Art space gallery rental in Cork Street, London | Galleries for rent in London

ROGER WAGNER: THE BRIGHT DAY 30th April - 11th May 2013

An exhibition of recent work presented by Anthony Mould Contemporary

Open Monday - Saturday 10am - 6.30pm and Sunday 2pm - 5pm

For more information please call: 020 7491 4627

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FACE 2013 13th - 18thMay 2013

The Open Exhibition presented by the Society of Portrait Sculptors is the only forum for contemporary portrait sculpture and consists of about 70 sculptures of which approximately one third are chosen from open submission from non-members.

Website: www.portrait-sculpture.org

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Sarah Adams paints the hidden coast of North Cornwall, combining traditional techniques and materials with more contemporary modes of travel to seek out and examine the unique rock formations and features near her studio. Her latest works focus more on the geological composition of the rock formations: the rich surface texture, evidence of mineral content, and the effects of weathering and seasonal variations. The paintings have their own complex geology. Layered deposits of traditional oil pigments, applied over many months in the studio, are built into an intricate pattern of stone and water, light and shade.

This exhibition, the artist's fourth with The Maas Gallery, also sees the launch of a new book, 'SARAH ADAMS, A Sea View'. In his accompanying essay, the prominent art historian and critic Andrew Lambirth discusses the latest work by Sarah Adams in the context of her early influences and past practice, and the book concludes with a conversation between author and artist on Adams' methods and technique.

'The whole process is a visual one of intense subtlety, and not easily reduced to words. But somehow, by the choice of what she depicts and the way she paints it, Adams inspires us to look anew at our world and reconsider our place within it.' Andrew Lambirth

'A Sea View' will be published by Halstar in April 2013, at the retail price of £39.99. It will be a large format (235 x 258 mm) hardback book of 144 pages, with 157 colour plates and 12 b&w photographs of the artist at work on site and in the studio.

Marble Cliff Panorama

Oil on linen

50 x 150 cm

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RICHARD FOSTER "STILL AT IT" 3rd - 8th June 2013

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HYPERSYMMETRICS by JENS W. BEYRICH 17th - 22nd June 2013

Expect the Unexpected

The exhibition presents artwork as a result of a seemingly inexperienced synergy: collecting art and antiques with the passion of developing complex equation systems mathematics being the universal base of science and philosophy.

Visiting hundreds of museums, exhibitions and fairs over several decades gave me an overview and insight in which geometric systems for decoration have been used by the earliest cultures until modern times.

Quite complex geometric decoration can be found on stoneware and ceramics from the site of Uruk in Mesopotamia, 3000 B.C., coinciding with the dawn of the Pharaonic Empire. The most sophisticated designs have been developed in the Arabic world for the decoration of mosques, before 1000 A.D.. Nonetheless, I have not found a graphical artwork of regular, symmetric and repetitive geometries with components that are all individually different and dissymmetric in their colour arrangement.

Modern art lets think first of M. C. Escher, who developed the famous Metamorphosis in the 1930s. The continuous surfaces are two-colour arrangements showing a continuous shift of regular surfaces into different shapes (fish, birds, etc.). M. C. Escher and I have in common that we both developed bank note designs.

Victor Vasarely developed a vast range of geometric paintings but symmetries are mainly the result of the underlying patterns (visuals of spheres and cubes for instance) showing inherent axes of symmetry. The colour arrangements are a matter of pure taste or continuous, following different grid structures and being therefore visually easy to understand. The very first signed lithography in my art collection was a classic sphere of Vasarely.

Max Bill, Swiss architect and artist, made use of some mathematical formulas to create sculptures, as for example the set of hemispheres in front of the Institute for Mathematics at the University of Karlsruhe. These sculptures play with aspects of symmetry, but as a mere result of the mathematical equations applied, and are quite evident to visualise. We share interest in architecture and design and are Swiss born.

The fractals of Mandelbrot, developed in the late 1970s, are visually the most impressive generated by applying mathematics and incomparable to any former graphical presentations. The underlying formula(s), though recursive, show one degree of freedom. Any application of the formulas leads to exactly one determined result.

My graphical artwork basically consists of hexagonal (star shaped) symmetric structures (stars) that differ by their colour arrangement. With three colours unevenly applied (3 points show one colour, 2 points a second colour and 1 point a third colour), just ten possible solutions (permutations) can be obtained. Since the colour arrangement is dissymmetric (3-2-1, not 2-2-2), each colour of each solution can be exchanged against another and generates an individual colour arrangement, in which there are 60 different solutions.

Given any field sized X times Y = 60, for example 5x12 or 6x10, the first star can be placed on any of the 60 positions, once the first is set, the next has 59 options free etc.), and each star, as being a hexagonal symmetric structure, can be rotated at any field in six different positions. Such that there are not one but 60 x 6 = 360 degrees of freedom

The total possibilities to arrange these 60 stars therefore are 60! x 6^60, around 10^126 a one followed by 126 zeros! The number of Avogadro, the number of atoms in the known universe, is approx. 10^78 we have billions of billions of billions more different solutions for the graphical arrangements than atoms in the universe. Staggering.

Once certain rules are set how the stars need to be placed on any given field of 60, the - more than astronomic - quantity of solutions gets reduced at an equally fantastic pace. For instance, as for the graphic spiral flower, only ONE solution is possible, which, by the way, can be perpetuated to the centre or infinity. As for the graphic tower, more than fifty (!) rules are generating the particular design.

Needless to say, the most sophisticated of all are the spheres and the icosahedrons. Rules of placement for the stars are not only to be met locally on the surface, but qualify for complex symmetries over the poles truly tricky.

Circumstances seemingly unprecedented, since October 2012 some of my graphics are exhibited at my business school INSEAD on campus.

One sphere I am in discussion with the Dean, Dipak C. Jain, and his staff to donate to the school. I believe no other work of art may reflect the philosophy of the school better bring together equally high level distinct individuality of its participants, develop structures generating a complex network and new perspectives to its graduates.

I let the visitors of the exhibition discover the rules generating the beauty and harmony of the graphics and sculptures; some rules are easy to find, others hidden and reveal only to whom is committed to meditate in order to discover a new choreography based on individuality.

Jens W. Beyrich, Dipl.-Ing. s.c.l., MBA

January 2013

Vernissage: Monday 17th June 2013 Exposition from 17th June till 22nd June

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Contact: jens.beyrich@alumni.insead.edu

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BRIAN FOGARTY SOUL IN SEARCH OF A CANVAS 24 June 29 June 2013
Paintings, Drawings, Prints
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A painting can suggest, with storms of brushstrokes, that its more desirable to be touched violently than never to be touched at all.
(David Lawton in Brian Fogartys novel Red over Blue)
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Brian Fogarty is, above all, a powerful and original image maker. Weird and hallucinogenic, like tripping on drugs, yet on its own terms so solid and real, much of his work is so intense, mesmerising, convoluted, it becomes a prison for the eye.
(David Mclean, on facebook)
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Rational observation alone cannot take me to the deeper, visionary truth I seek which whilst of the material, lies beyond it.
(Brian Fogarty in an interview with the performance artist and filmmaker Lucy Chang, whilst discussing his approach to painting his portrait of the actress Scarlett Johansson)
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ANNE DE SOUZA AND OYSTER PRESS are thrilled to present Brian Fogartys first major solo exhibition consisting of seventy paintings, plus drawings and prints covering the full range of his work since he began his painting career in earnest ten years ago.
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Directly informed by personal exposure to violence and darkness (e.g. from his childhood, and whilst researching his novel Red over Blue during the two years he lived and taught English in Sudan, and up to the present day), nevertheless Fogarty rarely illustrates his personal or political experiences direct onto the canvas in the form of Bhasquiat, de Kooning, Aboudia Abdoulaye, or Goya-like pathos or menace-filled generic mentalists or monsters. Although he communicates inner turbulence and personal feelings through the sheer energy, density, fluidity, and vividness of the paint marks he makes with brushes, knives, sponges, fingers, fabrics and the arsenal of kitchen and household implements he keeps by him in his studio, the state of mind of the artist at times seemingly mingling through some alchemy of empathy and osmosis with his subjects, the viewer rarely loses sight of a particular physical entity being observed and experienced, notwithstanding empirical and chance/accidental distortions of facial features and dislocations of body parts, and thus the essential unique identity of the particular person remains and the reality specific to him or her.
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Brian Fogarty is fascinated by human flesh, the basic substance of life, and in many of his portraits and naked portraits his aggressive and tender handling of the often heavy, Cremnitz white-based mixed pigments produces a certain organic quality suggestive of body tissue, veins and arteries just as if he is seeking to explore beneath his subjects skin to expose their very essence. He is obsessed with the belief that, through painting them, he can somehow reincarnate people he has lost, (or, indeed, has an overwhelming desire to meet for the first time). This process of recovery, akin to Marcel Prousts alter egos journey in his great novel In search of Lost Time, sometimes takes many months or even years before Fogarty is satisfied that he has created on canvas the very next best thing to the reality of the presence of the person he has lost to them actually being there. Paradoxically, as with his novels when asked whether hed rather have the work of art he has created or the person who inspired it, he inevitably chooses the former which after so much intense work has achieved a complete autonomy, even though it may be an uncanny likeness and extraordinary incarnation of the person he has lost in all their sensual, psychological, profane, and poetic reality.
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The artists who have nourished Brian Fogarty and most influenced his work Freud, Bacon, Soutine, de Kooning, Schiele, Warhol, Bhasqiat, Pollock, Munch, and Marlene Dumas are so diverse and often the antithises of one another that as he has developed, sometimes subverted them, stretched himself, taken risks, always it seems working at the limits (and at times beyond) of his abilities, producing like Picasso a protean and wide ranging body of work, one can only conclude he is a truly original artist.
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Brian Fogarty was born in Hackney in the East End of London.
He has, on several occasions throughout his life closed his eyes and stuck a pin in a map of England and then upped and left alone to go and live in some strange town where he knew not a soul. He found that being in a place where nobody knew him made it easier for him to try out different personas who battled within him to emerge as dominant in the hope thatd hed find out who he really was. He also enjoyed the sense of heightened potential that living in a town, village, or city he had never even visited before gave him the feeling that he might meet someone extraordinary and that anything could happen.
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At present Brian Fogarty lives an hours train journey from London, in Brighton, East Sussex where he has his tiny studio by the sea. He is a member of the Sussex County Arts Club who awarded him the David Rose Prize for Painting for the most outstanding entry at the 2005 Brighton Arts Festival for his powerful semi naked-portrait of a woman entitled That Blue Dress. He is a member also of the Brighton Poetry Society who meet at the Victory pub, the Lanes, Brighton, on the last Monday evening of every month where he enjoys reading his poems and extracts from his novels at their open mic sessions. He also reads at The Red Roaster Coffee House, St Jamess Street, Brighton, at the Pighog poetry events on the last Thursday of ever month.
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Contact before and after the dates of the exhibition:
Oyster Press, PO Box 395, Brighton BN50 9GJ
07919947684
oysterpress@hotmail.co.uk
facebook.com/brianpfogarty
www.brianfogarty.com

 

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STATE OF THE ART CINEMA EXHIBITION 29th July - 3rd August 2013
A special free exhibition of contemporary film poster design and photography, showcasing a wide range of films from around the world for UK cinema release during summer 2013.

 

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Hamish Mackie Solo Show 7 October- 19 October 2013

Monday-Friday: 10:00am-6:30pm

Weekend: 10:00am-4:00pm

Hamish Mackie has become one of Englands leading wildlife sculptors and has works in public and private collections around the world. Although Hamishs trademark style is predominantly bold and loose, he can also be immaculately detailed in his sculpting of more delicate subjects. He is a sculptor who is unafraid to experiment with all aspects of his field, including materials, subject matter and patination. All Hamish's work is cast in England. This tri-annual solo show is a culmination of all his available work to date.

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For more information visit: www.hamishmackie.com

Contact Hamish: hamish@hamishmackie.com or on his mobile: 07971 028 098

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Recent Watercolours

Monday Friday 10.00am - 7.00pm

Saturday 10.00am - 4.00pm

"On the occasion of my thirtieth anniversary as a watercolour artist and after presenting my work in numerous Solo and Group Exhibitions in Italy, I decided to cross the border of my country and to share the fruits of my work with London, the home of the watercolour. Approximately fifty works of various subject matter, including several circular works, have been painted exclusively for this exhibition.

I welcome you to share this experience with me."

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For further information, please contact Belinda Aked

Email: baked@clara.co.uk

Website: www.acquerelliwalterboni.it

Tel: +44 (0) 7776 236212 (before and after the Exhibition)

Tel: +44 (0) 207 437 2812 (during the exhibition only)

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"REDACTED" Paul Robinson 22 - 27 April 2013

Roberta Moore Contemporary is thrilled to announce REDACTED, a new series of work by ground-breaking art photographer Paul Robinson. REDACTED incorporates several integrated works from metropolises worldwide creating a mesmerising series evoked by cities all over the world.

Finding inspiration in global travels, Robinson exhibits regularly in the UK, the US and Asia. Capturing the moods of cities and the spirits of their people from Paris, London, Rome and Florence to Hong Kong, Shanghai and Bangkok multiple exposures combine architecture, portraiture, landscape, light and texture on a single image. The culmination is a panorama of lyricism, poetry, mystery and intrigue. I have always been fascinated by other lands. Los Angeles is and always has been my home, but I feel like there are pieces of myself scattered all over the world, in any city I have spent any time at all. Better yet, I feel that pieces of those cities make up the man I am today. Paul Robinson

Robinson explains, however, that it is LA itself, his hometown, which is the driving force of many pieces in this particular collection: When I started this series I made a conscious decision to focus much of my energy on the spirit of Los Angeles. Its my hometown and most beloved place in the world and yet so many images from previous exhibitions have been inspired by other cities.

Redaction, a process associated with combining multiple source texts, is one Robinson has evolved and effectively translated into the purely visual. Forming a collective body of work, the resulting exhibition is definitive and coherent. Uniting cities through his lens, the dreamlike final works are hybrids of time and place standing as beacons of our cosmopolitan generation.

Paul Robinson has over the years found himself increasingly drawn to painters, rather than photographers. The incredible works of Helmut Newton, Richard Avedon, Henri Cartier Bresson and Guy Bordin, which inspired him to take up photography in the first instance, were joined by Jean-Michel Basquiat, Robert Rauschenberg, Francis Bacon, Otto Dix and Adrian Ghenie. No longer sustained creatively by the limits of photography in its most traditional forms, the clear sharpness he once strived for in a single image was replaced by a more abstract, layered and sometimes blurred aesthetic. Pushing the medium and incorporating others, Robinsons work is an exploration into processes to layer images without resorting to digital manipulation.

 

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Images © Paul Robinson

For further information go to www.robertamoore.co.uk

Or contact Roberta Moore: Tel: 07919 667 059

Email: info@robertamoore.co.uk

For all media-related enquiries please contact:

Cult.Brand: Tani Burns: tani.burns@cultbrand.co.uk

Tel: 0207 377 5665 / 07888 731 419

Website: www.cultbrand.co.uk

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CORK STREET OPEN WINTER EXHIBITION 18th - 25th January 2013

 

The Cork Street Open Exhibition, generously sponsored by Premier Art Spaces, will host its first Winter Exhibition in the Gallery in Cork Street with a juried selection of more than 200 pieces of contemporary art submitted by artists from the UK and abroad. Painting, photography, digital art, sculpture, original prints and mixed media will all be represented, and everyone is guaranteed to find something to suit their personal taste and budget. Cork Street Open Exhibitions were founded to showcase the work of emerging and established artists while raising both money for and the profile of a different charities; investment in any of the work on display this year will benefit CRISIS, the national charity for single homeless people. CRISIS provides the Skylight Project which uses the arts to help people regain their sense of self. The Exhibition runs from 18th - 25th January 2013, and is open 10:00 to 6:00 Daily, including Sunday (Fri 18th and Thr 24th until 8pm) For more information or to purchase tickets for the Private View, 17th January from 7-9pm please visit the website at: www.corkstreetopenexhibition.com

Telephone 07947 080 655

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12 Russian Winters, 12 Baltic Springs, White Space Gallery 29th January - 2nd February 2013

By Henrietta Foster

Twelve years ago Anya Stonelake arrived in London and started White Space Gallery. In that time she has missed twelve Russian winters in her beloved St Petersburg and twelve Baltic springs but it is our good fortune that we have not. Thanks to Anya we have discovered the freshness of the New Artists and Timur Novikov from St Petersburg and the poetry of unknown Baltic photographers. Her acute sense of both what has happened and what is happening has introduced the British public to new artists and photographers from 21st century Russia and Lithuania. She has also curated the work of the Portuguese photographer Jose Pedro Cortes and our own Martin Parr.

But Anya's name will be forever linked to the extraordinary Lithuanian photographers Antanas Sutkus, Rimaldas Viksraitis and Algirdas ekus. Shamefully neglected in Britain until their exhibitions at White Space.These three men have shown us in memorable images the painful transition from a Soviet republic to an independent country. Who can forget Sutkus' deeply disturbing yet strangely serene portraits of the blind school in Vilnius and in particular The Blind Pioneer. Such a beautiful young boy with the largest eyes imaginable through which he can see nothing - perhaps a symbol of the Lithuanians under USSR control? Or the wonderful picture of the small girl clasping her mother's hands with trust and wonder. Or the pictures he took in 1965 of Jean Paul Sartre's trip to Lithuania. The French philosopher climbing the dunes outside Vilnius is a strong representation of his work and life yet taken by someone who barely knew him. Seskus's Lyrics of Love exhibition explores couples meeting in rundown parks or graveyards, orthodox churches in the mud and children waiting for something to happen. Vibrant poetic images of a lost world and a lost people.

Anya presented the first solo UK exhibition of the St Petersburg photographer Dmitri Konradt and his landscape series taken in St Petersburg of lost streets and courtyards, from the early 1990s to the present. Konradt's work and use of colour has been described by the St Petersburg art historian Gleb Yershov as gently embracing and ghostly, it inhales that colour and paint, which defines both the mystical and earthly palette of our city. This calm and balanced breathing comforts the eye. And then it seems that the gloomy, grey, and stiff St Petersburg throws away its covers, immersing itself in colourKonradts work in color photography defines the artistic search and discoveries of new generation of Russian photographers, a new photography school, whose founding principals are based on the emphasis of dominating colour as self content and creative source. Who could disagree after seeing the de Kooning like images of young birches against crumbling walls?

We first worked together on Mirror and Pomegranate - a celebration of the creative partnership and friendship between Sergei Parajanov and Andrei Tarkovsky. The show featured the bright bright light Polaroids of Tarkovsky and the complex collages of Parajanov. It was a privilege to witness this deep friendship between two artists who both suffered greatly under the Soviet regime. They approached their internal landscape in a very different ways creating strong images but from a very different perspective. Watching Nostalghia or The Colour Of Pomegranates after this sparkling exhibition became even richer.

The exhibition 12 Russian Winters 12 Baltic Springs is a chance to see all of these wonderful artists and photographers again. On for a week it is a unique chance to celebrate White Space Gallery and Anya Stonelake who has certainly made the UK art scene a brighter place to be since 2001. Let's hope that she continues to do so for many more years....

RSVP to Anya Stonelake on tel. 07949100956 or email anya@whitespacegallery.co.uk

 

Image ©Antanas Sutkus. Soviet Tourists in Germany, Leipzig

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Transcending Boundaries - Aabru Art shines spotlight on African Masters, 4-9 February 2013

The largest pop-up exhibition of its kind in London, Transcending Boundaries will display exceptional contemporary art from West Africa. Specializing in African art, Aabru Art has chosen 22 leading Nigerian masters to take part in the show.

Aabru Art works closely with a small group of artists who create these highly sought after pieces. Ranging in style from Olakus stunningly lifelike oil painting and Osaghaes socio-political depictions of local Nigerian life and culture, to Babatundesfascination for the human form in large- scale bronze and wood and Ugbines playful manipulations and three- dimensional pieces using tribal imagery.The work of these masters has been exhibited across Africa and the world but the artists are relatively unknown outside of Africa, with the exception of a handful of devotees.

Aabru Art is a London based firm focused on sourcing, marketing and distributing West African contemporary art to the international buyer. Set up on the belief that there is a wealth of unexplored talent from West Africa that deserves a global audience.Aabru Art works in partnership with the artists to raise awareness and understanding of West African contemporary art in the international market and educate investors and collectors of the potential investment opportunities that exist.

Aabru Art was founded by AnshuBahanda in 2011 after a life-long passion for art and connections with West Africa meant that she was able to explore the work being created in Nigeria.Anshu Bahanda says: Transcending Boundaries will be the first chance for many people outside ofAfrica to see the work of these incredible artists. The show will be a real celebration of the immense talent working in Africa today and I hope will lead to further opportunities for the artists to show to the widest audience possible.

For more information please visit www.aabru.co.uk or contact us on art@aabru.co.uk

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Images shown: AbiodunOlaku Life goes on (Lagos), Alex Nwokolo Social Networking, Fidelis Odogwu City Scape

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PEOPLE AND PLACES 5th - 9th March 2013

Bronze Sculptures by Mo Farquharson and Landscape Paintings by James Hawkins

Friends and Contemporaries at the Ruskin School of Drawing and Fine Art, University of Oxford.

For more details please contact: flick@rhueart.co.ukTel:01854 612460

www.rhueart.co.uk or www.mofarquharson.com

Opening Hours: 10.30am 7pm

 

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Salon Oman is a five day event to accompany an exhibition by the artist Dillwyn Smith inspired by his three month residency in Oman in 2012. In addition to the exhibition the Salon will include discussions and social events hosted by a diverse range of creative and influential people from Londons artistic scene. Smiths immersive experiences in Oman led to a rich cultural exchange, culminating in new influences on the colour, texture and fabric of his artworks. Smiths established practice is one where colour sings in combinations that reference Matisse or James Turrell. The harmony and balance of his unusual canvases transmit an energy that changes with each environment that they are exhibited in. The revealing of the stretcher support though areas of transparent material relates to a rich historical tradition of abstract art. Smiths practice is always embedded in his personal experiences. The latest series, which also includes some extraordinary subtle landscape photographs, is an emotional and physical response to Omani culture.

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19 March 4 - 6pm (free entry)

Salon Ways of Seeing Special host: Mark Davy (Futurecity Director) The Salon will take the form of a conversation between Dillwyn Smith and Mark Davy, where the audience is invited to participate. The topic being discussed is the variety of possibilities of looking, understanding and relating to the everyday things that surround us. The Salon will be accompanied by a selection of teas and delicacies. Mark Davy is the founder of Futurecity, a culture and placemaking agency set up in 2001 to respond to the burgeoning interest in culture and regeneration. Under his leadership Futurecity has brokered a series of cultural projects, which other artists the opportunity to work with other disciplines, including architecture, engineering and medicine. A lead artist programme has seen artists working with design teams on architecture, landscape and infrastructure projects. He has recently set up a new Urban Research Unit with Grimshaw architects, which will provide research, ideas and commentary on how cultural master planning can improve former industrial sites in our towns and cities. www.futurecity.co.uk

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21 March 4 - 6pm (free entry)

Salon A Womens Place Special host: Elizabeth Gilmore (Jerwood Gallery Director) This Salons purpose is to reflect on the changing role of women in the Arts, both artists and art professionals. There will be a round-table discussion where invited guests both European and Omani will discuss the different perspectives on this issue and, in particular, reflecting on the different realities of living in Europe and in Oman. The Salon will be accompanied by a selection of teas and delicacies. Liz Gilmore is currently the Director of the Jerwood Gallery, Hastings. Previously, she was Head of Visual Arts for Arts Council England, South East region, where she played a key role in nurturing the development of the network of coastal galleries. She is an art historian and arts professional and has worked closely with artists to establish and lead a highly-acclaimed informal learning programme at the National Gallery London. She acted as a special advisor for the London Museums Agency and as a university lecturer in fine art professional practice.

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22 March | 4 - 6pm (free entry)

Tour and talk directed to students Special host: Ansel Krut (Artist and Lecturer) This afternoon programme includes a tour through the gallery, guided by Dillwyn Smith, followed by an informal conversation between the artist, Ansel Krut and the audience. Ansel Krut is a London-based artist, currently, exhibiting at Marlborough Chelsea (New York). He is Visiting Tutor on the Painting programme at the Royal College of Art and an artist-lecturer with the Education Department at the National Gallery in London.

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23 March | 11am - 3pm (free entry)

Salon Oman Closing Event The closing of Salon Oman is an informal public event of conviviality and celebration, that is open to all. Drinks and finger-food are available.

Opening hours: Tuesday 19th to Friday 22nd March 10am 4pm Saturday 23rd March 11am 2pm

For more information please email: salon.oman.london@gmail.com

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