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Guest Article – Rowan Newton interviews Robin Footitt

For this Guest Article – artist Rowan Newton interviews Robin Footitt about his work, and his current show at New Art Projects in London. For more about both artists and the gallery, see their website links at the bottom.

Rowan Newton - Robin Footitt

 

RN – One of the first things I noticed as I entered the exhibition is that it seems to be in 3 parts. Tell me about the theme to this show and how each part plays it role within that theme?

 

RF – ‘Open Window’, is the second solo project I’ve had at New Art Projects, and continues a theme which takes modernism into the realm of communication through image abstraction when using technology. The perception of an open window has changed in recent times from a sense of escape and outward potential to a much more singular, internalised, anxious pursuit born out of working on layered computer screens. I liken the stages of my treatment to the exhibition theme as a series of acts, much like in opera – the topic can be a central focus in the work or a subtext to underwrite other more intimate narratives. This is similar to the way in which I work, using different materials and time signatures (“instant” objects versus labour intensive craft) to resolve and set a rhythm in the installation.

 

Perhaps the first act in Open Window is the series of dots connecting together, plotting grid compositions and dividing lines throughout the space. These are patterns made on Lycra, which replicate the magnification of various phone and display screens. These red, green and blue tessellated shapes were initially assembled as paper collages to reclaim the handmade and tangible act of touching a pixel. The 90 degree angular forms they make on the wall are much more mechanical and are reminiscent of linking dots together to unlock your phone or make a chain of matching candies to make them dissolve… Relationship to the screen is echoed throughout the other works – I’ve made drawings about the passing of time and maintaining your place within it, using visual significations such as placing a napkin over a drink to claim your absence (Holding Object) or indeed taking that napkin and repeatedly unfolding and refolding it in different ways as a means to kill time (Napkin Variations).

 

RN – The geometric shapes, can you tell me how these pieces were made? 

 

RF – The two yellow windows, titled ‘Outlook’ and ‘Explorer’ are good examples of what I referred to earlier as instant objects. They are both made from Dibond aluminium sheet material, which I draw on with permanent marker and their shape is predetermined by this relationship. Those drawings were at the same scale as my phone screen (9:5) and these parallelograms were cut to size and produced instantaneously. Whilst the pair have a simple hard edge abstraction I enjoy the multiplicity of their purpose, like having the spectre of a ray of light cast on the wall through a window.

Rowan Newton - Robin Footitt

RN – When you say Outlook and Explorer, I instantly think of the email host and search engine, are they the source of these names? And why?

 

RF – Again ‘Explorer’ and ‘Outlook’ respond to the window theme but you’re quite right that they are in reference to android software. There was something attractive about those names as if you were being a pioneer looking out on the vastness of all this information. In regards to the pieces one is reflective and the other is a more matt surface so I titled them respectively.

 

RN – Now having a little time to live with the show as an exhibit, how do you feel about it?

 

RF – The work I keep returning to is ‘You Left Me’ a photographic altar piece-style triptych that hangs off the corner in the second room. The three images come from an undeveloped camera film, which I found sat inside my aunt’s camera after her passing. It was half-used and had been there for some years previously forgotten. When I processed the negatives each print had a bleached, dreamlike quality, which came partly from the fixed perspective lens, but also the deterioration of the film. It seemed apt to keep this analogue production so I scanned the prints without retouching and housed them in a bespoke hinged frame. The lack of focus toys with the arrangement to maintain a constantly shifting focal point, which I admire. It makes me nostalgic for less immediate forms of photography I suppose, where the first exposure isn’t instantly lit up by a screen and consumed just as quickly.

Rowan Newton - Robin Footitt

RN – You have worked with New Art Projects for just over 2 years, tell me about that journey? 

 

RF – It has grown pretty organically since ‘Modern Grammar’ which opened in September 2016. Fred Mann, Director of New Art Projects has put the trust in me to develop over that period with a solo project booth at VOLTA New York in 2017 and that invitation extended to me curating group show ‘The Toast’ alongside Open Window this November.

 

RN – If you could make one thing disappear from the Art world what would it be?

 

RF – Application fees

 

RN – Do you have a piece of your own art hanging in your home, of so, why that piece? If not, why? 

 

RF – I do yes. Many works hanging in my home are from years of swapping with other artists that I have either curated, collaborated with or studied alongside, and the odd bit of collecting from independent online stores.

 

RN – What’s next for you?

 

RF – Nothing I can reveal just yet but all being well I should be travelling much more in 2019…

 

 

Open Window can be viewed at New Art Projects, London until 21st December 2018

Website: www.robinfootitt.com and www.newartprojects.com

Instagram: @robinfootittart and @newartprojects

Facebook: New Art Projects London

 

Guest Article by Rowan Newton

Instagram: @Rowan_Newton

Website: RowanNewton.co.uk

Facebook: Rowan Newton

 

FOR MORE GUEST ARTICLES CHECK OUT:

Nicholas Burns – Inside the Bug Jar


Tracey Emin – A Fortnight Of Tears

Tracey Emin – A Fortnight Of Tears

Chronicling the most recent developments in Tracey Emin’s practice, ‘A Fortnight of Tears’ opens at White Cube Bermondsey in February 2019.

This major exhibition spans the entire gallery and brings together new painting, photography, large-scale sculpture, film and neon text, all stemming from the artist’s deeply personal memories and emotions ranging from loss, grief, longing and spiritual love.

Three monumental, bronze sculptural figures, the largest Emin has produced to date, are shown alongside her lyrical and expressive paintings. Developed through a process of drawing, the paintings are then intensely reworked and added to, layer upon layer.

Tracey Emin - A Fortnight Of Tears

Tracey Emin – A Fortnight Of Tears

White Cube also debuts a new photographic series by Emin titled ‘Insomnia’. Selected from thousands of self-portraits taken by the artist on her iPhone over the last couple of years, these images spontaneously capture prolonged periods of restlessness and inner turmoil.

Filmmaking has been an integral part of Emin’s career for over 20 years. To mark this, the artist will show a new film as well as the key early work How It Feels (1996), a candid and moving account of her abortions that changed her whole approach to making art.

 

For more great art exhibitions on right now, see this review of Chris Burden at Gagosian by Benjamin Murphy HERE

For more about Tracey Emin, see the White Cube website HERE


Dormant Chaos – Chris Burden at Gagosian

Dormant Chaos – Chris Burden at Gagosian by Benjamin Murphy

(Originally published in AfterNyne Magazine)

 

Chris Burden - Gagosian

 

In their latest show, Gagosian gallery is isolating two works from Chris Burden’s retrospective at New Museum in New York in 2013, and presenting them together in their Brittania Street gallery. Entitled Measured, the show speaks of symmetry, bringing together two works that exist via the equality of weight between two opposing objects. In Porsche With Meteorite, a genuine nickel-iron meteorite counterbalances a restored Porsche 914.

This work is one which suggests immense, and yet dormant, power. The power of the sports-car is curtailed and it is left sitting idly, as if weightless, whilst the meteorite sits cold upon the opposing end of the fulcrums arm. These two objects have had past lives that were incredibly high-octane, for Burden’s restoration of a vintage car rather than the selection of a showroom floor model is not merely serendipitous. These objects have been imbued with an immense power, which through his transfiguration, have become impotent in their stillness. They seem to have lost their virility, and sit immobile, suspended in time.

 

The meteorite is only twenty percent of the weight of the car, and for this reason the beam that supports both is much longer on the meteorites end. It is a purpose-built structure that towers overhead, telescopic – although the lack of registration-marks on the uniform oxidisation suggests that this functionality is only for show; it has potential, but this potential will never be actualised. The vehicles have been painstakingly restored to their former perfection, whilst the oxidised steel components, display an artificial history that in the vehicles js genuine, but obscured.

 

The viewer is at once struck with the delicacy of the work, and yet feels insecure in the potential for danger. In many ways both works in Measuredare redolent of his 1996 work The Flying Steamroller, in which a twelve-tonne steamroller is attached to a pivoted arm, counterbalanced on the opposite side. In the middle of the arm, there is a rotating fulcrum that allows the steamroller to lift off the ground and float in the air once it has reached a high enough velocity for the counterweight to elevate it. In this work the potential for unmitigated disaster is very real, and it is impossible to not be struck by the delicacy with which this immensely dangerous event is taking place. The steamroller glides serenely through the air like a bird.

Chris Burden - Gagosian

The other work in the show, One-Ton Crane Truck is a refurbished Ford truck counterbalanced with a purpose-built single tonne cube, which contrasts with and exemplifies the exotic nature of the meteorite. In this work, the vehicle is a rudimentary machine used for laborious work, which is diametrically opposed to the extravagent sports-car in the other room. This juxtaposition of the functional and familiar robustness of the crane truck and cube, with the exoticsports car and meteorite, seems to highlight the intrinsic qualities of each by playing them off against one another. The sports car appears all the more luxurious and fast, whilst the truck speaks of rigidity and strength. This piece is slightly less successful than its counterpart however, and as was suggested to me by a friend, a bit ‘cartoony’. The one-tonne weight is a rather arbritrary measurement, as the trucks front wheels are planted firmly on the ground. Were they to be lifted ever-so-slightly off the floor, the work would have been immeasurably powerful, but alas, that is not the case. Having the counterweight a purpose-built cube, as opposed to a magical, extra-terrestrial chunk of metal, diminishes this work somewhat. It does however, suggest that this work means something different to its opposite, in that here the work suggests industry and industrialization, grounded in the real, laborious world. The other has a magical, almost fairytale quality, and is suggestive of some kind of freedom (or its lack thereof). It is not that either work critiques or diminishes the other, rather that they both speak of similar ideas, in opposing ways.

 

Burden’s early work was chaotic and reckless, but never haphazard. There was a raw energy and freedom to his performance works that now, because of his untimely death, will never be seen again. This show has a somber quietness to it, that when viewed after the artist’s premature death, screams of lost potential. The cars potential as a conduit to immense power and freedom is left suspended, and isolated from the very ground that gives it its meaning. In this however, it is imbued it with a newer, more abstract power. The meteorite appears as if lassoed out of the sky, hung upon a metal gallows and displayed in all its impotence, energy lost irretrievably.

 

In Burden’s earlier work, he put himself at great physical danger and exposed himself to actual bodily harm for his works.Towards the end of his career, he made works that placed the viewer in arenas of potential danger, with The Big Wheel and Steamroller, where there always seemed that chaos was ready to break free. In these works presented in Measured, the chaos and energy that could ensue has long passed, and now lays dormant within these objects, perfectly suspended to reflect that an equilibrium has been reached between chaos and calm. The gallery has a stillness that heightens the balance of the two works, both individually with the literal balance between objects, but also the way in which both works discourse with each other.

 

As Mark Rothko once said, “complete equilibrium is death”, and within these works, it is the perfect symmetry of both that each nullifies the power of its opposite. All ordered systems strive towards chaos, and these equal and opposing forces arrest this eagerness for disorder, creating a stunted equilibrium redolent of serenity. It is a stale serenity however, as each work calls to mind a lost potential, which when read in the post-Burden landscape, echoes of loss.

 

 

For more by Benjamin:

Santiago Sierra – The Strangeness of Reality

For more details about the show:

Gagosian Website


Guest Column – Nicholas Burns

Inside the Bug Jar By Nicholas Burns

Nicholas Burns

I
In a jar full of bugs,
I am agitated. On display
My actions and motives are questioned by
Leering eyes.
Waiting for the chance to dissect me and use me.
Abuse me and isolate my weaknesses
I must be deft and dexterous
Flexible and malleable
Able to adapt and function in all environments
My design must be flawless and innovative
Cohesive, yet groundbreaking

Eliminate the excess.
Don’t be the freak.

Tweak it.
Perfect it.
Make it the best.

Because no one remembers those who live in mediocrity.
The worker bees serve an elegant purpose.
Committed to one another as
A unit.
A family
Aiming to produce the best. The sweetest.

Don’t make a mistake because you must remember

Everyone is watching

II
In a room full of mirrors,
I see a thousand mistakes.
Changes I need to make
We need to make

I’ve said too much
I’ve seen too much
Yet not enough
Still looking for myself
In a world of constant change and
Scrutiny,
Controversy,
And Competition
I am under the microscope

I’m reinventing myself
I’ll dye my hair
Blue and orange, green and gray
Then black
I’m every color
Then no color at all

I’m reinventing myself
I’ll dress the best
Maintain a look of confidence
Even though I’m frightened and ashamed
I’ll spritz that dark rum scent
Scent like sex
Yet my airs produce miasmic odors
An attractor and repellent

What do I need to do to see this through?
I want to fix the world but I can’t seem to fix myself

I need a shortcut
A pointer
A guide

If only these mirrors could talk

III
In a puzzle with infinite pieces
I am in need of fresh air
But at least I’m finding grounding
In the lack of control

What started a storm with no foreseeable end
I am now in its eye
I am calm
The storm still persists, still rages
But I have a damn good umbrella

Like the bees, I’m still at work
Still dressed the best
I spritz my chest
To keep the lingering smell
That became my attractor

Yet now I discard this idea of supremacy
Perfection, a silly structure
A hierarchical mirage
I prefer to be the freak
To take my position in left field

I want to build something beautiful
But I sometimes forget the recipe
I am the baker and the chef,
But deft I am not

I’m making a mess, and it’s getting everywhere
And that’s fine with me
Food fights are fun
Spontaneous
Collaborative
Colorful

Perfection is a mirage
And in the desert of opportunities
I’ll save my energy for fruitful excursions
That mirage will always disappear

And that’s fine with me.

 

 

 

Studio Art Alumni:
Inside the Bug Jar
Jan 22 – Feb 22, 2019
Artist Reception: Feb 7, 4-7pm

 

Nicholas Burns – WEBSITE

 

For more guest columns, check out Andrew Salgado’s essay about the work of Benjamin Murphy HERE


Art Aesthetics Review of Diary Of An Introvert

Art Aesthetics magazine have recently reviewed our solo show with Australian painter Jordy Kerwick. Read what they had to say below…

Kerwick’s still lifes are the perfect foil to the quixotic ideals of the artist. He only started painting in 2015, but has risen in truly meteoric fashion having already exhibited as far and wide as New York and San Francisco in the United States, and Paris, Cologne and Hamburg in Europe despite working from Melbourne, Australia. We finally caught up with Kerwick’s first solo UK show, Diary of an Introvert, in South London. I was accompanied, charitably, by Aistè, who generously made time for me having just released a new single, ‘My Only Friend’.

Our destination was Delphian Gallery: the itinerant art space founded by Nick Thompson and Benjamin Murphy. Their brisk existence requires that one show’s success entails the next show’s very premises. (They needn’t worry, Kerwick has done exceptionally well with only a couple of paintings remaining for sale.) So we went to Delphian Gallery’s temporary venue at the AMP Gallery’s space in uber-cool Peckham.

Art Aesthetics

Kerwick’s paintings seem to prevaricate on the ‘artist’ as a figment of our imaginations. (They’re usually stereotyped as philosophy-thinking, chain-smoking, wine-drinking, beret-wearing Frenchies—according to my school’s careers advisor at least.) Of course, they’re not. You’ll struggle to find persons more professional and committed than artists, but bad reputations die hard. Kerwick isn’t scared of utilising these tropes, but makes for some fine self-exposition amid his own painterly equivocation. For by engaging in these tropes, the artist reflexively reveals himself.

Kerwick’s Diary of an Introvert encompasses some thirteen paintings of which twelve are still lifes. You espy geraniums and flytraps, which are usually set atop stacks of books bearing the names of other, bolder artists, thinkers, or musicians. Their spines carry Susan Sontag and Marcel Proust alongside Nick Cave and Patti Smith. (Unfortunately, these musicians aren’t quite to Aistè’s taste.) As for the artists, the works of James Ensor, Jean-Michel Basquiat and Bob Thompson are a world away from Kerwick. Ensor (1860-1949) was a forerunner of Expressionism. His Tribulations of St Anthony (1887) is wildly colourful and surreal for an artist working in the 19th Century. The Fauves (a.k.a., the Wild Beasts) followed on from the Expressionists. They also influenced Bob Thompson’s vivid, but starkly flat compositions. It’s strange, then, to find these artists’ names scrawled against the dull-pastels and ochres of Kerwick, who, when interviewed by Maria Stoljar, blandly said, ‘I really like the muted earthy tones.’ But then quietly proposed that this is ‘probably not a good thing.’ Aistè thinks the same: ‘I just want more colours.’

So other than the plants and the books, what else? You sometimes look at white spots on the canvas and what appear to be unfinished cigarettes; ‘pills and cocaine,’ suggests Aistè, though she’s not really sure if Kerwick is really that kind of guy. You can see what we’re referring to in Diary of an Introvert 7 (2018). You’ve got cigarettes sitting beside the ambiguous white spots and lines on the table. Ian Curtis supports Bob Thompson who supports Basquiat upon whom rests some pink germaniums. We’ve no difficulty imagining Curtis, Thompson and Basquiat taking full advantage of the table’s wares, but not Kerwick. For they’re proper ‘tortured artists’ whose creativity was breath-taking, but quickly burnt out. You sense that Kerwick is ‘looking in’ on these artists, but too self-consciously aware that he’s not them. ‘I don’t smoke,’ he told Stoljar, ‘but you don’t want something to be too pretty and cigarettes aren’t pretty. I still look at people smoking and think it’s cool. I’m not endorsing it for one second.’

We’re accustomed to thinking of painters as cool: rebellious, penniless, alcoholic, perhaps sensitive, but always creative. It’s supposed to come at some cost: they die too soon, are melancholic if not downright mad. (Of course, the truth is rather more boring. But we’re dealing with the popular ‘image’ of the artist.)  Kerwick plays up to this by daubing ‘la paix et la tranquillité et le pressentiment’ on the side of Diary of an Introvert 4 (2018). 

Kerwick’s interview with Stoljar is enlightening. He puts much of his work down to the fear of growing old: ‘not that I was ever cool, but I just feel less cool that I was before.’ We want out artists to be misunderstood and ahead of their time like Ensor; or, tragically cut short like Basquiat; or as expressive and bold as Thompson. Yet Kerwick is none of these things. (He’s happily married with children in Melbourne, Australia.) He’s previously said that ‘home doesn’t possess wonderment for me, not like LA or Paris.’

Nowhere is Kerwick’s self-deprecating character more visibly at work than in Diary of an Introvert 2 (2018) where the works of Voltaire and Trotsky and Gertrude Stein are crowned by ‘Miniature Schnauzers’ (very cool) and supported by the simple admission, ‘I can’t paint’. Aistè reckons he means, ‘I can’t paint…like Basquiat, like Thompson, or like Ensor.’ And yet, sometimes he does. You’ll often come across a Basquiat-like mark, cypher or glyph.

Art Aesthetics

I finally think I’ve got an analogy for Kerwick: He’s more Sancho Panza than Don Quixote. In Miguel de Cervantes’ masterpiece (1605 & 1615) the eponymous character simply reads too many books about chivalrous heroes. So many, in fact, that he loses his mind. He takes these stories so literally that he endeavours to become a grand knight-errant in search of adventure. He’s followed by his ‘squire’ Sancho Panza who serves as the level-headed foil to the wild idealism of Don Quixote.

Kerwick’s paintings proffer Ensor, Thompson and Basquiat as so many Don Quixotes. (How many artists aspire to Basquiat?) But for Kerwick, as for Sancho, these are fictions, so many books, upon which he places his flowers and, with a forthright naïvety, simply paints. ‘It’s kind of sad,’ says Aistè. ‘I think he’d like to be just like those Expressionists and Fauves.’ I disagree, there is such derring-do in these paintings, just obliquely, perfectly referenced. For that, it’s 4/5 stars from me and 3/5 from Aistè (although she admits that maybe that’s just because she doesn’t like Nick Cave and Patti Smith).

Thanks ART AESTHETICS!

See the Art Aesthetics website HERE

And learn more about Jordy HERE, and buy his prints HERE


Transition – How to prosper in the art world

Join us on the 12th December for the panel discussion Transition – how to prosper in the art world. The panel will be chaired by Benjamin Murphy and Nick JS Thompson from Delphian Gallery together with guest speakers Rosalind Davis and Stuart Waplington.

Rosalind Davis is an artist exhibiting globally, as well as being the permanent curator at Collyer Bristow gallery. She is the co-author of the book “What they didn’t teach you at art school”.

Stuart Waplington is the founder of theprintspace, London’s premier fine art printing company. Creativehub, an online software platform, is the go to place for artists to archive images, print, enter competitions, share files and source artworks for sale in online galleries.

The talk will cover topics such as marketing and exhibiting your work, sales and pricing and transitioning from univerity to starting your art career.

***The talk is free to attend but numbers are limited. Please RSVP using the ticket link, which can be found in the Facebook event HERE.***

 

This talk will be hosted at our upcoming show Diary Of An Introvert with the amazing Jordy Kerwick


We asked 45 artists how they found their inspiration, here are their answers…

Paul Weiner (@POWeiner) – I watch what’s happening around me in life. Inspiration is largely tied to intuition for me, and a lot of painterly intuition is formed by what we see in our environment. I want my work to be an artifact of its time.

Charley Peters (@CharleyPeters) – I find it hard to say. I don’t think I can locate inspiration in the real world, I just have a strong desire to make things. Where those things originate from I don’t really know…a mixture of intuitive doing and logical thought, and also maybe referents I’ve absorbed without even realising.

Remi Rough (@RemiRough) – Once a week I make sure I have a ME day and go to see a show or something visual. I also read a lot of art books.

Jonny Green (@JonnyGreenArt) – Inspiration is for amateurs.

Richard Stone (@Artist_Stone) – It’s very cut and paste, mood, often words, lyrics or lines in books but a block of clay or a new canvas are the best windows to other worlds, they traverse.

Kevin Perkins (@Kevin_Perkins_) – I look at a a lot of images and artworks: contemporary, stuff from history, old illustrations/design. And I make a real effort to pay attention to what is going on around me.

Sally Bourke (@Justondark) – I’m inspired by people.

Lee Johnson (@LeeJohnson.eu) – Everywhere

Jenny Brosinski (@Jenny_Brosisnski) – Looking @davidkordanskygallery while I hang out on my studio sofa.

Andy Dixon (@Andy.Dxn) – I can’t turn the part of my brain off that mines for inspiration, to be honest. Be it the colour of someone’s shoes, the curved line of a tunnel, a pattern on a rug, or a leaf of a plant, I can’t help but be constantly indexing sensory information into “good” or “bad” piles – both are equally inspiring.

Klone Yourself (@KloneYourself) – The inspiration is out there, sometimes you get stuck but nobody ever said that you need to be doing this one thing. Switch it up and see that it’s endless.

Daisy Parris (@DaisyParris) – By quietly observing what is happening around me

Jake Chapman (@JakeChapmaniac) – It finds me

Benjamin Murphy (@BenjaminMurphy_) – From literature mainly, and by going to as many exhibitions as I can, even ones I know I’ll hate.

Tom Anholt (@TomAnholt) – Not sure I believe in inspiration but travel definitely refreshes me and fills me with new images.

Spencer Shakespeare (@SpencerShakespeare) – By relaxing.

Rowan Newton (@Rowan_Newton) – My inspiration comes from people, the relationships we have with each other, the relationships we want to have, the people we want to be. The many emotions we go through daily, and how we process that, look at it and deal with it.

Hayden Kays (@HaydenKays) – Everything already exists, it’s just a case of moving it about a little. Move it your own way, and call yourself an artist.

Matthew Allen (@Matthew__Allen) – I ascribe to Richard Serra’s statement that “work comes from work”, meaning that the impulse to continue and explore emerges from what has come before. My practice is an evolving feedback loop of material potentials and process based responses.

Rae Hicks (@Rae_Hicks_On_Gangs) – Coffee and a decent length train journey

Jonni Cheatwood (@Jonni_Cheatwood) – I have my dream job and I’ll have it as long as I can stay out of my own head – That’s inspiring enough to me.

Andrew Salgado (@Andrew.Salgado.Art) – travel. music. read novels.

Soumya Netrabile (@Netrabile) – I just keep myself open to everything I see, encounter, and discover. Sometimes the most mundane things in life are filled with revelations.

Luke Hannam (@LukeHannamPaintings) – Drawing anything and everything as often as possible.

Hedley Roberts (@HedleyRoberts) – I used to have to look for inspiration. Now I’m older I’m more open and it comes to me from everywhere. We live in a world that’s overwhelmed with visual imagery. It’s like trying to get a drink of water from Niagara Falls. But anything can be a start point.

Nick JS Thompson (@nickjsthompson) – Exhibitions, music and history documentaries.

Neva Hosking (@NevaHosking) – I am constantly collecting things that speak to me so I have an archive to peep at when I need ideas .

Justin Long (@_JustinLong) – #fuckbuttons

Erin Lawlor (@TheErinLawlor) – By working – I follow the paint.

Tony Riff (@TonyRiff) – Sometimes ideas just grow from a random thought that’s probably been sitting on the corner of my brain for months. Could be from a song, people I meet, anything really.

Justin Lee Williams (@ArtJLW) – I find it mostly in being on my own building cabins in the woods or talking with odd and strange people , hardly ever do I find it in art it’s self, that part is more just a channel for the craft

Wingshan Smith (@wingshansmith) – The people around me and the stories they come with.

Fiona Grady (@Fiona_Grady) – Everywhere, my work is site responsive so I’m always looking around me. The urban landscape is particularly important – I’ll often stop in the street to take a photo of an architectural detail that captures my attention or shadows cast through a set of railings.

Jordy Kerwick (@JordyKerwick) – Reading and looking. History provides amazing inspo

Obit (@LazyObit) – I read some philosophy, check out the old masters and all sorts. Inspiration is everywhere though my favourite work comes from my own experiences. Honesty always translates.

Anthony Cudahy (@AnthonyCudahy) – Endlessly scrolling, going through physical and digital archives. Looking, looking, looking.

Johnny Thornton (@_JohnnyThornton) – I have surrounded myself with a wonderful community of friends and artists here in this amazing city (NYC). I am inspired everyday.

Magnus Gjoen (@MagnusGjoen) – I travel a lot and find inspiration in nooks and crannies in old churches and museums.

Jesse Draxler (@JesseDraxler) – By not looking for it.

Richie Culver (@RichieCulver) – The Jeremy Kyle Show.

Martin Lukac (@Martin.Lukac) – I dunno inspiration finds me.

Mevlana Lipp (@Mevlana_Lipp) – In art, nature, books and science.

Danny Romeril (@D_Romeril) – Every day life, art books, talking to people, things that happen, anything and everything. nothing is safe. not even tables.

Florence Hutchings (@FlorenceBH) I draw from everyday objects, interiors and scenarios which influence my paintings. But looking at other artists also massively inspires me, going to shows and talking to people around me.

Catherine Haggarty (@Catherine_Haggarty) – I pay close attention to the world around me! I never wait for inspiration. I simply begin working and drawing!

 

For more of these, check out the same artists answering:

What is the one thing about the art world that they wish would disappear forever

and

What is the one bit of advice they would give to young artists at the start of their careers


Jordy Kerwick Interview

We are very excited to be hosting the debut UK solo show of Australian painter Jordy Kerwick.
Diary Of An Introvert opens in London on December 6th. Find the full details for the show and rsvp for the private view HERE.
Your career has really taken off, to what do you attribute your success?
Good question Benny boy… I don’t know if it has taken off so to speak, but I could probably say that it’s off and running, which I’m extremely grateful for. I’ve been fortunate enough to have some outstanding people around me that have been kind enough to lend me some great advice and provide me with guidance along the way. I also have a bit of an obsessive personality, so painting everyday is an absolute must, amongst reading about some of the greats (and looking up close when given the opportunity to – trying to dissect how they did what they did). Not to mention the galleries that have taken a chance with me (I owe a lot to Anna Zorina Gallery for this. Anna gave me the confidence to have a serious crack at a career in painting). So I think its a combination of application, guidance, and opportunity that have gotten me to where I am, albeit at the very beginning.
View this post on Instagram

New studio? big thanks to @moulin_de_carre for teeing it up. Also a new piece (almost) finished.

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What is your working ritual like?
Coffee and music play integral parts of my working ritual (and the occasional audiobook). Almost every day I don’t know where to start, so I procrastinate and move canvas around, put music on and eventually run out of excuses/things to and get into it. I do a lot of staring and considering and it feels like I spend far more time considering my next move than I do making my next move. This gives me the shits to be honest, but I guess its just who I am. I also wish I smoked, but I don’t and honestly can’t stand it, but have this romantic image of me sitting in the studio, puffing away on a dart. That is more so a ritual that i’ll never have 🙁

#coffeeforeight @ @pt.2gallery A few durry’s and flowers, no problems.

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What is it like having an artist for a wife, and do you ever collaborate or bounce ideas off each other?
Its bloody good. That being said, Ive never had a wife that isn’t an artist, having been married once, so I guess its all I know. But in all seriousness, she is a far more talented artist (and person in general) than me, and whilst we both are extremely passionate about art, we have other things to talk about too. So as much as you think we’d discuss art, discussion re: works isn’t as prevalent as you might think it would be. We offer support and the occasional opinion about a problem one of us might be having, but thats about it. I would absolutely love to do a two person show with Rach. I actually think the contrast in styles in larger scale would play off each other quite well.
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#diaryofanintrovert @delphiangallery ?

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If you could change one thing about the artworld what would it be?
Thats a tough one. I still feel very privileged to be considered a part of the art world, but like anything in life, there is always room for improvement. I think discussions about female participation and opportunities is certainly being had now, which is the way it should be. I think more than half of my favourite painters are female, so seeing more of an equilibrium in shows would be outstanding for the art world.
Do you think social media is a force for good in the art world?
Coming from someone who owes a great deal to social media for assisting me to get where I am, I dont want to bite the hand that has fed me, so yes I do think it is a force for good. Of course you get the occasional fuckwit that likes to give you “feedback”, but that comes with the territory when putting your work out there. The only downer is constantly being reminded how many amazing artists there are out there and how incredible the standard of art is today.
Who are your favourite artists at the moment? 
Well Mr. Benjamin Murphy goes without saying, but I am blown away by artists like:
There are heaps more, so sorry if Ive offended anyone not included. But the above people jump out at me as people that continually produce brilliant work.
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The Ruckus

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If you would like the catalogue of available works please email info@delphiangallery.com

 

Interview by Benjamin Murphy


How to Thrive and Survive as an Artist

Upcoming lecture 
How to Thrive and Survive as an Artist
Saturday 1 December
Chapel Arts Studios, Winchester School of Art, Park Road, Winchester

This talk by Rosalind Davis will help artists at all stages of their careers to understand the practical and philosophical aspects of an art career, and learn how they can navigate the difficult transition from education to making a career as an artist and breaking into the creative industries. A creche will be provided for attendees with young children. Rosalind is also offering 3 artists a 40min 1-1 session on a first come first serve basis. Alternatively you can book a 1-2 advice session with David Dixon (CAS Director) and Susan Francis (CAS Curator).

Watch a video interview with Rosalind talking about a number of subjects including her work, why art, sustainability and philosophies with
Maija Lepins here 

ARRIVE: 9.30 for a 10am start, DURATION: 2hrs
Book here
CRECHE: 10am – 12 noon


Hector Campbell Interview

Curator and art historian Hector Campbell has curated a brilliant show of all student or recent-graduate painters, which opens in London on the 22nd of November. We decided to catch-up with him to find out a little about the show.

Firstly, could you please tell the readers a little about your background?

I recently moved to London, having lived in Bristol for the last six years. I studied History of Art at Bristol University, which was a great course and allowed me to participate in curatorial projects with their print and theatre collections. However, as with many university courses, the actual contact hours were relatively few (around 4 or 5 hours of lectures a week) so I had plenty of time to get involved in some exciting projects that the thriving Bristol art scene had to offer. Having been interested in Street Art and Graffiti since my teenage years, I was lucky enough to get work with many artists whose work I had been a fan of for over a decade. During my time in Bristol I worked alongside author and curate Ed Bartlett to compile travel publisher Lonely Planet’s first ‘Street Art’ guidebook, organised the UK premiere of documentary Saving Banksy complete with live painting from Blek le Rat and others, and worked for Fluorescent Smogg, a gallery and production house doing some of the best work in Street Art/Graffiti scene.

In the last couple of years I found myself coming to London more and more frequently for events and exhibitions (quite often seeing 20 exhibitions a day to try and fit in as many as possible), so it felt about the right time to move to London and see what opportunities it had to offer, and so far it’s been incredibly rewarding.

 

There are some really exciting young painters coming up at the moment, can you tell me a little bit about some of the artists you’ve discovered and how you found their work? 

I think it’s a very exciting time for painting, especially in London. With a large proportion of post- YBA generation artists turning to sculpture, video and installation in the 00’s, it’s only recently that I’ve noticed a big return to painting, especially amongst student and young artists.

I was overwhelmed by the response from the artists I approached about this exhibition, and the line-up is something I could only have dreamed about when I started planning this show a few months ago. Many of the artists I discovered at degree shows; Elisa Carutti and Minyoung Choi both showed incredible bodies of work in the Slade School of Fine Art’s MA show, and Marco Piemonte I found hidden down a long corridor during Chelsea College of Art’s MA show. I first saw Jonathan Kelly’s work in the 2017 Royal Academy Schools show, and have been a fan of his since then. India Nielsen’s work I had seen on Instagram (a brilliant resource for anyone involved in art, and where I daily find new artists that I love), and was excited to see it in person at the Royal College of Art degree show earlier this year. A friend of mine at Edinburgh University recommended Emily Herring’s work to me a while ago, and when she moved back to London after graduating I made sure to check it out. Finally, I first saw Lydia Blakeley and Rhiannon Salisbury’s work in small group exhibitions, Lydia’s at Enclave Projects in Deptford and Rhiannon’s at the Turps Painting Leavers Show at Paul Stolper Gallery.

Hector Campbell - Jonathan Kelly

Jonathan Kelly



Why did you decide to curate a show of exclusively students and recent graduates?

I started going to some of the big degree shows a few years ago, after realising they were great places to see work by emerging artists, and having not realised before that they were open to the public. This year I made a concerted effort to go to as many as possible, and I found that it was always the paintings that I was drawn to most. As a member of the public going to look around a degree show, you often have minimal resources available to you, the name of the works, and occasional artist statement if you’re lucky. You’re therefore left to take the works largely on aesthetic value, and while I’m sure much of the more experimental video, sculpture and installations on show are fascinating once being conceptualised to the professors in the critique, painting is accessible without that level of description or explanation.

Admission Productions, who are presenting the exhibition, have taken a chance on me as an emerging curator, so I thought it only right to continue that trend and show the work of some of my favourite student and graduate artists.

Did you have a particular feel in mind for the show and have you selected the individual works that the artists are putting in, or have you allowed them to submit whatever they choose? 

The exhibition space, Arthill Gallery in West Brompton, is beautiful and has partition walls creating lots of hanging space. I’ve therefore asked each artist to submit one or two larger works, as I think it’s rare that emerging artists get the chance to show works of this size, especially in a group exhibition. Each artist will almost get their own space within the gallery for these larger paintings. Then there is a long back wall at the gallery where I plan to do a salon hang of smaller works, with each artists giving us two small paintings, and that’s where I plan to draw out the relationships between the artists and the individual works and hopefully find some common themes. I’m not having a big say in the individual works, as excitingly the majority of the artists are making new paintings for this exhibition.

Hector Campbell - Rhiannon Salisbury

Rhiannon Salisbury



How does your role as an art historian inform your role as a curator, and vice versa?

I think that my background in Art History has allowed me to develop a certain level of connoisseurship, having been taught the skills of visual analysis and the importance of looking, alongside the purely historical studies that I’ve done. I hope that this allows me to select artists who not only I love, but that the public will love as well.

On the flip side, I think curating informs my practice as an art historian as there’s no substitute for the practical application of staging an exhibition. The problems and issues you encounter and overcome during that process, therefore, gives me a greater understanding of the history of exhibitions and curatorial practice as a whole.

If you would like to see more of the works in the show, Hector will be doing a week-long takeover on our sister account @Daily_Contemporary_Art from the 19th.

Young London Painters opens on the 22nd of November at Arthill Gallery, North End Road, West Brompton, W14 9NU.

Private view: 22/11/18 7-10pm

Show run: 23+24th of November 10am-5pm.

Hector Campbell recently interviewed us for Arrested Motion, which can be read HERE

Hector Campbell