Sally Moore explores mood, memory and states of mind through the use of surreal metaphor in this exhibition, which marks the publication of a major new book about her work. The book, titled Sally Moore: Acting Up, shows her paintings as a kind of demonstration, taking back control from the hidden worries and fantasies that plague most of us.
Inna's Dream is a continuation of Varvara Shavora's ongoing quest into her family’s history, asking questions about power, authority and male and female representation as well as the interface between individual and collective history.
‘Variations on a theme’ refers to the ways in which these three artists: Chloe Freemantle, Janet Patterson and Ruth Stage, select from the various sources that feed their imagination; choose the form of language with which to express themselves so as to enable the metamorphosis from idea to painted object, in three different painting styles.
This exhibition, a project that has been over a year in the making, is closely connected with Nina Pandolfo herself – a reflection of her personal experiences and the vibrantly multicultural world around her. Heavily inspired by women who embrace and embody different cultures, the women in her works are greater than their race-specific traits and instead are more universal. One thing unites these women, their strength and delicacy which form an integral role in Pandolfo’s signature style.
Patricia Treib works at an immersive scale, one that feels closer to the size of a bed than a door. Nearly all her paintings are executed in the span of a single day. Working quickly but deliberately, Treib lays the canvas on the floor and then uses wide hake brushes to sweep paint over the surface, wiping out a gesture and repeating it until each trace is both immediate and precise. The mobility of these gestures determines the mobility of…
In Territories of Printmaking, 1994 – 2019, Emma Stibbon is ‘artist as witness’ to our landscape and environment on the cusp of change: polar regions; volcanoes; deserts; coastal and urban. Through the alchemy of printmaking Stibbon envelops us in her experiences with monumental woodcuts and tactile intaglio prints, where volcanic ash is embedded into the printing plate. There is a seriousness that underpins this endeavour; a combination of craft and emotion that is unflinching, raw and questioning.
The exhibition coincides with the publication of Celia Paul’s memoir, Self-Portrait, and the release of a documentary film about the artist by Jake Auerbach. The exhibition, focuses on the two key tenets of her work: portraiture and landscape. Alongside a body of new paintings, curated by Hilton Als. These works address the abiding themes of Paul’s art – memory and family, the gulf between outward appearance and inner life – while offering touchstones for wider thoughts about time, transience, spirituality and…
This major exhibition, Sirens consists of an important range of historical works together with three new video works presented for the first time. Over the past year Nan Goldin has been working on a significant new digital slideshow titled Memory Lost (2019), recounting a life lived through a lens of drug addiction. This captivating, beautiful and haunting journey unfolds through an assemblage of intimate and personal imagery to offer a poignant reflection on memory and the darkness of addiction.
Selma Parlour is known for her oil paintings that look as though they are drawn, dyed, or printed. Activities for the Abyss showcases the artist’s soft films of luminescent colour, her delicately-rendered pencil-like oil-made lines and sumptuously refined matt surfaces, her diagrammatic approach that stresses painting’s two-dimensionality, her units of colour inlaid as though through a process of marquetry, her fascination with homeless representation, trompe-l’oeil illusion, multi-stable perception, and cognitive completion, her emphasis on mise en abyme, repetition (with variation and displacement), and the…
Hilary Lloyd’s new exhibition Car Park features a body of work – spanning video, painting and installation – in which she captures the sights and sounds of an urban landscape. Most of the videos in the exhibition were shot in Thamesmead in southeast London, close to her studio. Focusing on small, seemingly incidental details (a car park, geese on a lake, leaves) Lloyd has distilled everyday spectacles and experiences into an array of painted images, video sequences and overlapping sounds.
'After Euphoria', is an exhibition by Michaela Yearwood-Dan, which reflects on subjectivity and individual identity as forms of self-determination. Through painting, she explores how selfhood and personal experience – especially love and loss – marks of existence – constitute a vital and highly personal process of self-historicization vis-à-vis identity formation. 'After Euphoria' draws heavily on the vicissitudes of the artist's own romantic life – past and present - exploring what the artist calls the ‘bitter-sweet reality’ that arrives in the aftermath of heightened…
Paintings by Helen Johnson that represent contemporary issues, based on the spasming of stock market graphs; fragments of texts from bygone days of pre-mechanical mining and logging; desert islands; and the layout of the Australian Parliament House.
The Box, Pippy Houldsworth Gallery, 6 Heddon St London,W1B 4BTUnited Kingdom
Jacqueline de Jong’s exhibition Resilience(s) focusses on paintings made in the 1980s and early 1990s, and brings together key works from her Upstairs Downstairs and Paysages Dramatiques series. Exuberant, sensual, violent and contradictory, Resilience(s) manifests the defiance and adaptability inherent in de Jong’s practice.
Marion Fink's, monotype* figures find themselves in surreal scenarios, sublimely interacting with rudimentary features of our world, like rocks, water concrete or steel constructions. Their motives or supposed ruminations (or perhaps those are meditations belonging to the artist) are scrawled, like ‘automatic writing’* across the painted surface. Fink’s works are personalized studies on her perception of reality, her awareness of space, ideology, and practice as it develops and unfolds around her. Joint exhibition with Sebastian Neeb
In this exhibition, Pathways, here is what Sara Armstrong-Jones says of her work: “A particular quality of light or the natural shapes and patterns formed by stones and leaves scattered on the path often catch my eye whilst out walking. A few quick informative marks in my drawing book and gathered pieces of rock, fallen leaves or lichen hold an invaluable memory which can be the start of a new subject.”
A submission by, Julie Ann Steward to the Gallery's Open Call 2019 – Change: For better or worse. For richer or poorer. The resulting exhibition, Timespan St Pancras (from gasometer to champagne bar) 2014-2019, (charcoal on paper), is an effort to convey in a single work the sense of dramatic transformation that began over twenty years ago. Timespan Liverpool Street 2015-2019(charcoal, pastel and collage on paper) is a similar piece. These and two other works are notional milestones marking the passage of time and…