Delphian Gallery is pleased to present Divergent Motion, our first annual summer group show featuring artists working across painting, drawing, collage, and sculpture.
Our summer show provides the opportunity to continue a visual conversation with previously exhibited artists by showcasing their new work alongside other exciting contemporary artists whom we have yet had the pleasure to show.
Join us for the private view by clicking THIS LINK
In this exhibition, divergent practices are unified by a sense of unruly expression. Participating artists include:
Florence Hutchings (https://www.instagram.com/florencebh/)
Jesse Draxler (https://www.instagram.com/jessedraxler/)
Francisco Mendes Moreira (https://www.instagram.com/franciscomendesmoreira/)
Cannon Dill (https://www.instagram.com/cannondill/)
Benjamin Murphy (https://www.instagram.com/benjaminmurphy_/)
Beth Rodway (https://www.instagram.com/bethellenmorganrodway/)
Klaus Is Koming (https://www.instagram.com/klausiskoming/)
Lou Ros (https://www.instagram.com/lou_ros_/)
Jerry Kowalski (https://www.instagram.com/jerrykowalsky/)
Cathy Tabbakh (https://www.instagram.com/cathytabbakh/)
Paul Weiner (https://www.instagram.com/poweiner/)
Galina Munroe (https://www.instagram.com/galinamunroe/)
Jake Grewal (https://www.instagram.com/jakegrewal/)
Claire Johnson (https://www.instagram.com/clairepony/)
Tess Williams (https://www.instagram.com/tess_williams_studio/)
Mike Ballard (https://www.instagram.com/mikeballards/)
Nick JS Thompson (https://www.instagram.com/nickjsthompson/)
Rusudan Khizanishvili (https://www.instagram.com/rusudan_khizanishvili/)
***RSVP for the guest list in the ticket link above***
Exhibition graciously supported by theprintspace, London’s premiere fine art printers.
Charley Peters (@CharleyPeters) – There’s a lot of great artist accounts, too many to choose a favourite. I do always look forward to posts from @GerryBonetti, he consistently presents an elegantly curated selection of contemporary work. He’s very generous and supportive of artists; obviously passionate about what’s being made now and the legacy of what has been made before. It’s an intelligent feed with a strong authorial voice.
Richard Stone (@Artist_Stone) – I don’t have a favourite, but I do like artist (and curator) accounts that mix it up visually and textually and it surprises you or you learn something.
Klone Yourself (@KloneYourself) – I think my fav Instagram accounts at the moment are actually of cartoons and short comics, there’s some realy good ones and the fit the phone screen format much better then art that never realy translates well.
Jake Chapman (@JakeChapmaniac) – None
Spencer Shakespeare (@SpencerShakespeare) -Anything Richard Ayoade
Hayden Kays (@HaydenKays) – I love seeing factory production line videos on Instagram. I love factories. I love nifty machines. They remind me of Heath Robinson creations. Art is reduced to postage stamp proportions on it, that are then viewed in an infinite conveyor belt of imagery and noise. It’s certainly not the white walled, calm space I think art often thrives in.
Andrew Salgado (@Andrew.Salgado.Art) – im trying to spend less time on instagram as it feeds into bad self-image. but i like @painterspainterspaintings and @topainterstopaintings or something like that. i forget.
Hedley Roberts (@HedleyRoberts) – @the_chopper_lifestyle is my favourite Instagram account right now. It isn’t art based, at least not in a obvious way. For art, there’s loads but @painterspaintingpaintings is one I go back to regularly.
Fiona Grady (@Fiona_Grady) – One of my favourites is artist @nickyhirst63 she doesn’t tend to share photos of her artworks but instead things that capture her attention – in some ways it’s more insightful. I think she has a really great eye for detail and her feed has a subtle humour.
Bertrand Fournier (@FournierBertrand)– I don’t want some to be jealous.
Anthony Cudahy (@AnthonyCudahy) – I would say Cheyenne Julien, but she’s taking a break from Instagram. @PeterShear has a knack for finding the most unexpected and unusual paintings from an artist which I truly appreciate.
For more, we asked 45 artists
We are extremely excited to present these stunning Bertrand Fournier prints. He has created 2 very-limited edition linoprints for us as part of his debut UK exhibition “Some Pieces Of Mind”. The prints show his trademark symbolism and bold graphic style rendered beautifully in monochrome.
- Limited edition print run of 10 pieces.
- Signed and numbered by the artist.
- Embossed with the Delphian seal of approval to ensure authenticity.
- Supplied with certificate of authenticity to provide limited edition provenance.
- Size 60 x 55 cm including a small white border for easy framing.
- Presented on premium Norfolk 210gsm cartridge paper.
- Hand drawn and cut by the artist.
- Hand printed with archival ink in the UK.
- As each print is hand printed, every one is slightly different and unique.
- Global shipping available.
UPO BW-P2 now only has TWO prints remaining!
For more about Bertrand, click HERE
RSVP for our next show, which is the FIRST EVER UK solo show of exciting French painter Bertrand Fournier.
‘Some Pieces Of Mind’ opens in Shoreditch on the 2nd of May at 6pm.
Bertrand Fournier is the next artist to be showing his work with us at Delphian Gallery, with his DEBUT UK SOLO SHOW Some Pieces of Mind in May 2019.
If you would like to request the catalogue of available works, please email us at firstname.lastname@example.org
1523 b Webster St. Oakland, CA 94612
email@example.comDelphian favourite Pt. 2 Gallery is pleased to present Zero Player Game, a solo exhibition of paintings by Oakland-based artist Brett Flanigan. The exhibition title is a reference to the mathematician John Horton Conway’s Game of Life, a 1970 mathematical simulation where, given an initial state and a set of simple rules, a black and white grid evolves endlessly in ways that are seemingly organic and operate on similar principles as life itself.
In this body of work, each painting begins with an initial state in which Flanigan builds energy, usually involving repetitive patterns and intuitive mark making. This initial state then undergoes a series of reducing and rebuilding moves based on self-imposed rules or logic. The works are simultaneously formulaic and improvisational. Whenever possible, Flanigan makes aesthetic decisions using games of change such as dice rolls, coin flips, or random number generators, leaving the artist’s pre-conceived or socialized views of aesthetic behind, paving the way for unusual compositions and color combinations.
This philosophy allows Flanigan to explore many painting styles, without attempting to hone in on a signature look. While at first glance the paintings may feel disparate, upon further inspection, the viewer may see how Flanigan borrows ideas from his earlier paintings. In this way, he allows them to interact in a way that is comparable to the organs in a body, each performing its own function while working together with the others and allowing the work to live.
Eden – Mevlana Lipp
Mevlana Lipp‘s works show colorful floral forms that stand at the interface between plant and human. The artist visualizes nature with paradisiac, floral structures. He illustrates a metamorphosis that is not decipherable. The selection and combination of colors produces a breathtaking brilliance. The artist contrasts the bold color of the background with the black velvet background. Lipp sculpturally elaborates his works by cutting wood panels and adding them to each other. He challenges the viewer to closely look at the different layers of the relief to explore the full image.
Mevlana Lipp (born 1989) studied at the Art Academy Düsseldorf (masterclass of Thomas Grünfeld). In his first solo exhibition at krupic kersting the artist shows new works.
The exhibition EDEN refers to the paradise within creation. In his work Mevlana Lipp suggests the original form of creation. Mixed forms of plants and figurative elements recall Stone Age finds and creatures of the deep sea, which can be read as an antithesis to creation. The artist cuts the floral forms out of wood and merges them into relief-like pictures. The bright color of the motifs enhances the plastic effect and emphasizes the entanglement of the motifs. Lipp’s new works are characterized by a sensual interweaving of forms. For the first time, the artist shows steel sculptures and drawings that physically continue the formal language of his works into the room.
The sculptures appear like fossils, remnants of an ancient time, unfolding in the exhibition. They are characterized by a monochrome application of color, from which delicate colors shimmer through. The drawings serve the artist as a source of inspiration for his wood paintings. Lipp combines the drawings with a sculptural frame, which complements the vines pattern. In “First Steps of the Future” (see‘KölnGalerien 01/19’) Oliver Tepel describes these floral-figurative elements as follows: “Flowers grow to hands, scratching as strangers on the most astonishing material, because candles bloom from the green of the stalks. Mevlana Lipp uses a color spectrum in front of a black background, reminiscent of the first graphic depictions of life in the deep sea. And like the mysterious untouchedness of this sphere, Mevlana Lipp’s “Eden” proves, as the title of the exhibition, a quiet beauty, not without fright. They are odes of tactile communication, delicate or penetrating touches, ostensibly innocent curiosity in the last seconds of Paradise, until knowledge opens the space to all suffering. Suffering also remains in fragile elegance, but where mysterious glow was, now are dull colors and the unstructured growing gets rhythmic structures; Order is the language of lost innocence. Is it religious art or just one that addresses the big questions of life? Amazing what painting can do. ”
January 18. 2019 – March 09. 2019 | curated by Wilko Austermann
Charley Peters is a painter. I don’t see her paintings as simply abstract, they are more about the formalism of painting itself, but she also uses the surfaces she works on as conveyances for her internal structures. There is an abundance of mathematics within her paintings, from the simple yet perfect gradients she often uses to the detailed repetitive shapes that are painstakingly drawn and subsequently painted into tiny masked off sections. Peters plays with the idea of how people consume and view her artworks on handheld screens so much so that some of her paintings look almost like digital glitches when seen on a phone. Her use of colour is bold and beautiful so it’s no wonder so many people have gravitated toward her work.In the ever changing landscape of the modern art world Charley Peters is a much needed agent of change.
You often utilise a mixture of materials in your paintings, I wondered how you initially engage with materials, did you purposely select them or was there more of an accidental discovery?
Could you also expand on your use of airbrush as I find this a really interesting medium?
I predominantly use acrylic paint, which I apply with a brush, and spray paint or acrylic paint run through an airbrush. The two ways of applying paint – by brush or by spraying – have very different sensibilities, and I like to offset one against the other. I like painting to be as engaged with the substance and appearance of paint as creating an ‘image’, so using paint in different ways enables me to generate a variety of surfaces within each work. When I paint with a brush it’s a slower and more controlled process, I use heavy body paint against tape, usually mixed to the consistency of soft butter and like it to be matt and opaque. Sprayed paint has a dewy quality, it’s very wet and more difficult to control, but I enjoy how tricky it is. It can be used to create solid, flat colour or if applied more sensitively, it’s possible to build up tones in translucent layers. I love how sprayed paint can suggest infinite pictorial depth, the way that light and colour are diffused by spraying is beautiful and almost otherworldly. Running acrylic paint through an airbrush allows me to create the effect of spray paint but I have more control over colour (obviously spray paint colours are pre-mixed) and it’s a more deliberate way of applying sprayed paint; controlled and precise but still with the capacity to appear gestural and fluid.
Could you describe your ideal painting? Have you made it yet? (I often ask myself this question by the way).
No, I don’t think I’ll ever make my ideal painting. I have paintings that I’m more satisfied with than others, some that I like on a purely instinctive level and others that I can’t stand the sight of. What I’d like to achieve in my paintings is a perfect balance of colour, composition and form. I break down the picture plane into different spatial areas of divergent visual information – all treated as individual components, but through the making of the work I hope to bring them all together to create a sense of harmony, as if all elements were always meant to be together. I don’t like my work when it is overworked or overcomplicated, paintings can be technically difficult to make and labour intensive but I don’t think they need to look like that’s the case. I suppose I want to look at my paintings and for them to just ‘be’ right. Of course, right is a highly subjective term and I often deliberately break rules and do things wrong in order to make the painting right in the end. And paint is a very spirited and rebellious medium, it sometimes does wrong things all by itself, which is also exactly the right thing for it to do.
Having worked with you on numerous occasions, you seem to have a pretty loose approach to making your work yet they look so organised and pre-designed. Do you prefer to work to preset ideas or be more flexible?
I don’t organise or pre-design my work at all. Again, I think this relates to me trying to make the painting right or balanced from the starting point of a blank canvas. Making paintings for me is a very fluid process, there are some moments of logical thought and conscious decision making but mostly I rely on my intuition and impulsive actions. I never know what my paintings will look like once they are finished. I always start with applying colour to the painting’s surface, usually a flat, mid-tone colour that I’ve arrived at by not much thought at all…often just a sense of whether it might be hot or cold or bright or dark. After that I divide the surface up spatially and work on each area independently of the others. At this point I mask off large areas of the painting so can’t see much of what I’m doing. I’m working in the dark most of the time. I work in layers, similar to constructing images using Photoshop, I don’t consider the whole painting until it’s nearly finished. I usually paint on the floor and draw quick sketches as I paint as half-formed notions of what I might do next, but these are far from ‘working drawings’ and more like linear scribbles that barely make sense. Somehow they help me move through paintings until they can be considered finished. It’s a difficult way of working, like organising the chaos of not knowing where things are going – I end up changing my mind about things, adjusting colours or forms as I paint, I paint over things that have taken days of work – but it’s the best way for me. I like to go to the studio and leave my logical, overthinking mind elsewhere, I think I make better paintings that way.
Also, I wanted to respond to your introduction to my work in this interview, in which you describe ‘an abundance of mathematics’ within my paintings. I find ‘mathematics’ such an alien term. I find numbers impossible – I can’t read or remember them, even simple numerical systems like phone numbers and padlock codes confuse me and I get them wrong. I generally rely on visual maths in the studio, dividing spaces up by eye rather than measuring them. My rulers all have paint on them and I can’t easily read the numbers, if I count or add things up I have to do it several times and it is still wrong. It made me laugh when you used the word ‘mathematics’ as I’m not at all mathematical or precise when I work – I make a huge mess every time I do anything!
There seems to be a renaissance of hard edge, more graphic work lately, is this a good thing or a bad thing? I often wonder if it hinders or helps myself?
It’s both good and bad. When there is an increased interest in a particular aesthetic or methodology it opens up more opportunities to show work and be part of an identifiable peer network of artists – this is mostly a good thing, it means we are relevant and interesting if only for a transient period of time. What can be bad about being ‘on trend’ is that people can stop being critical, they don’t see the good work from the bad, the innovative from the derivative. I’m uncomfortable with any sentimental or nostalgic positioning of particular genres of painting, and being associated with, for example, the hard edge or geometric abstraction, feels unthinking and too surface level a definition for what I think I should be making today. I’d prefer to think that I’m looking at the hard edge through the lens of contemporary visual media – and asking questions about the legacy of abstraction and what it is now. There is no point making work in a contemporary context that looks like it could have been made in the 1960s.
[Remi Rough] – I know you’re doing a writing residency later this year and wondered how important is that aspect of your work compared to painting?
[Charley Peters] – Painting is always more important, I’m a painter who writes. Writing about others’ work is a good way to articulate ideas within my own painting with an objectivity that is difficult when trying to be too self-reflective. I find writing a frustrating process, it’s far too logical and slow. More so than with painting I need some sort of plan or structure at the beginning and that pisses me off, it’s so boring. I make sense of the process of writing in a way that I can cope with. I write in layers, like I would make a painting, writing unrelated pieces of text that get expanded on or edited out in waves of activity until there’s a whole piece of writing with a beginning, middle and end. I see words as having a rhythm, colour or shape when put together in sentences and then they make sense to me as a resolved object. I think it’s as important to be critical when writing as it is to be critical when painting and I like my texts to have ideas and positions in them, even if I’m writing a review of an exhibition, I think there should be a more interesting subtext than merely discussing the show.
[RR] – Would you ever consider taking your work into a more sculptural plane?
[CP] – My paintings are ‘spatial’, they engage with the physical space of the canvas and the illusionary space that painting can create. I do think that they are as much objects as they are images or surfaces. I always consider that the edges of the paintings are part of the work, they are usually painted as an extension of the front of the canvas. I have also made several walk-in, or immersive, paintings – room-sized installations of wall and/or floor paintings – as well as smaller assemblages of disparate painted sculptural elements. Painting has the capacity to challenge our understanding of space and has a life that extends beyond being hung on a wall. Even the most benign rectangular canvas on a white gallery wall can manipulate and control space. I think it’s more important than ever to acknowledge painting’s sculptural potential in a world where most of what we experience is non-physical and seen on a screen.
[RR] – Can you tell me about 3 artists dead or alive you have had a big influential impact on you and the way you work.
[CP] – Definitely Agnes Martin. Martin said that inspiration found her and that she could take no credit for it, she just emptied her head – especially of thoughts of herself – and inspiration would come into her ‘vacant mind’. This relates to what I was saying earlier about leaving my logical mind outside the studio. I think that painting became more interesting for me when I stopped planning, thinking and knowing what I was doing. Removing myself from the work as much as possible allows the paintings to make themselves – they feel more honest that way. I love Eva Hesse’s work, her bold and exploratory use of materials and textures is both intelligent and sensual. Sol LeWitt’s letter to Eva Hesse is something that I return to over and over again. It reminds me of the difficulties of making work and, again, the importance of ‘doing’ over thinking, worrying or second guessing. It’s a mistake to only credit him with that letter, he couldn’t have written it without her. And I’d also cite Carmen Herrera as being a significant figure for me. She exemplifies so well the strength and resilience of creative spirit, and makes shit hot paintings too.
[RR] – Do you think your artwork is a subjective window of your personality?
[CP] – That’s an interesting question…
Do you mean are my paintings a reflection of who I am, for example, an odd mixture of impulsiveness and discipline?! You should tell me – you know me well enough to say! I’m generally uncomfortable talking about my work in subjective terms. I have a formal painting practice, my concerns are with the relationships between colour, form and compositional space, and nothing emotional. I like how abstraction masks subjectivity so we can just see the work and nothing else. I’m certainly not positioning myself, my life experiences or opinions within my work and as such I’m resistant to any suggestion that my paintings are a representation, for want of a better word, of my personality. Of course, at times I may make subjective judgements on things like colour or when a painting is finished, but does that make ‘me’ part of the work? Sometimes if I’m tired or had a tough day does that affect the sensibility of my painting or the decisions I make in the studio? Maybe it does. You’ve asked a complicated question, and I can answer it by talking about my intentions for the work and how I like to consider my painting as a non-subjective entity. It’s possible that this isn’t entirely true though, it’s so difficult to say where decisions in the studio come from and how much of that is driven by intuition or experience.
If you enjoyed Remi interviewing Charley, read Charley interviewing Remi HERE
The pair also have just released a print (with Peter Lamb), which can be bought HERE
Abstraction is having a real revival right now, and once you see the ten artists we’ve listed below you will understand why. We have selected ten contemporary artists whose work we are loving at the moment, but the list could have easily been a top fifty or a top one hundred. We will probably do another one of these at some point, but for now go find and then follow these ten.
Rachael Kerwick (@RachaelKerwick)
Rachael Kerwick’s minimalist canvasses are always perfectly balanced in both colour and form. To balance perfectly both of these elements is difficult to say the least, but Rachael manages to always pull it off.
The trouble with small talk. Revisiting sketches from a few months back while waiting for big canvas orders ? . . #abstractart #contemporaryart #kunst #art #stilllife #painting #rachaelmccullykerwick #rachaelkerwick #abstract #modernart #minimalism #australianart
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Bertrand Fournier (@FournierBertrand)
Bertrand hasn’t been painting long at all, which makes his perfectly refined work all the more spellbinding. We showed his work in our Open Call exhibition, and look forward to working with him again in 2019.
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Jenny Brosinski (@Jenny_Brosinski)
Jenny’s work is seemingly raw and disordered, but within that disorder is a delicacy of composition and a refined sense of composition.
After some exciting month I take a short time out for some holidays! See you soon!! . Looking forward to my upcoming shows @viugallery in August and @nevvengallery (solo ?) @plus_one_art in September. . . #painting #jennybrosinski #contemporaryart #abstractart #soon
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Sean Sullivan (@Parade.Pimlico.Pearl)
Sean’s work is redolent of complex technical drawings one might see within an engineering textbook or manual. The way in which he draws using rulers and protractors is a world away from some of the other artists on this list, and it is this that sets him apart.
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Matthew David Smith (@Matthew_David_Smith)
Matthew’s monochromatic abstracts are composed of densely-applied shapes that combine the mastery of impasto (akin to Auerbach), with the mastery of shape (ala Paolozzi).
Descend into Madness. 2018 . I have always viewed my work as an abstract language. With this new body of work I am communicating that idea more directly, abstracting the English alphabet to create a new language made up of my own symbols and forms. . . . . . . #matthewdavidsmith #painting #contemporarypainting #paint #contemporaryart #art #artwork #artistsoninstagram #artist #artininstagram #visualart #fineart #contemporary #colorful #texture #abstract #abstractart #abstractpainting #artlove #worldcup #artlovers #artlife #lookingforu #workonpaper #language
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Gary Komarin (@GaryKomarin)
Gary describes himself as “A risk taker in contemporary painterly abstraction” – which we feel sums his work up quite perfectly.
Paul Weiner (@POWeiner)
Paul’s monochromatic works are chaotic and free – as Paul often doesn’t fix the charcoal he uses, preferring for the canvas to mutate and grow over time.
I’m about to ship this piece off for an upcoming group show with @crossgallerybundaberg, and it’s got me thinking a lot about intuition in painting. Art is all about how we see, which is informed by our taste and grows out of our environment and experiences. Taste also impacts our intuition as a painterly tool. Intuitive action and the resulting technique and energy are the content of paintings just as much as any forms or identifiable subjects in the work because they reflect how we see. #denverart #contemporaryart #abstractart #contemporarypainting #abstractpainting #printmaking #americanflag #usaflag #paulweiner
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Charley Peters (@CharleyPeters)
Charley is an artist, writer, and curator, who’s brightly coloured canvases explore “the spatial potential of the painted surface, on which she applies subtle variations in colour, tone, and scale to construct illusionary light and structural depth”.
Big thanks to @alexanderjackert for the repost yesterday ✨??✨ – – #Repost @alexanderjackert ・・・ Charley Peters “editing suite” // @charleypeters #charleypeters – – #painting #newcontemporary #contemporarypainting #contemporaryart #postanalogpainting #abstractpainting #abstractart #grid #editingsuite #coventrybiennial
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Spencer Shakespeare (@SpencerShakespeare)
Spencer’s work is like a beautiful but wild garden, in which all of the flowers are in bloom and clamouring for sunlight.
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Peter Matthews (@Peter_Matthews_Artist)
For Peter, painting is a solitary pursuit, but instead of spending his time alone in his studio, he takes his canvasses outside to paint among nature. The rain and the wind inform and alter his works, so that the feel of the place is transcribed into the works.
Painting my way though it slowly with nature’s time, day and night, along the Atlantic coast of Cornwall not so long ago. Photo by myself. #painting #art #drawing #contemporartyart #artist #process #exploring #thinking #making #england #cornwall #gallery #alone #nature #time #coast #outdoor
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