chasing his traces, the city is transformed into a surrealistic theatrical space for exploration of the feeling of newness and psychic ambivalence. A number of unanticipated experiences in everyday life unfold into extensions of imagination that oscillate between virtuality and actuality. The imagination heightens the sense of unpredictability, instantaneity, and disorientation in the city. It opens out a space for the possibility of experiencing a rapid transition of both spatiality and temporality, as well as sensory experiences of fragmentation. The myriad ambiguous signs and letters in the street and fragmented specular images on shop-window displays are crucial elements in creating peculiar relationships with the world of things, implying the emergence of the imagination. Through these elements, the infinite boundary of the imagination unleashes the city as unaccustomed, disoriented, and reencountered. My art-practice focuses on the rediscovery of psychologicalheteromorphic identification, the presence of invisible substance, and fantastic visual experiences emanating from serendipitous moments of glitch in the city.

Aisha Christison

ÂŁ500 and solo show prizewinner

Vanderlyn Image Results in 'Pop' Watercolour on paper 58 x 78 cm 12

Aisha Christison

Education 2009 - 2012 Chelsea College of Art and Design 2007 - 2008 University for the Creative Arts Canterbury

Group Exhibitions 2012

Chelsea College of Art Degree Show

Chelsea College of Art

Awards / Residencies 2015-2016

The Florence Trust

The Florence Trust, St Saviours Church, Highbury

In this visually saturated world we absorb visual stimuli like machines, or perhaps interact with it like catalysts in a chemical reaction. My paintings are a reaction to this excess of images with my sources ranging from the internet, stock photography to historical works of art and out-dated interior design anthologies. The works reflect my journey as a painter in learning about painting’s history. They often act as a moodboard or a design for another painting, using pre-determined colour schemes that I invent or digitally extract from existing works of art in order to give the work a sense of familiarity, or literally embed painting’s history into the work. Working like a still life painter, I arrange the subjects of my paintings in my studio before they are translated onto paper or canvas. Mirroring how we consume images today, through our many screens, the rigid rectangular framing of the image is juxtaposed by a loose painterly style and my joy in the painted surface.

Samantha Donnelly

Free Association Collage & found objects 41 x 62 x 29 cm 13

Samantha Donnelly

Group Exhibitions 2016 2015 2014 2013 2011

Semi Gloss Semi Permeable Do It Yourself Vivarium Tip of the Iceberg The Shape We're In

The Albus, Glasgow: Supported programme Glasgow International The Ryder, London Model, Liverpool Contemporary Arts Society, London 176 / Zabludowicz Collection, London

Solo Shows 2014 2012 2012 2011 2010

Ceri Hand Gallery, London Standpoint Gallery, London The Cornerhouse, Manchester Ceri Hand Gallery, Liverpool Vitrine Gallery, London

Awards / Residencies 2015 2013 2012 2011 2009

Acme Firestation Residency, London Hospitalfield House Residency, Scotland Kaus Australis, Rotterdam, NL Scottish Sculpture Workshop, Aberdeenshire RBS / Brian Mercer Bronze Residency, Pietrasanta, IT

Samantha Donnelly Lives & works in London Samantha Donnelly’s practice is concerned with the fluidity of representations, specifically the shifting relationships between the (physical) object and the (photographic) subject. Her work explores the balance between the signified and the embodied; matter and commerce; the recorded against the transitory. Recent exhibitions include ‘Rubbernecker’, Ceri Hand Gallery, London, 2014; 'Tip of the Iceberg', Contemporary Art Society, London, 2013; 'A Private Affair', Harris Museum, Preston, 2012; ‘Contour States' Cornerhouse, Manchester, 2012; 'The Shape We're In', 176 / Zabludowicz Collection, London, 2011 and 'Compendium', Vitrine Gallery, London, 2010. She has been awarded an ACME Firestation Live/Work Residency in London from 2015-2020.

Evelyn O’Connor

Awkward Ketchup, sugar, pva glue, compost, acrylic paint 45 x 60 x 30 cm 14

Evelyn O'Connor

Education 2012 - 2015 Royal Academy Schools 2006 - 2010 Limerick School of Art and Design

Group Exhibitions 2015 2015 2015 2013 2011

Wells Art Contemporary Finding Form Oh! For you I would do anything The Independent Artist Fair Fumes of Formation

Wells and Mendip Museum, Wells Art First, London Tritongatan5, Gothenburg Mile End Art Pavilion, London Queen Street Gallery, Belfast

Solo Shows 2011

Moving Backwards. Backwards Moving

Awards / Residencies 2015 2015 2012 2010

Red Mansion Art Prize The Agnes Ethel Mackay Travel Award Travel and Training Award from The Irish Arts Council Recipient of the Contact Studios Residency and Bursary Award

Evelyn O’Connor’s sculptural practice is led by a fascination with the obsession to dress one thing up as another and transform the objects and materials of everyday life. O’Connor chooses homely objects and materials as a means to investigate colour, shape, line and the relationship between us and the objects and materials we surround ourselves with. The dynamic between the literal and imaginative status of the objects is also achieved through her use of materials and colour. The colour of some of the objects O’ Connor uses to defamiliarize them, making them seem appropriate parts of the imagined scene. Objects float between the formless and the recognizable forms of everyday items, all the time dealing with the potential of transformation and chance. These sculptural forms are essentially props for a space. They trace the pathways of so many objects that migrate off the body, lean up against it or touch it but also extend that body and therefore extending sculpture into the world. The connections are as diverse as the forms. O’Connor does not just invent the forms but also invents the way they “sit” with each other.

Camilla Bliss

2 Slabs, 1 Net and a Piece Of Meat. Ceramic, Plastic, Stone 24 x 23 x 20 cm 15

Camilla Bliss

Education BA -University of Brighton

Group Exhibitions 2015 2015 2015 2015 2015

Chisenhale Open FPS Summer Exhibition Salon Des Refuses Unfixed Home Exhibition

Chisenhale Studios, London Menier Gallery, London SPACE Gallery, London Espacio Gallery, London Curitiba, Brazil

Solo Shows 2012 2011

Kluskap Boom!

Avago Space, Brighton Avago Space, Brighton

Awards / Residencies 2014 2012 2012

Into The Wild' emerging artists programme Nagoya University Prize: In recognition of outstanding artistic achievement at the Burt, Brill & Cardens Graduate Show Nominated for the June Sidney Crown dissertation prize for the best final year undergraduate students research dissertations

Chisenhale Studios University of Brighton

Camilla Bliss (b.1989) is a British artist who graduated from Brighton University in 2012. She was selected for the ‘Into the Wild’ Emerging artists programme lead by Chisenhale Studios, and is currently a member of FPS (Free Painters and Sculptors) – A not-for-profit organization originally associated with the ICA (Institute of Contemporary Arts), with its current home now at the Menier Gallery in London. ‘2 Slabs, 1 Net and a Piece of Meat’ represents a shopping list you might find discarded in an empty basket: a snapshot of another person’s life. It becomes a still-life portrait of the person that wrote it. Still-life paintings originally adorned the walls of the rich to show off their wealth. The patron could decide how he wanted to be seen through the objects he chose to be painted. This work questions how our choices represent who we are or how we choose things to push a certain persona or lifestyle. It also touches on the image we imprint on social media in these current times. A link can be seen between the paintings people in the past chose to hang on their wall and the photographs people choose to post in our modern society.

Paul Dixon

Whiz Ink and acrylic on canvas 68 x 53 x 2.5 cm 16

Paul Dixon Education 2004 - 2006 MA Painting. Royal College of Art 1991 - 1996 BA Winchester School of Art

Group Exhibitions 2015 2015

Griffin Open ACAVA Open

Griffin Gallery, London Colville Road studios, London

The piece of work I am exhibiting is a monotype drawing, which has been printed onto canvas. The canvas has then been cut, following the contours of the print and applied to a support. There is a sense of movement or animation in the drawing, which the title ‘Whiz’ refers to, although the process of creating the mark was slower and more considered. The resulting print having a graphic character that operates somewhere between cartoon and gesture, presented in a more concrete form.

Alex Simpson

ÂŁ1,000 and solo show prizewinner

Under my carapace Ceramics, ink, wood and wire rope 95 x 45 x 50 cm

Spill Ceramic, ink and latex 25 x 62 x 51 cm


Alex Simpson

Education Royal College of Art University of Brighton

Group Exhibitions 2015 2015 2015 2012 2011

FRESH British Ceramics Biennial SHOW RCA In Suppoer if Eating Group Show Murmurs

Spode Factory, Stoke on Trent Woo Building Battersea, London Sketch, London Lilk Gallery, London The Horse Hospital, London

Solo Shows 2014

Are We Strangers Now?

OZ Gallery, Amsterdam

Awards / Residencies 2015 2010

Shrimp Tank Residency John Vernon Lord Sketchbook Prize

Balin House Projects, London

I am looking to create a sense of uncertainty; an ambiguity of form and surface whilst attempting to capture a presence of life, movement, contained within a material hardened and far removed from its soft and transient origins. I attempt to distill a moment of transition, somewhere between becoming and dissolution; to create forms of internal and external spaces through which I can explore personal and collective experience. I primarily work with ceramics and painting, producing installations of organic, softly modulated sculptural forms that explore moments of the ‘in-between’. I am interested in the haptic quality of the mark and the transition of this mark between two and three dimensions, to work between surfaces. Direct interaction with the material is important, my approach to creating is to move between intuitive and controlled, to allow the unknown to enter into the making process and let my subconscious direct the form. I use clay and Indian ink as they have similar material qualities; fluid, responsive, immediate and yet marginally unpredictable. The way in which the ink is painted on the surface expresses the visceral experiences that the sculptures allude to.

Radek Brousil

Untitled, from HANDS CLASPED, 2015 Photography 54 x 36 x 4 cm 18

Radek Brousil

Education MgA.

Group Exhibitions 2015 2014 2014 2012 2008

Hands Clasped Studio Works 2 Studio Works 1 Untitled 19 - Untitled 21 St.Francis Comes to Montreal

FAIT, Brno Plusminusnula gallery, Žilina Fotograf gallery, Prague Josef Sudek Gallery Parisian Laundry, Montreal

Awards / Residencies 2015

Oskar Cepan Award Winner

Hands Clasped, 2015 The pictures are inspired by studio photographs of liquid and elastic materials and a decision to abandon the traditional format and move the photographs to another dimension. From a semantic point of view, Brousil has actually transferred himself from the photographs as images of reality to their autonomous features - especially the physical, material nature of enlargements. When we are ashamed to say that the photographs are images, without feeling the obligation to add that they are also physical objects, on the top of that objects scenically structuring the white gallery space, we actually personally experience their unusual hybridity.These key concepts can remind us of the intentions of the early avant-garde, not only in the field of photography – for example of futurism. Brousil´s photography (and everything how he proceeds the photos) rather points towards the "outside world and society", towards how we perceive photographs and how we think about them.

Fagner Bibiano

Glory Hole #3 Photography 30 x 21 cm 19

Fagner Bibiano


2012 - 2017 PhD Fine Art - University of the Arts London 2009 - 2011 MA Fine Art (Distinction) - Central Saint Martins

Group Exhibitions 2013 2012 2011 2011 2011

Crash Open Salon Concrete Mirrors Mostyn Open Creekside Open (selected by Phyllida Barlow) Les Rencontre d'Arles (shortlist)

Charlie Dutton Gallery, London Saint Pancras Crypt, London Oriel Mostyn Gallery, Wales APT Gallery, London Gallerie Huit, France

Publications 2014

Framing Fantasies: Fetishism and Erotic Perversions in Relation to the Gaze in Photographic Practice

The Nature of Erotic as Desire and Intuition (Inter-Disciplinary Press

My biography is influenced by my evangelical upbringing in Brazil and my later experiences of sexuality in London, where I have been living for the last 14 years. Whilst not autobiographical in its entirety, my art practice is stimulated by my concern with issues deriving from my experiences. Such experiences and concerns include the relationship between sexuality and death which my generation has always faced due to the emergence of the HIV virus and the dichotomy between the visibility and invisibility of the erotic in relation to contemporary urban spaces. My practice considers the position of the photographic apparatus and the positioning of the artist in publicly accessible spaces where anonymous erotic encounters take place, engaging in questions of who has the right to look and in what circumstances, with what technology. I am interested in aspects of invisibility such as the space excluded by the borders of the photograph, empty spaces represented within the rectangle of paper, figurative absence, ocular obstructions and elements of concealment as activators of the desire to look. I am currently a 4th year PhD Candidate at the University of the Arts London.

Margita Yankova

Pickled Support Sculpture 30 x 15 x 20 cm

Surinam Toad Sculpture 19 x 22 x 38 cm

To be, Been, Being Sculpture 70 x 50 x 50 cm


Margita Yankova

Education BA Fine Art Goldsmiths University of London Foundation Diploma UAL

Group Exhibitions 2015 2015 2015 2015 2014

Hundreds and Thousands ARGA Recent graduates award exhibtiion Love the water Goldmsith Degree show Art-Athina, Faliron pavillion

2015 2014 2104

The Living room project: Leap of Faith The New Venus project AMP London: Art meets Politics

Angus-Hughes Gallery, London Art Hub Gallery, London HFBK, Hamburg, Germany Goldmsiths University, London Athina Art Fair, Greece


Awards / Residencies 2015 2015

ARGA ART HUB Award nonsofia residency summer 2015

Publications 2015 2015

Emerging talent, Bulgaria, Utro Newspaper, summer Goldsmiths Investigative Spirit Shines In 2015 BA Fine Art Degree Show

My sculpture is animated by a playful spirit, seeking to defy expectations of the performative and material properties of the medium. The work explores elemental variance, questioning our will to engage with the familiar and subverting it through humour. The notion of unidentifiable resemblance characterises the works, which seem at once recognisable and too unusual to prescribe familiar meaning to. Exploring this space between the conventional and the extraordinary, taps into the issues around existence, consciousness and physicality. With my work I strive to challenge the viewer’s perception of what they think something is. By paying attention to what materials mean, as well as their formal properties, referencing craftsmanship and the familiar domestic scale, I try to shorten the distance between the viewer and my work, inviting them to take part in a journey where both our imaginations could meet. Defying the expected use of certain materials, I deal with the sense of value, pointing out that art is not a luxury in its uselessness, but a necessity, essential to our existence. I am inspired by found natural objects and follow their formal suggestions to create the rest of the sculpture according to them. In this way I communicate directly with the natural shapes that lead my work

Mimei Thompson

Binbag with fruit and cigarettes Oil on canvas 30 x 40 cm

Weeds, blue plastic Oil on canvas 40 x 50 cm 21

Mimei Thompson

Education MA Painting, Royal College of Art BA Fine Art Photo, Glasgow School of Art

Group Exhibitions 2015 2015 2014 2013 2010

Exeter Contemporary Open Material Tension Chew Crew His Monkey Wife Marmite Painting Prize

Phoenix, Exeter Collyer Bristow, London Transition Gallery, London Project Room, Glasgow Nunnery, London andnational tour

Solo Shows 2015 2015 2014 2013 2008-9

Flies in my eyes The Year of Sleepwalking Solo Show Lunar Asparagus Internal Geometry

Queens Park Railway Club, Glasgow Art First Projects, London Trade Gallery, Nottingham Art First Projects, London Drawing Room at St George’s Hall, Liverpool

Awards / Residencies 2015 2010 2010

Atlantic Centre for the Arts Residency Hex Artists Colony Jerwood Contemporary Painters

Florida, USA Sweden Jerwood Space, London

Mimei Thompson’s paintings are both process based and representational. The works are constructed in thin translucent layers over a smooth white ground. Paint marks function descriptively, but their physicality, as paint and as trace of gesture, remains strong. There is a preoccupation with the everyday made strange, radiant, or poetic. The subject matter is often the humble or overlooked, such as weeds, insects, an overgrown urban corner, or a spilling bag of rubbish. The work also often contains allusions to particular states of mind or psychological explorations. The world in the paintings has a sense of fluidity, and a commonality, where everything is made of the same substance. There is a feeling that matter is temporarily taking on certain forms, but these could be transient and capable of morphing. ‘Nature’, a broadly interpreted theme in the work, stands in for a site of authenticity, searched for but knowingly unattainable. In making the work there is a drive to connect to a place of origin, coupled with a knowingness of the impossibility of satisfying this desire.

Peter Donaldson

Scotch Bright Jesmonite, domestic sponges 44 x 44 x 11 cm 22

Peter Donaldson

Education 2007 - 2010 Royal Academy Schools 1998 - 2002 Edinburgh College of Art

Group Exhibitions 2015 2015 2015 2014 2014

TAP Members Show 10 one night stands East London Painting Prize TILT Flat Packed

Temporary Arts Project, Southend on Sea Unit K, Lea Bridge Rd, London The Rum Factory, London Royal Academy of Arts, London Punk and Sheep, London

Awards / Residencies 2014 2010

Royal Academy of Arts International Residency Deutshce Bank Award for Fine Art

Royal Academy of Arts, London

I walk to the studio with my dog. On the way we stop at the park, a crumpled can of Tyskie skewered on the entrance gate welcomes us, like a pathetic John Chamberlain. An attempt to lob a poo bag full of warm turd into the bucket goes wildly awry and gets stuck in a tree, a shit Yoko Ono. As we walk past a row of condemned garages a pair of Eva Hesse’s tights stretch over a site fence. On the way home we have an encounter with a disheveled and slumped Daniel Buren, which turns out to be a PVC parking cover, the dog is less impressed than me. The detritus of human consumption become sculptural relics that litter my pilgrimage to the studio. I have tried recreating these objects in the studio, but the moment has passed, left behind in the street. Now I use them as a starting out point, I recontextualise and reanimate them, using casting techniques, paint and found objects. The results reflect an absurd rethinking and reimagining of the man made moments that are incidental in our everyday lives.

Tyler Mallison

Small Yellow (Arcadian Algorithms) Synthetic pigment (acrylic and gesso) on cotton calico 64 x 50 x 3 cm

Splendour (Prime Arcadia) Pigment print on plastic paper (rolled) 59.4 x 41 cm 23

Tyler Mallison

Education MA, Central Saint Martins (UK) BA, Northwestern University (USA)

Group Exhibitions 2015 2015

Summerville in Wilmersdorf Fingers Crossed II

2015 2014 2013

Fingers Crossed I M29 with Yngve Holen (ACSA14) Stars in My Eyes

Zähringerstr. 2, Berlin (DE) The Engine Room, AWOL Studios Gallery & Project Space, Manchester (UK) Rogue Studios Project Space & 3rd Floor Gallery, Manchester (UK) Autocenter Contemporary Art Berlin (DE) Schwartz Gallery, London (UK)

Solo Shows 2015 2015 2014

#2 / Progression #1 / Progression Shadow of my Former Self

Westland Place Studios, London (UK) Studio One, Euroart Studios, London (UK) The Window Project Dalston, London (UK)

Awards / Residencies 2015 2014 2014 2014 2013

ACSA with Erwin Wurm Celeste Prize (Painting & Drawing), selected for short list by artist curator Pedro Vélez ACSA with Alexandra Leykauf, Eva Berendes, Friederike Feldmann and Yngve Holen WW SOLO Award, selected artist ‘Hot-One-Hundred’ artist

Autocenter Contemporary Art Berlin (DE) Celeste Prize Milan (IT) Autocenter Contemporary Art Berlin (DE) WW Contemporary Art London (UK) Schwartz Gallery (UK)

Publications 2015 2015 2014 2006 2005

Artist Interview', Florian Langhammer ‘Contemporary Reflections’, Interview with Eva Berendes, Joep van Liefland, Gianni Moretti; Tyler Mallison ‘New Perspectives: A Glimpse into the Minds and Work of Three Captivating Artists’, Raimond Radtke ‘Berlin Show: DesignMai & IV Biennale of Contemporary Art Berlin’, Laura Maggi ‘What is Graphic Design For?', Alice Twemlow

Collectors Agenda (AT) COIO, Basel (CH) COIO, Basel (CH) Elle Décor Italia (IT) RotoVision (CH)

Tyler Mallison is a London-based British-American multi-disciplinary artist. His practice explores tensions between external and internal forces, investigating themes of identity, mutability and navigation that reflect a certain Post-Internet sense of self characterised by desire, uncertainty and dissonance. There is a focus on process and meditative actions — collecting, arranging, transforming — that seek to incorporate the medium of time, body and movement. Across the work there is a marked emphasis on materiality, digital mediation and the expanded field of painting. A specific concern relates to the proverb ‘The clothes make the man’, employing ready-made textile objects alongside everyday constructivist agents as an analogue for consumerism, self-improvement, image manipulation and strategies of social projection—in both the real and virtual sense.

Kazuya Tsuji

Drawing Graphite on paper 5 x 20 x 15 cm 24

Kazuya Tsuji

Education MFA Chelsea College of Art and Design, London BA in Sculpture, Tama Art University, Tokyo, Japan

Group Exhibitions 2015 2013 2012 2012 2011

Two Truth curated by Rebecca Pelly-Fry Burning Bright curated by Rebbeca Wilson WW Solo award 2012 selected by Helen Sumpter, Deb Covell and Francesca Brooks Curing Nostalgia 01: Remedies For A Historical Emotion curated by Catalina Bolozan Connection Point curated by Edward Lucie-Smith

Griffin Gallery, London Saatchi Suite, London WW gallery, London the Brukenthal National Museum, Romania The Nunnery, London

Solo Shows 2014



The Window Project (Solo Representation) curated by Schwartz Gallery Grange Gardens Sculpture Commission with Gallery 8

Schwartz Gallery

Projects 2011

Awards / Residencies 2012 2011 2010

Finalist, Surrealism Showdown - Saatchi Grange Gardens Sculpture Commission Competition Winner The Cecil Lewis Sculpture Scholarship

Saatchi Online Gallery 8 University of the Arts London

Publications 2015 2010

Steadfast Magazine, Cover page and Featured Artist page The Nature of Change: Hybridity and Mutation (Ex Catalogue)

Steadfast Arte, NY BLEESE LITTLE

In this new series of drawings, I have constructed a number of paper boxes covered by graphite, in an attempt to mimic a metal solid. This is to explore my major interest in directed perception - which can lead to a certain assumption of our surroundings. I often question the accuracy and reliability of our perception, particularly in a contemporary context. In terms of aesthetics, I have often employed a minimalist angle. The root of my inclination is very likely my cultural heritage; for instance, the beauty of Japanese calligraphy relies on the simplicity of gestures, to ultimately produce a complex shape. Similarly, I use a reduced number of processes in my work, while at the same time trying to retain a clear message. This faint resemblance to a broader, national common denominator is a recent discovery for me - and therefore intriguing. By continuing my practice in this manner I hope to find an innate method of perception that is more clearly embedded in a Japanese way of thinking. Kazuya Tsuji

Silvia Lerin

Caterpillar. 2015 Acrylic on fabric 74 x 16 x 9 cm 25

Silvia Lerin

Education B.F.A.

Group Exhibitions 2015 2015 2015 2015 2013

Shaped in Mexico XV Meeting Contemporary Art (E.A.C.) From Centre. This Year's Model Room Art 2013

Bargehouse. Oxo Tower. London. UK MUA. Museum of the University of Alicante. Alicante. Spain The Loud & Western Building. London. UK Studio 1.1. London. UK Museo Centro del Carmen. Valencia. Spain

Solo Shows 2015 2013 2013 2012 2011

Mind the gap Conversation with the building Crisis in concrete Risse. Skulpturen und Bilder von Silvia Lerin Silvia Lerín. Malerei und Grafik

Horizon Gallery. Colera. Girona. Spain Prairie Center of the Arts. Peoria. IL. USA Exhibition Hall. Vincent Ventura School. Valencia. Spain Mainzer Rathausgalerie. Mainz. Germany Sophien - Edition Gallery. Berlin. Germany

Awards / Residencies 2014 2013 2012 2009 2008

Pollock-Krasner Foundation Grant A.I.R. Prairie Center of the Arts Grant “ Promotion of Contemporary Art “ Pilar Juncosa Grant Grant “ Promotion of Contemporary Art “

N.Y., USA Peoria, IL, USA Spanish Ministery of Culture. Spain Pilar and Joan Miró Foundation. Mallorca. Spain Spanish Ministery of Culture. Spain

“…I came to the conclusion that for making one of my pieces I needed previously some kind of piece of wood or paper or anything from which I could compose a new artwork, they challenge me to think about my own artistic discourse and to evolve in the creation of better pieces, reaching new boundaries.”

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