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ArtWorks Open 2016 selected by

Jonathan Baldock and Florence Peake


ArtWorks Open 2016 selected by

Jonathan Baldock and Florence Peake


ArtWorks Open 2016

Selected by Jonathan Baldock and Florence Peake

Ruth Solomons Sam Douglas Gwil Hughes Camilla Bliss Bettina Amtag Charlotte C. Mortensson Sofia Tornero Thomas Greig David Cooper Peter Donaldson Joseph Goddard Grace Jackson Daniel Roch Tana West J F Payne Ben Walker Clare Jarrett Selma Makela Keeler Tornero Francesca Blomfield Alicia Reyes McNamara Julia Miranda Fausto Sanmartino


ArtWorks Open 2016 selected by Jonathan Baldock and Florence Peake

Jonathan Baldock’s work explores a contemporary ‘primitivism’, transforming between sculpture and prop, disparate cultural references and exquisite craftsmanship his work takes the form of painting, sculpture, installation and performance, all with a sense of the uncanny. Sewn patches of felt replace painted background in Baldock’s paintings and encase carved blocks stacked as monumental monolith or dispersed as prop. At once, creating a performative space and occupying a gallery space as emblematic abstract works. Porcelain, ceramic, straw and leather and further materials are employed within these frameworks as fragile marks and gestures, or as sculptures assemblage or groupings of implausible tools. Viewed as an installation or encountered as individual sculptural parts, the viewer and the object and the space they simultaneously occupy is brought into question, as ritual act or theatre. Jonathan is currently showing at PEER until 28 January 2017 Love Life: Act 1 Jonathan Baldock and Emma Hart

Florence Peake is a London-based artist who has been making work since 1995. With an extensive training in dance and a background in painting, Florence Peake’s performance practice uses drawing, painting and sculpture materials combined with found and fabricated objects placed in relationship to the moving body. Site and audience, live and recorded text, wit and humour are key to her work. Florence lectures at the Universities of Surrey and Coventry


ArtWorksOpen 2016 received 467 submissions from 248 artists. On behalf of the trustees of Barbican Arts Group Trust I should like to extend my thanks to all the artists that submitted work. The selection of a show is a subjective exercise and in this case Jonathan Baldock and Florence Peake have chosen a surprisingly eclectic mix. It’s an exhibition unlike any of it’s predecessors. The artists included have come from near and far geographically and otherwise. I greatly respect their commitment and tenacity to their practice. It is also gratifying to note the European connections from their CVs’. Here’s hoping we still have friends in Europe! Many thanks to Jonathan Bladock and Florence Peake for their time and insight in the selection of the show. A lot of work goes into this show and I should like to thank Neil Irons, Lesley Dalton, Jonet Harley-Peters and Sharon van Heck for all their input. Thanks, as always, to Nadia Spita and London Art Cafe for hosting the opening event and presenting the prizes. Mark Wainwright Director


This is my second and therefore final year selecting for the Barbican Arts Group Trust’s Open after being “handed the baton” from Paul Johnson. This year I asked artist Florence Peake to come on board and make the 2016 selection of artists for this unique prize. Florence was an immediate choice for me. Introduced in 2014, Florence collaborated on a work of mine in Primary, Nottingham. Having made a large installation with costumes and sculptures I asked Florence to inhabit and activate the work through a performance. Instantly in the first rehearsal I felt magic in our working together. She understood my work and was incredibly generous and inspiring. Florence links the world of dance and visual arts like no other. An incredible dancer and performance artist, but also an amazing painter who continues to evolve and take on new challenges. The energy she has within her is electric. For me she is an inspiration. So how would this fair in the selection process? Would we agree? Works were presented to us without knowing the name of the artist, as kind of blind selection based purely on the image of the works we saw on the computer screen in front of us. Having carefully gone through all the images of the submissions several times our final task was to go through the works one last time and with a simple click of the mouse on the ‘yes’ or ‘no’ button determine our choice. Rather wonderfully for me (as my second year selecting) this years submissions differed greatly from last year and an entirely new set of complexities were presented to us. I wondered if the experience would be familiar and predictable but of course it wasn’t and I enjoyed the process for a completely different set of reasons. Florence and I agreed entirely on our final selection of artists. The limitations set within the submission process of course affects the type of work that artists apply with. However I believe the works selected this year to be very strong and I am very happy to have been given the honor of making the selection with Florence. It is important to remember that this is not a curated show, no themes or ideas have been explored and no attempt has been made to make show works that compliment each other. Florence and I simply choose the works that spoke to us, and that we considered strong and deserving of a place in the exhibition. These choices of course reflect our personal interests and likes whether in subject or medium. Jonathan Baldock November 2016


Ruth Solomons


Ruth Solomons: canvas collage / painting constructions Nov 2016 Barry Schwabsky recalls Elaine de Kooning’s fictional tale about an artist who surrounds himself with tubes of coloured paints but only makes white paintings (Schwabsky, 2010, p.90). Schwabsky describes such rejection as ‘not simply a matter of habit but of a choice constantly renewed’. He contrasts de Kooning’s description of contrived rejection with practices containing elements of ‘determinate negation’ (Schwabsky, 2010, p.91). This implies a need for resources to have been gathered with a genuine intention to use them, in order for their rejection to be ‘determinate’. I am led to consider how ‘determinate negation’ might be said to be part of my own practice: in terms of how I gather the things which I need to have, in order to reject them. For example, in selecting a used envelope to draw on, I reject the sketch books and blank cartridge paper in my studio. In picking up a discarded piece of wood to paint on, I reject white primed square boards and canvases that are stacked up, ready to be used. I reject materials that I have already. Importantly, these materials were accrued with a genuine intention to use them. In an interview with Elizabeth Fisher, Phyllida Barlow describes how the evolving nature of her studio is conducive to practice: ‘the debris of the studio is a great resource’ (Fisher, 2013, p.100). Similarly, the debris of my studio, ranging from paint-splattered pieces of wood on the floor, to old paintings which I now cut up and collage together to create new compositions, is all accrued with a consciousness of its importance as a resource for my practice. As an iterative next step, I now map these concerns onto sections from previous paintings, both on board and on canvas. Multiple senses of painting, relief and sculpture are combined, especially due to the challenges involved in re-mounting painted sections of canvas. Thus, a ‘determinate negation’ cycle is created, whereby paintings genuinely considered finished parts of my practice are now incorporated back in, combining past and present practice through a need for material resource. Fisher, E. & Fortnum, R. (eds.) On not knowing: how artists think. London: Black Dog Publishing Schwabsky (2010) The symbolic studio. In: Jacob, M. J. & Grabner, M. (eds.) The studio reader: on the space of artists. Chicago, London: University of Chicago Press. pp.88-96


Ruth Solomons

Stratigraphic oil on canvas collage 50 x 46 x 2.5 cm ÂŁ 1,250


Ruth Solomons

www.ruthsolomons.com

2014-2019 PhD Arts Management, Birkbeck College, University of London

Group Shows 2016

2015 2014

- Drawn for Something Else, Rogue Artists Project Space, Manchester - Summer Salon, Angus Hughes Gallery, London - London… and Breathe, Platform X Gallery, London - View of Delft: the World in Art, New Court Gallery, Repton - Digging Deeper, Joanna Bryant Projects, Frameless Gallery, London EC1R - The London Group Draw II, The Cello Factory, London - (detail), Usher Gallery, Lincoln - Deep East Winter, Mayor’s Parlour Gallery, Bow, London - Deptford X Fringe Festival, St Nicholas Church, Deptford Green, London - (detail), H-Project Gallery, Bangkok, Transition, London


Sam Douglas


My painting practice has benefitted over the years from various travels and residencies that counteract the static nature of my studio routine and generate new material. I aspire to work in a similar vein as antiquarian tourists who set out to explore various landscapes and reconsider ancient sites- stone circles, burial mounds etc, whose function is often open to interpretation. I have expanded the range of sites of my enquiry to include more recent constructions such as the lines of streetlights, pylons and radio masts. These form a particular equation of elements for me when combined with ancient sites and observations of the moon and sun. Once in the studio I scale up my studies and aim to transform and disrupt them through various painting processeslayering varnishes and washes of linseed oil to create an altered light and atmosphere. The burial and uncovering of elements within this surface can be suggestive of archaeological activity, with ambiguous forms half sunk in the strata of the paint- cryptic architecture, unnatural outcrops of rock and the remnants of industry.


Sam Douglas

Gidge beside the parrett oil and varnish on board 59 x 99 x 5 cm ÂŁ 1,500


Sam Douglas

www.samdouglas.co.uk

BA Fine Art Painting, University of Brighton

Group Shows 2016 - Summershow, quay arts, Isle of Wight - Vanishing point, James Freeman Gallery, Islington 2015 - CBP, Marylebone crypt - Signal Failiure 2, Maverick projects, Peckham -Transpositions, St. Petersburg museum of Non-conformist art, Russia - London Painting Survey, ArtWorks Project Space, London - Jacob Sande Museum, sogn og fjordane, Norway 2014 - Contemporary British Painting, Huddersfield art gallery, Yorkshire - East London Painting Prize, Bow Arts, London - Signal over noise, Pictorem Gallery, Walthamstow, London - Pedra Sina Project Space, Funchal, Madeira - Threadneedle Prize, Mall Galleries, London Awards / Residencies 2015 -Rost Residency, Lofoten, Norway -NKD Dale Residency, Norway 2014

-Pushinskaya -10 Residency, St. Petersburg, Russia - Pedra Sina Residency, Funchal, Madeira


Gwil Hughes


Gwil Hughes is a Welsh visual artist currently based in South-East London. Self-taught, Gwil has been developing his practice since completing a Modern Languages degree at the University of Oxford in 2014. Painting and drawing on a range of media (from slate to Perspex) are Gwil’s current focus. One ambition which drives his work is translating personal responses to experience – emotional, physical, real, imagined –to evoke a response in the viewer. How do choices of media and gesture carry meaning? How can you be truthful rather than descriptive?


Gwil Hughes

Tiber Valley II oil and varnish on board 20 x 25 x 4 cm ÂŁ 450


Gwil Hughes

www.gwilhughes.com

BA Mod Langs, University of Oxford

Group Shows 2016 - ING Discerning Eye, Mall Galleries (selected artist) (17-27 Nov.) - Ibero-American Arts Award, 16 Nov - 6 Dec - Unbound’ at Espacio Gallery, 22 - 27 Nov 2015 - Signal Failiure 2, Maverick projects, Peckham -Transpositions, St. Petersburg museum of Non-conformist art, Russia Solo Shows 2016 - Ripple’ - April 2016. Solo show of 65 paintings on theme of undulation and liminal spaces of natural landscape. Over half work sold during exhibition. 10% of proceeds donated to charity.


Camilla Bliss


Camilla Bliss (b.1989) is a British artist working as Living in London. She was recently selected for the ‘Into the Wild’ programme lead by Chisenhale Studios and is currently a member of FPS (Free Painters and Sculptors) – A not-forprofit organization originally associated with the ICA (Institute of Contemporary Arts, with its current home now at the Menier Gallery in London.


Camilla Bliss

Spear Heads Ceramic, Plaster, Polystyrene, Emulsion, Horsehair, Copper 83 x 70 x 15 cm ÂŁ 420 (each)


Camilla Bliss

http://www.camillabliss.com/

2009-2012 - BA, Fine Art Sculpture, University of Brighton

Group Shows 2016 - Art Reunite’, KAS Gallery, London, England. Nov-Dec - ‘Decorex International’, Syon Park, London, England. September - Preparing the Site’, Bank Space, London, England. May 2015 - ‘FPS Open’, Menier Gallery, London, England. November - Artworks Open, Barbican Arts Group Trust, ArtWorks Project Space, London. November - Into The Wild, Chisenhale Studios, London, England. October - ‘Salon Des Refuses’, SPACE, London, England. June - ‘Unfixed’, Espacio Gallery, London, England. March 2014 - ‘Missing Narratives’, Menier Gallery, London, England - ‘Without Boundaries’, Menier Gallery, London, England Awards / Residencies 2014 - Selected for the Chisenhale Studios ‘Into The Wild’ Programme Projects 2016 - Elle Magazine UK - Sculptural commission for their Feminist Campaign. December Issue - The New Craftsman - Ceramic vessels for their Decorex International display


Bettina Amtag


My work is an ongoing investigation into ways in which one can represent visually an aspect of a psychological condition, such as anxiety, melancholia, mourning, or the vanishing of the self as a form of loss or absence. It touches on the areas of the idyll, the miracle, and the uncanny with an underlying interest in stories and illusions/ delusions. I am also interested in spaces, and our relationship with them. The resulting work is diverse; it includes sculpture/installation, film and photography. I also print and I produce drawings at all stages of a project to assess, re-assess and develop. Recent work explores fairy tales as a symbolic dimension for the depiction of distressing states of mind and, in this context, how themes from literature, i.e. the journey, can be transposed into artistic imagery. I am currently particularly interested in journeys without return, as might happen when the mind disintegrates into illness: nothing is found, but things are lost; the self, or the traveller, may be lost to others. I am fascinated by the process of loosing, and being lost, by what is absent and what is left behind. By what is or is moving into the distance, just out of reach. Current research is mainly concerned with the losing or disintegration of the self and its many aspects: accidental, pathological or pre-meditated. There is a developing interest in emptiness and void states.


Bettina Amtag

The Loneliness of the Spider 1 mixed media sculpture (tuff stone, latex) 21 x 25 x 9.5 cm


Bettina Amtag

The Loneliness of the Spider 3 mixed media sculpture (tuff stone, latex) 17 x 43 x 9.5 cm


Bettina Amtag

www.bettinaamtag.com

2008 - BA Hons Fine Art, Dartington College of Arts 2012 - Master of Fine Art, Bath Spa University

Group Shows 2016 - Eighth Wonder, 44AD, Bath - With Preston Street Union - US CHAPS, Exeter - With Preston Street Union - Intervention, Exeter Library - The Waiting Room, 44AD, Bath 2015 - Preston Street Union, Space, Exeter - Deck the Walls, 44 AD, Bath - Eighth Wonder, 44AD, Bath - Towards Stillness, 4AD, Bath 2014 - Eighth Wonder, 44AD, Bath - Lauras Place, 44AD, Bath - Toride International Video - Projection Contest,Toride, Japan - Exeter Open Studios, EVA, Studios, Exeter Projects 2014 - With Preston Union, Post Soup Awards / Residencies 2014 - Residency at Nordiska , Konstskolan, Kokkola, Finland


Charlotte C. Mortensson


I work with photography, video and painting I’m interested in architecture, especially where buildings have developed organically without official planning, and in the materials and techniques with which they’re constructed. Also in the essence of visual and spacial harmony. Since 2006 I have been researching the effects of colonialism and neo-colonialism on art and architecture in the Caribbean.


Charlotte C. Mortensson

Face to the Thing Archival photographic print 50 x 64 x 3 cm ÂŁ670


Charlotte C. Mortensson

First Street Archival photographic print 50 x 64 x 3 cm ÂŁ670 SOLD


Charlotte C. Mortensson

http://www.charlottecmortensson. Group Shows 2016 - ‘Personal Relations’, The Cello Factory, London SE1 - The London Group Film Night - ‘The Deaf Canvas Listens’, Kensington & Chelsea College 2015 - ‘Red Soil’, video at Kunsthaeuschen Herrliberg, Zurich - ‘Venice Pavilion in London’, hARTslane, SE14 - ‘Combines’, The Cello Factory - Swiss National Museum, Zurich - ‘From Bomberg to Rego’, Southampton City Art Gallery - ‘Through the Window’, Kunsthaeuschen Herrliberg Zurich Solo Shows 2015 - ‘Rae Town’, Mayflowers Court, Kingston, Jamaica 2014

- ‘My Mouth Is Soft’, ArtWorks Project Space, London

Publications 2014 - The Jackdaw magazine - feature, ‘My Mouth Is Soft’ Projects 2016 - Ongoing photographic record of the redevelopment of the Harbour Area, Kingston, Jamaica


Sofia Tornero


The artwork I make synthesizes the creative process of my daily life, my experiences, emotions, feelings, perceptions, motivations ... Each simplifies small moments of life in itself that I leave to flow from my heart and soul. Maybe trying to synthesize, simplify and express the deepest of life... feel, live and express. So... feel, live and express. My own point of view of “all or nothing� transformed in substance, in life.


Sofia Tornero

Energia Piedra natural, resina poliĂŠster cristal, hierro 28 x16.5 x 11 cm ÂŁ1,350


Sofia Tornero

http://sofiatornero.jimdo.com/ Group Shows 2016 - C.A.R. Contemporary Art Ruhr, Innovative Art Fair- Essen. Alemania - “Firma de mujer”. KartON, Galería de Arte. Huércal-Overa. Almería - “V Encuentro de pintura al vino”, Ateneo Cultural Casino Orcelitano. Orihuela. Alicante Colegio - V Edición Festival erótico de Alicante, FEDA Alicante 2015 - “Visionadas”, Museo de Jaén. Jaén - “Realidades de una realidad” ‘Murcia Muestra: Arte & Marca’. Centro Cultural de China en Madrid. Madrid - El Arte contemporáneo en la estela de CentUM” Obras del Patrimonio Artístico de la Universidad de Murcia. Centro de Arte Palacio Almudí . Murcia - “Gralles Experience 2015”. Más de les Gralles. Tarragona - XVII Jornada de Gestión de la Información. Selección concurso escultura SEDIC. Exposición Biblioteca Nacional Solo Shows 2016 - Pendiente exposición individual “FRAGIL”, Sala La Carcel. Molina de Segura. Murcia - Pendiente exposición individual “Evoluci ON Natural”, Ecocenajo. Calasparra. Murcia 2015 - “Evoluci ON”, Exposición individual Espacio de Arte Casa de Cultura. San Pedro del Pinatar. Murcia 2014 - Sofía Tornero. Exposición individual, MURAM – Museo Regional de Arte Moderno de Murcia. Cartagena. Murcia. Awards / Residencies 2014 - Intervención VI, Centro Negra. Instalación de Sofía Tornero “Espacio Publico y privado”. Residencias Artísticas de - Investigación en Centro Negra, AADK Spain. Blanca. Murcia Publications 2016

- Obra Sofía Tornero en escena de la película Soledad Descalza. Escrita y dirigida por Juan Carlos Martínez Rodriguez. - http://www.psicologiaysalud.eu/sofia-tornero-seleccionada-casica-cool-art-2016/ - http://ciezaafondo.com/2016/06/14/arte-ascoy/ - http://www.laopiniondemurcia.es/cultura-sociedad/2016/02/23/creaciones-pintura-vino-colegio-arquitec tos/716198.html - http://www.regmurcia.com/servlet/s.Sl?sit=a,0,i,1,c,371,m,0&r=NoP-36375-DETALLE_NOTICIA


Thomas Greig


Thomas Greig’s interest lies in the transformative; changing objects from their former use through the application of different materials. Whether it be paint, or the cheap and easily reproducible, such as sweets, sandpaper and sponges, to name a few. The objects function now lost - the concealing of the inanimate through the addition and removal of material, is determined by each differing object. Sometimes sentimental, these objects are recognisable in art making, or from his everyday; a bike part, an old phone or a clothing rail. A process of recycling is also apparent in Greig’s studio environment; often works re-emerge to form new works – the element of time informing their meaning and place. This recycling provokes new relationships between objects, so that they might be transformed once again. Greig’s personal connection to various objects also heightens their need to be concealed within his work, raising questions of protection and preservation as well as a sense of violence or severing. Impulses towards objects often informs the decision making in his process – which object or material to use and why. The essence of the former structure of these objects is vital and the revealing of process to its viewer also plays a part in his work. Greig’s work sits on the edge, of the recognisable and the obscure.


Thomas Greig

Mobile Phone Battery Painting Acrylic on Phone Battery 4 x 6 cm ÂŁ 200


Thomas Greig thomasgreig.uk

Group Shows 2016 - Bloomberg New Contemporaries 2016, The Bluecoat, Liverpool - Fine Art Degree show, Camberwell College of Art, London - Home is where you park it, Chelsea College of Arts, London - BINS, Cycle Ps, London 2015 - Another night at the bath house, Hotel Elephant: Bathhouse, London - How do you want to plate it?, House of Vans, London - aBare Show, The Bear, London Publications 2016 - Bloomberg New Contemporaries, Exhibition Catalogue 2015 - How do you want to plate it?, Exhibition Catalogue


David Cooper


My work is an ongoing investigation into ways in which one can represent visually an aspect of a psychological condition, such as anxiety, melancholia, mourning, or the vanishing of the self as a form of loss or absence. It touches on the areas of the idyll, the miracle, and the uncanny with an underlying interest in stories and illusions/ delusions. I am also interested in spaces, and our relationship with them. The resulting work is diverse; it includes sculpture/installation, film and photography. I also print and I produce drawings at all stages of a project to assess, re-assess and develop. Recent work explores fairy tales as a symbolic dimension for the depiction of distressing states of mind and, in this context, how themes from literature, i.e. the journey, can be transposed into artistic imagery. I am currently particularly interested in journeys without return, as might happen when the mind disintegrates into illness: nothing is found, but things are lost; the self, or the traveller, may be lost to others. I am fascinated by the process of loosing, and being lost, by what is absent and what is left behind. By what is or is moving into the distance, just out of reach. Current research is mainly concerned with the losing or disintegration of the self and its many aspects: accidental, pathological or pre-meditated. There is a developing interest in emptiness and void states.


David Cooper

‘As Self As Self As No.7’ Plaster, Hubba Bubba Bubble Gum, Greese, Trans Spray, Marker Pan, Ply Wood, Casters. 40 x 23 x 17 cm £ 2,500


David Cooper

http://davidcooperart.co.uk/current/

BA John Moore University

Group Shows 2015 - Jerwood Drawing Prize - 2014-2015 - PRE INFO No.15’ - Mixed Media Publications 2016 - Garaglend Magazine,Remake Remodel’, Issue No.20,Transition Gallery


Peter Donaldson


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 dishevelled and slumped Daniel Buren, which turns out to be a PVC parking cover, the dog is less impressed than me.


Peter Donaldson

Anotheronebitesthedust plaster, shellac, paint 57 x 27 x 25 cm ÂŁ1,000


Peter Donaldson

Suck it up - Patsy Jesmonite, pigment 35 x 25 x 25 cm £ 600


Peter Donaldson

http://pdonaldson.co.uk/

2007-2010 Royal Academy Schools

Group Shows 2016 - You Can’t Blame Gravity For Falling In Love - Abolish Trout - ArtWorks Open 2015 - TAP Members Show - 10 one night stands - East London Painting Prize - ArtWorks Open 2014 - TILT - Flat Packed


Joseph Goddard


Joseph Goddard is a multidisciplinary artist whose work is primarily concerned with architecture, specifically Postwar and Brutalist structures. He works in a variety of media which include photography, painting, print work but more predominately sculpture. Brutalist architecture has had a chequered past and as it is re-emerging in popular culture it’s endurance and its future is all the more intriguing. As a socialist undertaking it has a growing relevance in today’s austerity climate. In previous projects Goddard has drawn on a wide range of concepts such as social geography, media studies, archaeology and ideas from French philosopher Paul Virilio to form sculptural works layered with meaning and significance, all of which are underpinned by the ideologies of the architectural movement. The work on display is taken from a collection entitled ‘Raw’; a work stripped of signifiers, signs, message, and is only is concerned with the formal aesthetics of the late modernist movement. The series takes the Brutalist structure in all its hulking dominance and reduces it to a miniature state of its former authority. From this satellite view the work evokes an altogether different experience, rendering a once mighty form with a new sense of vulnerability. The hard awkward angles, the thuggish physicality and stubborn bulk all remain distinctly Brutalist but with this distancing the piece and the movement it is so evocative of becomes more digestible. The surfaces too have the hallmarks of post war architecture; blackened and ingrained with the passing of time – this ingestion and consumption is the encumbrance of the elements of history itself. ‘Raw’ exposes an instability in a form that seems so resolutely uncompromised. The onslaught of today’s ant-socialist culture has taken its toll on the broad shoulders of modernist ideology, this struggle is seemingly petrified in concrete and ‘Raw’ acts as a fossilization of a past yet to be lived out.


Joseph Goddard

Untitled Structure 3 mixed media 49 x 29 x 33 cm £ 300


Joseph Goddard

josephgoddardartist.com

2005 -Edinburgh College of Art BA Hons

Group Shows 2016 - Lady Beck Open Studio 16/09/16 Solo Shows 2016 - Arts Depot 10/17 Publications 2016 - Average Art Magazine (Ocober issue) Art Reveal (November issue) someslashthings.com


Grace Jackson


Using large-scale prints to showcase the detail and sense of the reality of the issues that have affected Grace Jackson’s life. Jackson explores the ideas of the female body and in contrast to a landscape. Jackson is very interested in psychology and this has always been the backbone to her work. Jackson work is autobiographical and explores the idea that the personal is political, and uses her work to go through memories and traumas she has repressed. She often plays with movement in her photographs to create the sense of falling, because of the autonomic condition she suffers. Jackson loves to trick the viewer by rotating and cropping and making the viewer feel and unease with how the body is now being aligned. Jackson’s work is a development process, which is why it is important that the work she makes is bespoke she creates this by burning, sewing and painting into prints, and re layering. By doing this it shows how every situation and every loss or abandonment is different and further from that it helps describe the unexplainable by making the photographs tangible


Grace Jackson

Falling silver gelatin - photograph 63 x 81 cm ÂŁ 750


Grace Jackson

Group Shows 2016 - Mews 2 - Routes - Young Photographers 2016 2015 - London College of Communication Summer Show - Black and White and Everything in Between, SE Centre of Photography 2014 - Form, ARTCORP 5th Base Gallery Publications 2016 - Typical Girls Naked Issues, ID Magazine - Wall Street International Projects 2016 - The Fractures of our Soul 2015 - Out Like a Light - Shell Casing 2014 - INCOMMENSURABILITY - Nitpicking


Daniel Roch


My father is himself a painter, a good one too: sadly, economic factors and family commitments (equated with a harsh, self-depreciating, perfectionist temperament) basically forced him to earn his living as a painter-decorator, which left little time for painting pictures. This has always weighed on him, but now that age has forced him into retirement I think it weighs on him all the more.


Daniel Roch

My Dad oil on canvas 55.5 x 35.5 x 2 cm £ 500


Daniel Roch

www.danielrochartist.org/

Self-taught Group Shows 2015 - London Temporary Autonomous Art, Crows Nest Gallery, London 2014 - Sexton Ming & Daniel Roch, Underrents Gallery, London.


Tana West


I set out walking, map in hand to investigate where nature and culture intersect; I have traced the routes of forgotten waterways, sought out holes in the road to access the earth beneath and found fragments of a geological and historical past by mudlarking on the banks of the Thames. I collect and use estuarine mud, excavated clay, brick and rock fragments to make glazes and clay bodies which are regionally specific. I work with traditional techniques to make ceramic objects that connect maker with locality and local environmental concerns. During my MA I received the Eduardo Paolozzi Travel award, for this I traveled overland by train from London to St. Petersburg to visit a Museum of Soil Science. As part of that adventure I passed through Stockholm to catch the ferry to Finland. The impact of this brief encounter was to set me considering the fabric of this city and its building materials in comparison to London with its familiar London clay brick. Then, on the ferry traversing the archipelago, to wonder about how this landscape was formed. This was my point of departure for the project undertaken during my exchange to Konstfack and the resulting work is still ongoing. Stockholm has been expanding: its population has grown as well as the area it occupies. It has also been rising up since the end of the last ice-age; the great weight of ice has been lifted and the land is springing back to a state of equilibrium.


Tana West

Compressed Stoneware clay with granite and glacial clay deposits from Uppsala, Sweden 18 x 18 x 20 cm ÂŁ 200


Tana West

http://www.tanawest.co.uk/

2014 - MA Royal College of Art, London 2000 – 2003 BA Fine Art: Sculpture, Central Saint Martins College of Art and Design, London

Group Shows 2016 - Royal Institute of Painters in Water Colours, Mall Galleries, London - Bristol Loves Tides, Teachers as Artists: Artists as Teachers, Royal West of England Academy, Bristol 2015 - Science!,Pictorem Gallery, London - Fresh, British Ceramics Biennial, Stoke on Trent - Elsewhere, Konstfack, Stockholm - Royal Institute of Painters in Water Colours, Mall Galleries, London - RWS Contemporary Watercolour Competition, Bank Side Gallery, London 2014 - Sustain Show and Awards, Royal College of Art, London - Fabric of the Land, Aberdeen - Degree Show, Royal College of Art, London - Ceramic Art London, RCA Student Show, London Solo Shows 2016 - Land + Water, Royal Fort House, University of Bristol, Bristol - Verbindungen, Kunstlerhaus Stadttöpferei, Neumünster Awards / Residencies 2016 - Ceramic artist exchange, Künstlerhaus Stadttöpferei Neumünster 2015 - Orchard Works: Feral Studio, Wiviliscombe, Somerset, January 2015 - Konstfack University, Anglo-Swedish Society, Stockholm, February – April 2015 2014 - Konstfack Exchange Award, Anglo Swedish Society, 2014/ 2015 - Shortlisted for Sustain RCA, 2014


J F Payne


Untitled Icon- Written by Quentin S Crisp Related to an interest in collecting things, perhaps, is an interest in decay. The two combine in the collection of antiques, since often it is not good for the antique to look too new. On the other hand, an object is usually valued more if it is in good condition. The interest in ruin and decay itself, then, lies a little further along the spectrum than the interest in the old but well preserved. But where does the devotee of decay search for treasures? Attics, perhaps, or basements—abandoned houses, certainly. Not all decaying things, though, convey the sense of gloomy enclosure associated with derelict buildings. The object before me is square and roughly at its centre are two coloured circles, one inside the other. Someone of my age thinks immediately of a vinyl record. This was probably a seven-inch. Could it be an obscure Reggae release? Perhaps. When was it recorded? What sort of story do the lyrics tell? Are they factual or fantastical? Once, there was someone’s saliva on a microphone. Now no words are decipherable. There is only a sense of summer sunshine in the colours. It is not only rain—the sun, too, is an agent of decay. It bleaches colours. It warps and it melts. I think of a strip of celluloid film being burnt by the sun’s rays as focused through a magnifying glass. I think also of ice lollies melting and dripping on a hot day. Ants gather at the coloured sugar on the tarmac. The sleeve of this seven-inch record is turning back to pulp, losing its gloss and colour. And what is being released in this decay, like an incense of the spirit, is the nameless summer that was first concentrated in this object—that summer before the understanding of calendar date and time and the story of the lyrics of the song in the grooves of the vinyl. It is an ecstasy of release, a nostalgia of decomposition. So where did the seeker after decay find such an object? Perhaps discarded enigmatically in a patch of brambles at the edge of a park. But parks are often damp, and this object looks desiccated. Maybe, then, it was found on the flat roof of an apartment block of some kind—a building now condemned—left behind with a cardboard box of other records and some laundry, now pale and stiff, in a plastic basket. I cannot quite picture at the moment an appropriate site for such a find—a find that makes you feel liberated with a sense of summery decay—yet I know that I have made such finds quite casually in the past. Thinking about the nostalgia and liberation decay brings, I began to wonder why we do not feel the same thing in relation to the human body. The weathered and ruined record inspires daydreams as if the unique particularity of the object is reverting once more to potential. It is as if condensation into the particular ....... https://jfpayne.org/2016/10/10/untitled-icon-catalogue-essay/


J F Payne

‘Untitled Icon’ Painting 23 x 23 x 4 cm £ 740


J F Payne

jfpayne.org

Group Shows 2016 - Punto y Raya Festival, Screening of “Polonium84b” in Karlsruhe Germany 2015 - RMIT HONOURS graduate exhibition - CV 2016 - Group Shows Solo Shows 2015 - Blue Movie , Kings ARI Melbourne Australia - Nothing remains nothing abides, Kings ARI Awards / Residencies 2015 - Art Start Grant Projects 2016 - Painting and Animation 2015 - Experimental film and Installation 2014 - Sculpture


Ben Walker


My recent pictures are based on found images of children from the 1970s or 1980s. I include a minimal amount of information in the pictures, just enough to create form and a sense of space while avoiding too much description. The figures depicted are quite vague or generalised as they are not intended to be portraits but to create a particular mood. I enjoy mixing different colours and shades and placing them next to one another on the canvas. The oil paint, thinned with turps, is scrubbed into the canvas and may be removed and repainted many times. Through this process I try to recreate a look and tone of a


Ben Walker

As it was in the beginning is now until the end oil on linen 60 x 60 x 4 cm ÂŁ 1,400


Ben Walker

2000-1 MA Fine Art Wimbledon School of Art 1994-7 BA (Hons) Fine Art Sheffield Hallam University

Group Shows 2016 - Summer Salon, Lubomirov/Angus Hughes, London - Blind Plural, Hundred Years Gallery, London 2015 - Bedroom Artists, The Hive, London - Summer Salon, Angus Hughes Gallery, London - The story so far, W3 Gallery, London 2014 - East London Painting Prize, London - Hey Days, Bermondsey Project Space Solo Shows 2015 - Picture Box, Jack House Gallery, Portsmouth


Clare Jarrett


I am interested in transformation. My current preoccupations are ideas of “the domestic�, of home, of both cohesion and disintegration. The materials I use, discarded or collected, hold personal significance. I am interested in how objects connect and how we decide what we value and what we throw away. I am producing new work through reordering, finding discomfort and unfamiliarity in objects that formerly held particular, often intimate memories.


Clare Jarrett

Aminal 2, 2016 mixed media 63 x 26 x 26 cm ÂŁ 350


Clare Jarrett

Aminal 2, 2016 mixed media 23 x 23 x 25 cm ÂŁ 300


Clare Jarrett

Group Shows 2016 - PING, the Minories Gallery, Colchester, May13-July9 - Marmite Prize for Painting, Block 336,London SW2, July - Highlanes Gallery, Drogheda, Ireland August - Cley16, St Margaret’s Church, Cley, Norfolk July7-August7 - Lubomirov/Angus-Hughes, August-September - POTTLYB/Nunn’s Yard Gallery, Norwich, October 2015 - Dove Street Studios, one year, October Awards / Residencies 2016 - Barbar Shop Residency, January 2016 Publications 2016 - http://www.studiointernational.com/index.php/clare-jarrett-interview


Selma Makela


I investigate geological and meteorological phenomena as a means to explore the complexity of memory, migration and displacement. I work through painting, drawing and printmaking to consider human and geological events as being both interrelated and transitory. This parallel of human placement and geological time scale is the continued focus of my work, where the vastness of these timelines challenge our beliefs about place and identity and compel us to consider our rapidly changing climate and environment.


Selma Makela

The Last White Rhino oil and charcoal on canvas 21 x 28 x 2.5 cm ÂŁ 1,000


Selma Makela

http://www.selmamakela.com/

MA Visual Art Practice (in process) Dublin Institute of Techology BA(Hons) Fine Art - 1st Class, Centre for Creative Arts & Media, Galway Mayo Institute of Technolog

Group Shows 2016 - What if we got it wrong? Touring: 1) FE McWilliam Gallery, Banbridge Co. Down, 2) Wexford Arts Centre, 3) Leitrim Sculpture Centre, 4) West Cork Arts Centre Ireland - Royal West of England Academy Summer Show, Bristol, England - Cairde Visual Arts Open, Sligo, Ireland - Enniskillen Summer Show, Higher Bridges Gallery, Enniskillen Co. Fermanagh, N Ireland - Claremorris Open Prizewinners’ Retrospective exhibition, Claremorris, Co Mayo, Ireland 2015 - Horse’ Void, Derry, N Ireland 2014 - Festival Interceltique de Lorient’ Gallerie du Faoudic, Lorient, France Solo Shows 2014 - Magnetic North’, Galway Arts Centre, Galway, Ireland Awards / Residencies 2016 - Cairde Visual/ Model Arts Centre, Sligo residency award - Leitrim Sculpture Centre - Printmaking Professional Development Award - ArtsIceland Residency Award, West Fjords Centre, Iceland Publications 2016 - Et si on s’etait trompé, pub Centre Culturel Irlandais, Paris Projects 2016 - The Nesting Lark, pilot project, Galway 2020 European Capital of Culture 2015 - Heliograph research-based project (ongoing)


KeelerTornero


KEELERTORNERO work collaboratively, suspending individual vision and preconceived ideas in spontaneous dialogue, intuitively sourcing imagery or deliberating on a concept or theme. They create images in which the impossible emerges as something perfectly natural, where characters play parts in an all-encompassing illusory world, living out their lives just beyond our peripheral vision. They are currently engaged in 2-3 year painting project in which we engage other artists in a collaborative process and dialogue about the integrity and function of art.


KeelerTornero

Assembly vynal records, acrylic paint 100 x 100 x 100 cm ÂŁ 1,500


KeelerTornero

http://keelertornero.com/

Group Shows 2016 - scienceFUTURE, INSOMNIA FESTIVAL Norway 2016 - KEELERTONERO’s Hand Jobs. Temporary Hand Tattoos Art Car Boot Fair, London and Hastings 2016 - Action Potential- Exploring the Neuron Swiss Cottage Library Gallery, London 2016 - Members show, Vout-o-Reenees 2016 2015 - MK Calling, Summer show MK Gallery Milton Keynes, 2015 - KEELERTONERO’s Dogs. Bespoke Vinyl portraits in association with HERRICK Gallery Art Car Boot Fair, London and Margate 2015 - The Chinese open, Group show, Q-Park London WC2 2015 - Members show, Vout-o-Reenees 2015 2014 - We could not agree. Group show - East London Painting Prize. Shortlisted - Bow Arts 2014 - KEELERTONERO’s Key Tones. Bespoke Vinyl Emporium in association with HERRICK Gallery


Francesca Blomfield


My work identifies systems in which apparently banal or disparate fragments of information are delivered. An arbitrary selection of affects share symbolic connections with subject matter. I borrow structures such as diagrams, compressed cultural artefacts and instructional text where there is a focus on protocols and exchanges. Currently I make paintings and self published publications. Focusing on elusive subjects such as new age phenomena and hidden worlds, I attempt to draw out associations between common ideas and beliefs in painting’s history and everyday life.


Francesca Blomfield

Globe with Bat oil on board 35 x 35 x 2.2 cm £ 600


Francesca Blomfield

francescablomfield.com

2009-2012 - Chelsea College of Art

Group Shows 2016 - Miami Vice, Transition Gallery, London - My Own Private Idaho, Chalton Gallery, London - Jerwood Painting Fellowships, Jerwood Space, London 2015 - Tailslide, Andor Gallery, London - The Integrity Painting Prize, The Glue factory, Glasgow 2014 - Spelling Space, Pipe factory, Glasgow - Dead Famous, HAHA Gallery, Southhampton Solo Shows 2015 - International Treaty, The Horse Hospital, London Awards / Residencies 2014 - Jerwood Painting Fellowship (2015-2016) Publications 2016 - Backgrounds 2015 - Some Sunfowers Die


Alicia Reyes McNamara


My work deals with issues of displacement, especially of that within a double diaspora. I want to challenge incomplete identities constructed by two-dimensional ideas of Latino culture, while acknowledging the absurdity and at times vulgarity in the projected images found within media’s exaggerated caricatures and telenovela kitsch. I have used my work to translate the Mexican-American or Chicana identity through a British lens, where preconceptions are much different from that in the United States. I have adopted a cartoon-like aesthetic for its approachability to convey difficult subject matter and make them appear light and at time humorous, but all the more revealing. I am interested in the changing identity of the Latino diaspora and how authenticity is being negotiated within the hallow remnants of Western imposed views of the tropics.


Alicia Reyes McNamara

The bodies that were not ours oil painting and ceramic 100 x 61 x 70 cm ÂŁ 1,100


Alicia Reyes McNamara

http://aliciareyesmcnamara.net

University of Oxford Ruskin School of Art, MFA California College of the Arts, BFA

Group Shows 2016 - 19112016, clearview, ltd Gallery, London, UK - Bloomberg New Contemporaries 2016, ICA, London & Liverpool, UK - HIX Award, Unit London, London, UK - Ruskin Show, Ruskin School of Art, Oxford, UK 2014 - Through the Looking Glass, Mirus Gallery, San Francisco, CA - Fellows of N41° 16.7531’, W095° 56.8453’ 1, The Wanda D. Ewing Gallery, Omaha, NE Awards / Residencies 2016 - South London Gallery Graduate Residency, London UK - Union For Contemporary Art Fellowship, Omaha, NE Publications 2016 - IMAGINING 2043, Skin Deep : Race and Culture Magazine, Edition 5 2014 - Pathways to Interdependence, Art21 Magazine, The Union for Contemporary Art mural, September/October - Alicia Reyes McNamara’s Ornate Paintings and Sculptures, Hi-Fructose Magazine, February


Julia Miranda


I make use of traditional media and found surfaces such as timber off-cuts, doors, bed sheets and paper packaging. These discarded materials come with a patina of possible histories. The process of reappropriation - concealing or emphasizing what already exists - constructs new narratives. A personal history of transition is present in the works. Through the manipulation of materials across these different surfaces, themes such as change, memory and human relationships are obliquely investigated. For example the idea of chance is sometimes explored by starting with an “accident” - a wash of colour that will take it’s own course across the surface, spilled powder pigment... Recognizable motifs from drawn or collaged figuration come in and out of focus. While my driving concern is with the formal elements of the work, a piece, once finished, also serves as a record of my interior life, played out through the relationships between colours, planes and forms. Julia Miranda is an anglo brazilian artist based in Walthamstow. She has exhibited in New York, Munich, Barcelona. She is preparing for a group exhibition at Mothership Wandsworth. The Brazilian Embassy Gallery, Trafalgar Square, and a solo show at Coya, Mayfair, follow in 2017.


Julia Miranda

Commedia All’Improviso mixed media 18 x 30.5 x 3 cm £ 200


Julia Miranda

http://www.juliamiranda.uk/

MA Childrens Book Illustration Cambridge School of Art BA Graphic Design Brighton University

Group Shows 2016 - Home from Home Gallery, Munich - Mothership, Wandsworth, London - Untitled_BCN, Barcelona - Walthamstow Windows Gallery, London 2015 - xvi Collective, Oxo Tower Wharf, London -xvi Collective, University of the Arts, Norwich - Lotolie, London 2014 - xvi Collective, Sluice Art Fair, London - Animamus at Culture Fix, New York - LDN-BCN Untitled BCN, Barcelona Solo Shows 2016 Aquarium, Coya, London 2015 - Galeria PatrĂ­cia Costa, Rio de Janeiro - The Festival of the Brain, Folkestone


Fausto Sanmartino


My work stretches across different ranges of media such as installation, sculpture, photography and drawing. I bring into my working area different kind of materials, frequently part of previous work, elements found on site or common things associated with architecture and construction work creating installations that operate visually and spatially. I am focusing my attention into a works that are able to capture and elaborate on our surroundings and give to the viewer different point of view. My intent is to examine and reprocess the connection between light and shadow, between void and filled spaces, through the presence and absence of something that is perceived into the space in which I am working.


Fausto Sanmartino

To look, to do, to undergo gclee print (framed editionof 3) 59 x 84 x 3 cm ÂŁ 3,600


Fausto Sanmartino

2009_ BA Fine Arts Academy, Turin- Italy

Group Shows 2016 - ”30’ Celsius”, ASC Gallery, London - ”Summer Salon”, (curatorial Team), Lubomirov / Angus-Hughes Gallery, London - ” Blue/Issue” cur.by Chroma, Safehouse2, Peckham,London UK 2015 - “#OPEN 15”, Peckham Platform - Pop Living”, cur.by Ismail Erbil, Schwartz gallery, London 2014 - “Koekje: be our only living statistic”, Broadway studios, London - “Reflections II”, Hackney Wicked Art Festival,London UK - “South London goes to the seaside”, cur.by J.Boon Cowler and E.Geary, The Viking Gallery, Margate UK Solo Shows 2014 Between Day and Night, Mother Project Space Gallery, London UK Publications 2016 - Made in Mind, magazine


ArtWorks Open 2016 selected by

Jonathan Baldock and Florence Peake

Profile for Barbican Arts Group Trust

Artworksopen 2016 catalogue  

Artworksopen 2016 catalogue  

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