Articles Tagged with: florence hutchings

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


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


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


Florence Hutchings Interview

Florence Hutchings is one of our favourite artists here at Delphian Gallery, and we were thrilled when she entered our Open Call exhibition in the spring. She then went on to win the competition, and as a result has her first ever solo show ‘Seating Arrangement’ opening with us on September 6th.

Benjamin Murphy sat down with her recently to ask her a little about her work, and what she has in store for us.

Further details about the show and private view can be found at the bottom.

How do you deal with success at such an early stage in your career?

I would say that the idea of success for me right now is a weird thing, for me success isnt selling a painting (or not), or getting it into the show, it’s the way you feel when you leave the studio at the end of the day. For me 8/10 times I probably leave the studio feeling frustrated at not making what I envisaged. The success for me comes on those 2/10 days when I feel like I’ve resolved something, it’s almost like an ecstatic buzz feeling which was so worth all the frustration.

Yeah my studio time is often as frustrating. I suppose what I mean is, I know that if I’d have been as successful as you (both in terms of sales and shows) when I was still studying, I would not have dealt with it well. How do you stay grounded and not the egomaniac I know I would have become?

Hahah, I suppose I’m surrounded by lots of people who inspire me and who i look up to, they’re probably the people keeping me grounded.
On top of that although I greatly appreciate all the opportunities and experiences I’ve gained from my art I don’t think it would ever really change me as a person.
I know when I was a student my style, direction, and intentions changed often and drastically, and I think obscurity allows an artist to change as is their will, whereas notability curtails this. Do you still feel free to change directions if you ever chose to?
Yes for sure- change is often important in my work. I tend to work on a theme at one time and get completely obsessed by it, for instance within this show the motif of chairs appear in most of the works. However although these all have a similar subject matter I try to approach each piece with a new attack – it’s what keeps the process exciting for me. That’s why just over these recent works from the show I have used: oil paint, acrylic and spray paint (for the first time), collage, paper works, canvas works, pieces which are massive and pieces that are really small. I tend to paint whatever I feel like as well, nothing really constricts me – I’ve painted cars, shop fronts, clothes rails, fruit markets, the every day interior and so on. It’s when I start to repeat the way I approach a painting that I know I’m doing something wrong and instantly try to change things up.
Why do you have such an affinity for painting the everyday, and how are you able to imbue ordinary objects with the significance that you do?
I love painting the everyday – I suppose that stems from drawing from life, as most of my paintings are references from lots of drawings. I tend to draw in my flat and rarely in the studio which I suppose is why the interior comes into so often. But I do really enjoy taking something so mundane and giving it character and life. It’s a subject matter which has appealed to me since my first year at Slade and I enjoy seeing how far I can explore it and open it up.
I suppose that’s what painting is, taking a mundane object, which is a simple tube of oil paint, and giving the material some emotional significance.
Yeah exactly – and the same with drawing something so simple as putting pencil to paper can be so exciting and inspiring – it was Bonnards drawings that really got me excited about art when I was younger.
How closely do you try and render the chair you see in front of you?
Well I originally draw them from life but the chair never fully looks like the chair in front of me – I suppose I’m just as interested as the space around the object as the object itself, that’s why in some of the works the chair motif is simple and the background very built up. The ‘wonkiness’ and the character comes from my drawings rather than the chair itself
How have you approached this new solo show, and what can we expect from it?
So this is my first ever solo show which has been quite nerve-racking but also really exciting. I’ve been lucky enough to have a studio space over summer (with thanks to Oli Epp for a residency in June). The series of works for this show started with a set of A6 drawings of all the chairs in my flat- I went from making works this scale to 180x170cm canvases which although challenging, I ultimately wanted to approach a massive painting with the same expression as a small piece. Some of my works in the show I was happiest are the A1 paintings on paper – I felt that the paper really loosened me up and made me approach this subject matter in a new light – the chairs became much more abstract and obscure, you can hardly tell they are chairs in some of the pieces. I enjoy that ambiguity, I like it when people have to guess and make their own narrative for what it is in the painting.
Seating Arrangement opens on Thursday the 6th of September.
Delphian Gallery at theprintspace, 74 Kingsland Road London E2 8DL.
The Facebook event for the private view can be found HERE
We are expecting the guest list to fill up very quickly so make sure you rsvp to the Eventbrite HERE
The exhibition is kindly supported by theprintspace.