(detail) at Transition gallery

(detail) Curated by Andrew Bracey Transition Gallery, London Private View Friday 19th September 6-9pm 20th September – 12th October 2014 Gallery Open Fri - Sun 12-6pm www.paintingdetail.com

(detail) features the work of 118 international artists who have each selected a close-up from one of their paintings. These details are printed and displayed together to give both a tantalising glimpse into each artwork, and create a huge collage of images. The exhibition launched at H-Project Space, Bangkok in June, and now tours to Transition Gallery and on to The Usher Gallery, Lincoln.

At H-Project Space the exhibition responded to the unique setting of the gallery, a traditionally constructed Thai house. The 118 artworks fitted into the distinctive wooden framework of the walls, completely filling and transforming the space. The show will be re-imagined in a new configuration as it moves Transition, creating a show that is responsive to and transforms each venue. Seen on mass, the different artworks will became a form of collage. Connections between the painting details are deliberately made by the curator in the display, as well as being formed serendipitously. Viewers are encouraged to make their own associations and interpretations of the juxtaposition of images.

(detail) features a wide range of painters, from the well-established to recent graduates. Their work encompasses abstraction, landscape, figuration and conceptually driven practices and employs a wide variety of mediums. The reproduced close-up allows us to focus on the brush strokes, surface and minutiae of the painting. It is most commonly used in the art world in the pages of the exhibition catalogues or monographs. The idea of the detail is also something that is particular to the painters’ approach to both making a painting and viewing work in the gallery. 

Moonshot Woodstock

'Moonshot Woodstock' General Practices's inaugural show that opens a new gallery/studios in Lincoln on the 16th Sept 7pm till late. The show will then be travelling to Bloc Projects show space in Sheffield on the 23rd of October. I am showing a new work of an image of a monolith constructed from the original script of 2001: A Space Odyssey.  More details at: http://www.general-practice.net/

'Finding the Value' at York St Mary's

I am showing 40 new paintings in the exhibition 'Finding the Value' at York St Mary's. The exhibition runs form 4th July until 2nd November. 

I have used a selection of the figurative paintings from the Madsen siblings collection, to create new ReconFigure paintings. I responded to the diversity of the collection, by using examples of different styles and types of the figurative paintings to paint over with my triangular/crystalline paintwork. By displaying the paintings on mass I foresee my marks creating a consistency to the original paintings; as a way of bringing the diversity together, whilst also celebrating it. I also see a parallel with the somewhat unknown figures of the Madsen brother and sister and the painted out figures in my paintings. In both cases they are present, but almost hidden behind a veil, but are also something that is absent, no longer with us.

The paintings are shown on mass at St Mary’s in an intimate ‘white cube’ within a mirrored cube that reflects the unique architecture of St Mary’s and the viewer. This allows a private space for the work on the inside, which seems to echo the private nature of Madsen siblings. The outside allows the architecture of the space to be brought into play, whilst also creating a Tardis/portal-like quality.

For more details please visit here.

Accidents Need Not Happen at Project Space Plus

I am pleased to be showing a new work in Accidents Need Not Happen at Project Space Plus in lincoln. The exhibition runs from 25th June till 11th July.

My work is a video portrait of the celluloid-to-digital transfer machine at the MACE archive, it is a celebration of machinery and a lament for a now lost age of celluloid. In a former job as a projectionist I directly witnessed the transition from celluloid to digital projectors in the cinema in which I worked. I still have a huge nostalgia for celluloid film, but work with digital technologies to create films. The machine at MACE perfectly encapsulates this passing point between these two technological landmarks of cinema and my own conflicting relationship with the two.

Curated by Wang Yao  with exhibiting artists Andrew Bracey, David Fowling, Laura Johnson, Liu Chunmei, James Phaily, Zhang Tao, and Eleni Zevgaridou.

Please follow link for more info here.

(detail) at H Project Space, bangkok

I have curated a new show of 118 painters that opens at H Project Space in Bangkok on 5th June and continues until 6th July. 

The press release from the show is below:

(detail) is an innovative new exhibition that features the work of 118 international artists, who have each selected a close-up from one of their paintings. These details will be printed and displayed together to give both a tantalising glimpse into the artworks, and create a huge collage of images. The exhibition will launch at H-Project Space in Bangkok this summer, before touring to Transition Gallery and The Usher Gallery in the UK later this year.

At H-Project Space the exhibition will respond to the unique setting of the gallery, a traditionally constructed Thai house. The 118 artworks will fit into the distinctive wooden framework of the walls, completely filling and transforming the space. Seen on mass, the different artworks will become a form of collage. Connections between the painting details are deliberately made by the curator in the display, as well as being formed serendipitously. Viewers are encouraged to make their own associations and interpretations of the juxtaposition of images.

The show will be re-presented and re-imagined as it moves from H-Project Space, Bangkok to the more conventional exhibition spaces of Transition Gallery, London and The Usher Gallery, Lincoln, creating a show that is responsive to each venue.(detail) features a wide range of painters, from the well-established to recent graduates. Their work encompasses abstraction, landscape, figuration and conceptually driven practices and employs a wide variety of mediums.

The reproduced close-up allows us to focus on the brush strokes, surface and minutiae of the painting. It is most commonly used in the art world in the pages of the exhibition catalogues or monographs. The idea of the detail is also something that is particular to the painters’ approach to both making a painting and viewing work in the gallery.

The exhibition’s curator Andrew Bracey explains:

“In the studio I have found my own relationship to working on a painting is up close to it, with only occasional glimpses of the whole as I step back. This focus on this particular painter’s viewpoint of the painting provoked the idea for this exhibition. This exhibition is an attempt to bring this studio mentality to the gallery. There is a power in the detail, it offers up fresh possibilities for viewing painting.”

Full list of artists in show:

Alec Shepley, Alexis Harding, Alison Erika Forde, Alastair Payne, Alli Sharma, Alun Williams, Andrea Giuseppe Corciulo, Andrew Bick, Andrew Bracey, Andrew Graves, Andrew Seto, Andrew Stahl, Andy Harper, Annabel Dover, Annabel Tilley, Annabelle Sheldon, Anthony Frost, Bartosz Beda, Ben Cove, Benet Spencer, Cathy Lomax, Christopher Bagnal, Clem Crosby, Clyde Hopkins, Corinna Spencer, Craig Barber, Damien Meade, Dan Hays, Dan Perfect, Daniel Sturgis, David Dipre, David Manley, David Reed, David Ryan, Dominic Shepherd, Eleanor Moreton, Emma Talbot, Enzo Marra, Eric Butcher, Estelle Thompson, Euripides Altintzoglou, Eve Ackroyd, Evi Grigoropoulou, Fabian Marcaccio, Fiona Curran, Fiona Macdonald. Fiona Rae, G L Brierley, Geraint Evans, Gordon Cheung, Gordon Dalton, Graham Crowley, Hamish McLain, Hannah Knox, Hanneline Visnes, Henny Acloque, Henrietta Simson, Iain Andrews, Isabel Young, Jamie Shovlin, Jay Oliver, Jennifer Maidment, John Rimmer, Julia Schwadron, Julie Heffernan, Julie Langsam, Karin Davie, Katie Pratt, Katrina Blannin, Laura Lancaster, Lesley Halliwell, Lindsay Bull, Louisa Chambers, Louise Bristow, Luke Frost, Maggie Ayliffe, Magnus Quaife, Mark Fairnington, Mark Kennard, Mark Wright, Medina Hammad, Michael Fullerton, Michael Roberts, Mick Finch, Miho Sato, Mik Godley, Mimei Thompson, Narbi Price, Natasha Kidd, Neal Rock, Olivia Notaro, Paul Edwards, Paul Winstanley, Pavel Büchler, Phoebe Mitchell, Rachel Lumsden, Rafal Topolewski, Rick Copsey, Robert Holyhead, Rosalind Davis, Ruth Solomons, Sarah R Key, Sarah Pickstone, Sharon Hall, Shirley Kaneda, Sigrid Holmwood, Simón Granell, Soichiro Shimizu, Stefan Sehler, Steve Dutton, Steve Ingman, Terry Shave, Thomas M Wright, Tom Cretney, Tom Hackney, Tony Smith, Tristram J Aver, Yelena Popova

The exhibition is supported by Arts Council England and The University of Lincoln.

http://www.hgallerybkk.com/Exhibitions/exhibition-event.php?id=58

http://www.paintingdetail.com/ (coming soon)

POSSESSION (II) at Lanchester Gallery in Coventry

I am showing in the next incarnation of the Possession exhibition at Lanchester Gallery in Coventry, curated by Steve Dutton and Brian Curtin. The exhibition explores practices of appropriation in contemporary art. POSSESSION (I) was shown at the Bangkok Art and Culture Center, Thailand in early 2013. I am showing completely new painting in my Reconfigure Paintings series of work.

The show opens on Thursday 13 March 6 – 8pm for the private view and then runs from 14 March - 13 April 2014. More details can be found below and here

POSSESSION (II) acknowledges the distinct lineage of heavily theorised notions of appropriation from Anglophone art critical contexts. The project moves through an expanded set of concerns including internet and network cultures, conflicts of current and outmoded technologies of image production and contemporary visual art from disparate cultural and national contexts. Central to the two iterations of the exhibition is the idea that different versions of the exhibition format can possess and re-possess the objects of its own inquiry: the ideological and aesthetic instrumentality of forms, critically intrinsic and extrinsic relationships for contemporary art, and comparative questions of an artist’s agency in making and re-making visual and material culture.

POSSESSION (II) highlights the question of whether cultural and national comparisons provide a basis for considering what appropriation is and can do; and what exchange might mean in an international context of different and competing markets.

Other artists include;

Chan Dany, Michael Day, Doug Fishbone, Lesley Guy, Steve Hawley, Maud Haya-Baviera, Viet Le, Michael Lee, Olivia Notaro, Manuel Ocampo, Julia Schwadron, Chris Shaw-Hughes, Andrew Spackman.

A Machine Aesthetic in Lincoln

A Machine Aesthetic continues on its tour around the country at ProjectSpacePlus in Lincoln from 5th March till 4th April. The group show is curated by Eric Butcher and Simón Granell.
Details about the show are below and please visit the galleries website here

A Machine Aesthetic explores the various manifestations, uses and influences of mechanisation within the practice of a diverse range of contemporary artists.om the first daubings of pre-historic caves, through the invention of the camera obscura and ready-made oil paint in tubes to the use of digital media, artists have been among the first to embrace and exploit new technologies. The focus of A Machine Aesthetic, however, is at once narrower and broader, concerning itself specifically with the notion and implications of ?mechanisation? in its widest sense in contemporary art.

Since the late 1950s/early 60s there have evolved a plethora of artistic practices that involve the manufacture of machines to produce the artistic ‘product’. Where Jean Tinguely led the way, artists as diverse as Rebecca Horn, Chris Burden, Roxy Paine and Damien Hirst followed. While earlier analyses have tended to conceive of the machine in a narrow sense, A Machine Aestheticproposes a different perspective, achieved by consideration of the full range of artistic practices that embrace both subtle and sophisticated notions of mechanisation.

As the human condition moves further and further from a state of nature we become not only surrounded by machine-made objects, but the products and qualities of mechanised intervention. Even our experience of nature is modified and mediated by human agency and facilitated by the machine. Contemporary practices reflect this increasing dependence on machine production, whether celebratory or critical, artists exploiting machine produced products or components in both the development and construction of their work.