Articles Tagged with: delphian open call

NEXT SHOW ANNOUNCEMENT – A Long Way From Home – Kevin Perkins & Igor Moritz

We are incredibly excited to announce that our next show A Long Way From Home opens on the 17th of January!

Kevin Perkins and Igor Moritz are two incredibly exciting early-career artists whose work shares a vibrancy that is expressed through their shared passions for form, line, and colour.

A Long Way From Home - Kevin Perkins

Kevin Perkins’ work from our inaugural group show ‘Obscurely Prophetic’

Two unique artists are paired because of their individual, but shared experimentations with figuration. Each artist brings their distinct perspective to their subjects, which both distorts and exaggerates certain formal qualities to enhance the whole.

The title ‘A Long Way From Home’ refers to the adventure and experimentation present in the practice of both artists, who have approached the show collaboratively despite living on separate continents and never having met in person.

A Long Way From Home - Igor Moritz

Igor Moritz’s work from our first Open Call

The curatorial style of Delphian Gallery will make its mark on the show also, which will result in a exhibition of works by two intriguing artists, that forms together almost as if it is by one creator, while still maintaining the distinct integrity and individuality of each.

To request the catalogue of available works please email

Info@delphiangallery.com

 

To RSVP for the private view, please click this LINK

 

To see photos of the Open Call, in which Igor was exhibited, please go HERE

To see photos of Obscurely Prophetic, in which Kevin was exhibited, please go HERE

 

 

To see


Arrested Motion Interview

We were  recently interviewed by art historian Hector Campbell for Arrested Motionwho recently sat down with our co-founder Benjamin Murphy, to discuss the history of the gallery, our own unique approach to curation, our inaugural Open Call exhibition, and the upcoming exhibition with Florence Hutchings, Seating Arrangement.

Hector Campbell (HC): Delphian Gallery has existed in one manifestation or another since 2013’s ‘Group Collective are Kunsts’ exhibition, could you explain how the gallery first came about? And how it has subsequently evolved into its current model?

Benjamin Murphy (BM): My co-director (photographer Nick JS Thompson) and I have been working together for a number of years after we met when he wrote an article about me in a magazine he used to manage. I went on to write for the magazine, and we both started co-curating one another’s shows. We both developed a deep love of, and interest in, the art of curation, and so decided to curate our first show in my old studio. It has been a real labour of love for us, which has built gradually into what Delphian is now – a peripatetic style gallery that takes the championing of exciting, emerging art as its key aim.

HC: Delphian, meaning ‘Obscurely Prophetic,’ derives from the Greek mythological oracle at Delphi. What was the rationale behind choosing ‘Delphian’, and how does it’s meaning underpin the gallery’s vision?

BM: Well firstly, we wanted something that was Googleable, as well as something less vapid than just both of our surnames. We decided upon Delphian because it is vague enough to not be too constrictive in what we can show, as well as being something with its own character. “Obscurely Prophetic” is, in a concise two-word phrase, one which we believe all the best art accomplishes. We believe that the most successful and thought-provoking work is informative, but in a non-didactic way.

arrested motion interview

Delphian Team – Directors Benjamin Murphy & Nick JS Thompson, and Curator Wingshan Smith

HC: As an artist-run gallery, what advantages or insights does this offer you, as opposed to more traditional gallerist or art dealers?

BM: I think we understand the position of the artist more than a lot of gallerists or curators do, as we are both artists in our own right. This gives us a unique insight into both sides of the coin in terms of how a show is put together and run, from the artwork production point, up until the curation of a show and the sale of an artwork.

As well as this, we try to curate cohesive shows that could be read as a single artwork in their own right. The way we curate is quite experimental, as we believe there is nothing less interesting (or damaging to the artworks themselves), as a show in which all of the artworks are hung at eye-level around the gallery. These types of shows often encourage people to stand in the middle of the room and just rotate themselves 360 degrees, they leave feeling like they have seen all of the artworks – when of course they often haven’t. We want to curate shows that are essentially immersive artworks in themselves, that are ethereal and only exist in the moment, until the heterogeneous works are divided up again and are either sold or sent back to the artists. We believe that curation is an art form in itself, and it is this philosophy which guides how we curate.

HC: Previous exhibitions have included photographers Aaron McElroy and Carson Lancaster, and more recently contemporary painters such as Bertrand Fournier and Kevin Perkins. Does this range of artists and mediums reflect your personal interests? And how do you select which artists to exhibit?

BM: We try to show a diverse range of works that are entirely unique, whilst highlighting possible underlying connections or similarities, as well as playing with ways in which differing styles contrast. We spend a lot of time going to shows, as well as countless hours on social media, scrolling through things like Instagram looking for new talent. We also run a separate Instagram account called @Daily_Contemporary_Art, which is great for discovering new artists. Every week a new artist has control of the account and shares their favourite living artists, and we find that it is often the student artists that share the most exciting work.

arrested motion kevin perkins

Kevin Perkins

HC: You also had your most recent solo exhibition, Lavish Entropy, at the gallery earlier this year. How did this experience compare to your previous shows, acting as not only the artist but also the gallerist/curator?

BM: It was great, I often take a quite hands-on approach to the curation of my own shows anyway (often aided by Nick), so in that sense, this was no different. I’d recommend every artist do this at least once in your career, as when you have full creative control over something you can be as wild and as experimental as you like without anyone trying to curtail your vision. Don’t get me wrong – the curatorial teams at galleries are often incredibly helpful and teach me things about my own work that I wouldn’t have realised otherwise, but it can be incredibly freeing having absolutely no constraints sometimes. This kind of thing is great, and you are able to take bigger risks than usual, and this teaches you what does and doesn’t work in a way that you wouldn’t have been able to see without this freedom.

HC: This year the gallery ran your inaugural Open Call submission exhibition, why did you want to undertake this competition? And what did you learn from this first iteration?

BM: It was so great, and through it we discovered so much great art we wouldn’t have done if it weren’t for the open call. We wanted to make it as easy as possible to submit, so as to get the most submissions possible. We didn’t charge for entry, and our good friends at theprintspace printed and mounted it all for us, so there was no cost to the artists. This also meant that, as the artists only had to send us a jpeg, artists from all over the world could submit and not have to worry about shipping or insuring their work. We received over 8000 submissions in total and were awestruck by the diversity of it. There are many artists who we would have loved to have included but couldn’t because of size and space constraints. As well as Florence Hutchings, another of our favourite artists Bertrand Fournier entered, whom we hope to present a solo show with next year.

HC: For your latest exhibition, Florence Hutchings, who won the aforementioned Open Call competition, presents her debut solo show, Seating Arrangements. How important is it for you to champion young artists such as Florence?

BM: Florence is great, she has done so incredibly well at such a young age and yet still doesn’t really seem phased by it all. She is very down-to-earth, which is nice to see from someone who is already reaching levels of success that most artists can only dream of.

We aim to discover and support young, emerging artists because we feel this is where the most exciting and unique work is coming from. We are in a position to be able to help out the careers of these young artists like people did for us when we first started showing, so it is incredibly rewarding in that respect.

We get to nurture this often raw and unbridled talent early on in an artist’s career, and look forward to the time when artists like Florence outgrow us and sign with Gagosian – for it will happen, especially in her case.

 

To read this over on Arrested Motion, click THIS LINK


Andy Dixon at Beers Contemporary

One of our favourite painters Andy Dixon is having a show at one of our favourite galleries Beers Contemporary. See you at the private view!
Andy Dixon at Beers London

Andy Dixon at Beers London

For his first solo exhibition at Beers London, Andy Dixon presents Alchemy, an exhibition that brings together a collection of artworks depicting paintings-of-paintings and patrons’ homes.

Art has long had a tumultuous relationship with the matter of its own value. Seemingly arbitrary elements can positively or adversely affect the price at which a painting will sell. Take colour, for instance – paintings prominently featuring the colour red, for example, sell for a higher price point, due to it being a lucky colour in the Asian market.

Dixon plays with this discussion and subverts it somewhat, asking the question: what is the value of a painting of a valuable object? By depicting his own paintings situated in the living spaces of his patrons, he is adding to a lineage of artist studio paintings, in which the artist would paint their immediate surroundings. In the case of Matisse’s Red Studio, for example, these would often include examples of unfinished artworks. In Dixon’s pieces, the artworks’ grandiose properties seem diminished – their vividness lost amongst the similarly brightly-hued surroundings. They become just another item of furniture. Whilst Dixon most often depicts objects of wealth as created by others in his work – Versace jackets, silk shirts, Jeff Koons tote bags – in this series, he points to his own paintings as the commodity. In doing so, he knowingly eschews the creative aspects of his paintings for the commercial ones.

Andy Dixon at Beers London

Andy Dixon at Beers London

It seems that Dixon has become willingly complicit in ‘the game’ which he has thus far admired from a short distance – but this is clearly the natural progression for his work. Other pieces on exhibit are those that can be interpreted as paintings-of-paintings, where acid-tinged renditions of reclining Venusses, equestrian portraits and erotic renaissance pieces are bordered by candy-hued gilded frames rendered in paint. By focussing on the depiction of these artistic tropes with such a contemporary style and colour palette, Dixon forces us to view them in a new light – without the barriers of who painted the work, or when it was created, we are forced to look at what is depicted on a much more surface level, and consider the capitalistic implications.The title of the show, Alchemy, is a reference to the traditional pursuit of turning a base metal into gold. And this is what Dixon manages to do so masterfully; he takes images which are so ubiquitous in Western art and, through his own kind of magic, creates something wholly new and desirable out of them.

 

***

Andy Dixon is hyper-aware of art’s relationship with money. Signifiers of wealth abound in his large acrylic paintings, which take as their subjects stately lords, reclining nudes, ornate ballrooms, bathing beauties, and prominent paintings of the aforementioned motifs. Borrowing content from Renaissance art, Flemish still lifes, and Google Image searches of “most expensive vases”, his subject matter is selected on the basis of public expectation of what an expensive painting should look like. By sampling content verified as valuable by the market, Dixon positions his own work to ask, “What is the value of a painting of a valuable object?”

Our value of art is truly a phenomenon that operates on a set of rules distinct from the ones that govern the rest of our world. Paintings which feature the tropes Dixon samples from perhaps at one time had social or political agency but are now simply commodities assigned value by the highest bidder. Paintings of expensive things are themselves expensive things collected by the wealthy to promote the luxury lifestyle. However, Dixon isn’t out to mock the affluent. Rather, he is a complicit player in the game; his larger paintings of upper class social scenes tend to feature his own previous paintings hanging on the walls in the background. As Alex Quicho writes in Luxury Object, Luxury Subject, “His postmodern non-interest in either vilifying or reifying luxury cooly transmutes its weirdness.” A self-taught painter, he treats his high-brow content in a crude manner, matching a vivid pastel palette with rough line treatment. His practice has recently expanded to include 3D sculptures which mimic the figures in his paintings—absurdly disproportionate, yet still created with an eye toward beauty. In this way, Dixon’s own appreciation of his subject matter is evident; and while his work questions the subjective valuation of artwork, it also proves that it doesn’t necessarily detract from its beauty.

ANDY DIXON (b. 1979, Vancouver, Canada) lives and works in Los Angeles, California. Solo exhibitions include: ‘Expensive Things II’, Winsor Gallery, Art Toronto (2016); ‘Expensive Things I’, Winsor Gallery, Art Toronto (2016); and ‘Leisure Studies’, RHG, New York (2015). Group exhibitions include: ’10 Year Anniversary’, Joshua Liner Gallery, New York (2018); ‘Art Seattle’, Windsor Gallery, Seattle (2017); and ‘Art Toronto’, Windsor gallery, Toronto (2016). Dixon first group exhibition with BEERS London was in ‘O Canada!’ (2017). Dixon’s solo showings with BEERS London include ‘Pronk!’, Volta Art Fair, New York (2017); and ‘How Much do They Cost?’, Pulse Art Fair, Miami (2017); with an upcoming solo show in the London gallery in October 2018.

Andy Dixon at Beers London

Andy Dixon at Beers London

Before this, Beers hosted Kim Dorland’s great show, which can be read about HERE.


Ten exciting ceramicists you should be following.

Ceramics and other mediums of tactile sculpture are having a real revival in popularity at the moment, so here is our list of the ten most exciting ceramicists that you should be following on Instagram right now.

 

Kevin McNamee-Tweed (@CottonTweed)

Kevin’s ceramics are often two-dimensional and wall-mounted, making them both painting and sculpture in one. The way in which he creates the lines is by inscribing them into the raw clay pre-firing.

View this post on Instagram

A post shared by Kevin McNamee-Tweed (@cottontweed) on

Frederik Næblerød (@Naeblerod)

Frederik is a painter as well as one of the best ceramicists, but we couldn’t leave him off the list when he does such incredible work as this gold head below.

#frederiknæblerød #anatebgigallery

A post shared by Frederik Næblerød (@naebleroed) on

Brian Rochefort (@EnergyGloop)

The textures and colours in Brian’s work make them look so tasty that we just want to eat them.

Quixote

A post shared by Brian Rochefort (@energygloop) on

Dan T Mccarthy (@DanTMccarthy)

It is impossible to not love Dan’s quirky ‘Facepots’,

A post shared by Dan McCarthy (@dantmccarthy) on

 

Tom Volkaert (@C0ldChain)

Tom’s work is messy and disordered, and immensely beautiful.

 

Laurence Owen (@LaurenceOwen)

“He employs the recognisable with connotative values that we associate with object and time. By considering Folklore, Paganism and early Mythology he investigates how these specific belief systems are connected to contemporary consumerist culture through ideas of ritual and worship.”

If you’ve enjoyed this list of the ten ceramicists you should be following, try others in this series, check out our list of the Ten Abstract Painters, or Eleven Student Artists


Florence Hutchings Prints

Wine glass and a fruit bowl on a table mat A bookcase in front of windowsbananas in a fruit bowltwo vases on a shelftwo chairs in the living room

The private view for Florence Hutchings’ current show with us was incredible, with all of the paintings selling out in the first 45 minutes! We have a limited number of these exquisite fine art prints still available for any of you who missed out on getting a painting.

Each print is a limited edition run of 5 prints, which are supplied with certificate of authenticity to provide limited edition provenance. They are 30 x 40 cm / 12″ x 16″ including a small white border for easy framing, and are archival Giclée prints with an archival lifespan of up to 200 years.

Presented on Hahnemühle Photo Rag premium Fine Art paper with a slightly off white, matt finish paper with guaranteed archival properties. The paper gives muted blacks with even colour reproduction, and excellent detail. It has a minimal texture and a chalky smooth cotton feel which creates smooth colour gradients.

Each are editions of five, with only a couple at most still remaining of each.

You can find them HERE

 


CUB Magazine Interview

We were recently interviewed by those over at CUB Magazine about two of our most-recent shows.We talked about our Open Call exhibition, and the winner of the competition (Florence Hutchings)’s solo show Seating Arrangement.

A snippet of our interview is below, to read the entire thing follow the link at the bottom.

 

  1. The winner of Delphian Gallery’s 2018 Open Call competition, Florence Hutchings will exhibit her work in Seating Arrangement this September. What does the competition strive to discover each year?

As a gallery in general, a big part of what we aim to do is discover the newest, most exciting artists, right before their careers takes off. Running an open-call exhibition is a great way to discover these, and we tried to remove every barrier which may stop a young artist from submitting; we made it free to enter, and we made it a print-only show so that all people had to do was upload a high-quality jpeg to creativehub and our friends at theprintspace would print and mount them. This made it incredibly easy and risk-free to enter, so because of this we got over 8000 submissions, from countries all over the world, and were able to show some artists who’d never exhibited in London before – in some cases, who’d never exhibited anywhere before.

 

FULL ARTICLE