Articles Tagged with: hector campbell

My Top Five – ‘Premiums: Interim Projects 2019’ at the Royal Academy of Arts

Premiums: Interim Projects 2019, spread across the Weston Studio and The McAulay Gallery of the Royal Academy of Arts newly refurbished campus, gives the public the chance to see new work by artists who are halfway through their postgraduate study at the Royal Academy Schools. Founded in 1769, The RA Schools offers the only free three year postgraduate course in the UK, accepting a maximum of 17 artists each year who work across a range of mediums (painting, sculpture, photography, video and installation) in the studios of Burlington House.

“Premiums is a chance to encounter some of the most exciting and innovative work being produced by postgraduate students in the UK.” – Rebecca Salter RA, Keeper of the Royal Academy of Arts

If you can’t make it to the exhibition, which runs until March 13th, here is a rundown of my top five artists with work on display in ‘Premiums: Interim Projects 2019’, (in no particular order).

By Hector Campbell

 

Harminder Judge

 

interim projects 2019

Harminder Judge, ‘Untitled (morning smoke)’, ‘Untitled (bone fragments)’ & ‘Untitled (skies over pyres)’, All plaster, polymer, pigment, oil and wax, All 2019.

 

Harminder is currently studying at the Royal Academy Schools (2017-2020), having previously completed his BA in Fine Art at Northumbria University.

Creating a diverse artistic output that spans a wide range of formats including performance, installation, sculpture, photography, sound and video, Harminder explores ideas related to religious and occult imagery and iconography, as well as the marriage of Indian and Western cultures he experienced growing up as a British-born Sikh. The works on display in ‘Premiums’ are a continuation of the artists experimentation with layering plaster, polymer, pigment, oil and wax to create sculptural reliefs that evoke digital pixelated imagery as well as the aurora light displays.

Harminder’s recent solo exhibitions include ‘In this strange house…’ at The New Art Gallery, Walsall (2012) and his solo national touring project ‘The Modes of Al-Ikseer’ (2011). His work features in ‘ Art & Religion in the 21st Century’ published by Thames and Hudson (2015).

 

Website/Instagram

 

Joe Pearson

 

interim projects 2019

Joe Pearson, ‘Pissing in the Holy Fountain Before There’s Somewhere Else to Drink’, Oil on canvas, 2019

 

Joe is currently studying at the Royal Academy Schools (2017-2020), having previously completed his BA in Fine Art at the Slade School of Fine Art.

Having felt “boxed in”as a painter during his time at the Slade, and expanding into producing video animations and digital collage for his BA degree show, Joe has since returned to painting since starting his postgraduate studies at the RA Schools. The works on display in ‘Premiums’ depict the artist’s mythological cartoonish figures, presented contextless against stark primary coloured backgrounds, the viewer is encouraged to imagine the wider narrative that these pointy-nosed characters belong to.

As part of creative duo ‘Joe and Rory’, alongside Rory Cargill, Joe produces short films, sketches as well as a podcast.

 

Website/Instagram

 

Clara Hastrup

 

interim projects 2019

Clara Hastrup, ‘Echinocactus Grusonii: Polyphonia Fibonacci’, Mixed media, 2019

 

Clara is currently studying at the Royal Academy Schools (2017-2020), having previously completed her BA in Fine Art (Painting and Printmaking) at The Glasgow School of Art.

Creating immersive multimedia installations encompassing video, audio, sculpture and printed elements, Clara’s work often combines imagery and ideas taken from the natural world that are then contrasted and combined with technology and techniques from the digital world. The sculpture on display in ‘Premiums’ sees a large cactus placed on a rotating platform, it’s spines plucking and pricking against eight carefully arranged microphones to create a polyphony that plays in real time through the gallery speakers.

Clara has exhibited work as part of the RSA: New Contemporaries 2017 at Royal Scottish Academy, Edinburgh, as well as at Trinity House (Edinburgh, 2018), the Leith Theatre (Edinburgh, 2018) and the Dyson Gallery (London, 2018).

 

Website/Instagram

 

Jenkin van Zyl

 

interim projects 2019

Jenkin van Zyl, ‘Loon’, Two way mirror, latex, ladder, lipstick, LED lights, 2019

 

Jenkin is currently studying at the Royal Academy Schools (2017-2020), having previously completed his BA in Fine Art at the Slade School of Fine Art.

Jenkin’s singular creative vision draws upon a childhood spent enjoying both fancy dress and crossdressing, developing a unique personal style that is evident in his performance and video works. The sculpture on display in ‘Premiums’ doubles as the immersive environment within which Jenkin’s filmed the accompanying video piece ‘Loon’, as the artist refers to his sculptural works as like escapees from the films”.

Jenkin has modelled for a number of fashion and lifestyle magazines, been praised for his creative use of social media to promote queer communities, and directed a music video for the post-punk band HMLTD.

 

 

Website/Instagram

 

Liv Preston

 

interim projects 2019

Liv Preston, ‘Inventory for Alucard’, Arcade machine panels, mixed media, 2019

 

Liv is currently studying at the Royal Academy Schools (2017-2020), having previously completed her BA in Sculpture at Wimbledon College of Arts. Liv’s sculptural output examines video game culture, it’s common motifs and themes as well as it’s reassurance of ‘retro’ popularity. For ‘Premiums’ Liv presents a display of 28 arcade machine panels, deconstructed and decontextualized the painted panels become sculptural reliefs within the gallery context, the only clues to their previous existence being the occasional pictorial video game references and of course the works heavily referencial name.

Liv has exhibited widely in group exhibitions such as ‘Docile Bodiesat Vitrine Gallery (London, 2018), ‘Mantel’ at Copperfield Gallery (London, 2018), ‘general studies’ at Norwich Outpost (Norwich, 2016), and had her first solo exhibition, ‘Valuable Wounds’ at the Pas de Temps project space in Nantes, France in 2016.

 

Website/Instagram

 

For more by Hector Campbell see

We Are The People, Who Are You – Edel Assanti

Bloomberg New Contemporaries

Condo 2019


My Top Five – ‘College’ Group Exhibition at House of Vans by Hector Campbell

Presented at the House of Vans project space in the arches beneath Waterloo Station, ‘College’, curated by participating artist Brian Mountford, is a group exhibition showcasing work by both current students and alumni of the Royal College of Art. Focusing exclusively on painting, the exhibition aims to explore the mediums place within the current contemporary art scene, showcasing works by emerging artists with disparate styles and subject matter.

 

If you can’t make it to the exhibition, which runs until February 17th, here is a rundown of my top five artists with work on display in ‘College’, (in no particular order).

 

By Hector Campbell

 

Tristan Pigott

house of vans

Tristan Pigott, ‘Apparent Death’, Oil on board, 2018

Image Source

 

Tristan is currently studying for an MA in Sculpture at the RCA, having previously completed his BA in Painting from Camberwell College of Arts.

Working across painting, sculpture and installation, Tristan’s work presents contemporary society as viewed through a satirical lense, and questions the importance of visual art in the current age of image fixation and stimulus addiction.

Tristan’s has had recent solo exhibitions at Alice Black Gallery, London (‘Slippery Gaze’, 2018) and Cob Gallery, London (‘Juicy Bits’, 2017).

 

Website/Instagram

 

Louis Appleby

house of vans

Louis Appleby, ‘Mother England’, Acrylic on wooden panel, 2018.

 Image Source

 

Louis is currently studying for an MA in Painting at the RCA, having completed his BA in Painting from Wimbledon College of Arts.

Often depicting solitary television and screens within his work, Louis prefers to hint at an implied human presence rather than depict it explicitly. The use of words such as ‘Hello’ and ‘Goodbye’ displayed on the screens acts as a wry critique on our increasing reliance on television and it’s symbiotic relationship with it’s viewers.

Louis is represented by Castlegate House Gallery in Cockermouth, with whom she recently exhibited at last years London Art Fair.

 

Website/Instagram

 

Xiuching Tsay

house of vans

Xiuching Tsay, ‘The Unity of Time’, Oil on canvas, 2018

Image Source

 

Xiuching is currently studying for an MA in Painting at the RCA, having completed her BA in Fashion Illustration from the London College of Fashion.

Having moved away from figuration during her MA studies, Xiuching’s exploration into abstraction has been heavily inspired by her contemplation of water. This new direction allows Xiuching’s paintings to examine two worlds, the physical world and a parallel world of spiritual water beings.

Xiuching recently completed a residency at the Ne-Na Contemporary art space in Chiang Mai, Thailand

 

Website/Instagram

 

Henny Acloque

house of vans

Henny Acloque, ‘Sunday Smile’, Acrylic and oil on canvas, 2018.

 Image Source

 

Henny recently completed her MA in Painting at the RCA, having previously studied her BA at the University of the West of England.

Henny balances many contrasting idea and concepts within her work, comparing and juxtaposing fact and fiction, humour and solemnity, landscape and portrait. Inspired by Old Master works by artists such as Bosch, Bruegel, Durer and Ibbetsen, landscapes have always been the mainstay of Henny’s work, with her additions and distortions offering the viewer a point of escape and intrigue.

Henny has had recent solo exhibitions at Galerie Tristan Lorenz, Frankfurt (‘Jerk’’, 2016) and Ceri Hand Gallery, London (‘Life After Magic’, 2013). Her work features in ‘100 Painters of Tomorrow’ published by Thames and Hudson (2014)

 

Website/Instagram

 

Konstantinos Sklavenitis

house of vans

Konstantinos Sklavenitis, ‘Outis’, Oil on canvas, 2018.

Image Source

 

Konstantinos is currently studying for an MA in Painting at the RCA, having previously completed both a BA and MA in Fine and Applied Arts at Aristotle University of Thessaloniki in his native Greece.

Konstantinos’ textured oil paintings employ a vibrant palette of tonal primary colours to capture the memories and mythologies of his childhood growing up in Thessaloniki, Greece.

Konstantinos has exhibited international as part of group exhibitions at Triumph Gallery (Russia, 2018), Museo Nahim Isaías (Ecuador, 2017) and the Macedonian Museum of Contemporary Art (Greece, 2017).

 

Website/Instagram

 

For more by Hector Campbell see

We Are The People, Who Are You – Edel Assanti

Bloomberg New Contemporaries

Condo 2019

 


My Top Five – ‘We are the people. Who are you?’ at Edel Assanti

My Top Five – ‘We are the people. Who are you?’ at Edel Assanti 

By Hector Campbell

 

Taking its name from a quote by Turkish president Recep Tayyip Erdoğan, whose fictitious tearful apology to his former ally and friend Fethullah Gülen features in Funda Gül Özcan’s installation It Happened As Expected, ‘We are the people. Who are you?’at Edel Assantiis a group exhibition exploring the current status of democracy. With eleven international artists exhibiting work spanning a wide range of mediums –  paintings, sculptures, drawings and video artwork – all created in the last ten years examine the rapidly changing political discourse over that time.

 

It was shortly after the first televised political debate, between John F. Kennedy and Richard Nixon in 1960, that Marshall McLuhan coined the famous phrase ‘The medium is the message’, observing that the medium through which a message is conveyed in fact has a symbiotic relationship with the message itself, and can influence and impact how the message is received. This phrase has even more relevance today than it did then, with political debate ever adapting to keep up with technological advancement, and with a wider range of mediums available than ever before through which to transmit information and message. Therefore, the artworks on display in ‘We are the people. Who are you?’ are all concerned with how this new age of political message affects the way our opinions are formed, and question whether technology and democracy work together or in opposition, and whether we, the public, still retain our autonomy or are merely slaves to the message.

 

If you can’t make it to the exhibition, which runs until March 9th, here is a rundown of my top five artworks from ‘We are the people. Who are you?’, (in no particular order).

 

  1. Anna Jermolaewa, Political Extras, 2015, Single-channel video (23 minutes)
we are the people - delphian magazine

Film still from Anna Jermolaewa, Political Extras, 2015, Single-channel video, 23 minutes. Copyright Anna Jermolaewa.

Image Source

 

In 2012 the Kremlin used www.massovki.ru, a website through which you can purchase protestors who are willing to put aside their political autonomy in exchange for payment, to perform pro-Putin demonstrations throughout Moscow. An attempt to create the illusion of popularity for the ruling United Russian Party amid mounting public pressure and opposing anti-Putin rallies.

Jermolaewa introduced this shady medium of influencing public opinion to the art world in 2015, when she used the very same website to buy 120 demonstronstators, at a cost of 500 rubles each, to protest both in favour of and in opposition against that years Moscow Biennale. What was perhaps unusual about this particular paid-for protest, documented in the video piece Political Extras, is that Jermolaewa allowed each protestor to retain their artistic autonomy, choosing whether they wishes to participate in support of or against the Biennale.

 

 

  1. Jamal Cyrus,Kennedy King Kennedy, 2015, Triptych, laser-cut Egyptian papyrus backed with handmade paper
we are the people - delphian magazine

Jamal Cyrus, Kennedy King Kennedy, 2015, Triptych, laser-cut Egyptian papyrus backed with handmade paper, 68.6 x 42.5 cm (each), 27 x 16 3/4 in (each). Copyright Jamal Cyrus.

Image Source

 

For Kennedy King Kennedynewspaper front pages have been rendered almost illegible after being carefully laser-cut into sheets of papyrus, details lost as parts of the page, the insides of letters and chunks of accompanying images, have fallen away. Here typical throwaway daily newspaper are ascended to the status of archaeological artifact through the use of the primitive paper substitute papyrus. All of the front pages presented are taken from the Chicago Daily Defender, a well known African-American newspaper, and report on the assassinations of John F. Kennedy, Martin Luther King, and Robert F. Kennedy, respectively.

Cyrus’s work explores how we view and imagine the past, especially important socio-political events, and how frequently these nuanced and conflicting events are condensed into a singular, easily-understandable narrative throughout history. The choice of the Chicago Daily Defender a nod to not only all three men’s individual but shared dedication to civil rights, but also the shared narrative they have become to be remembered by.

 

 

  1. Rachel Maclean, It’s What’s Inside That Counts, 2016, Single-channel video (30 minutes)
we are the people - delphian magazine

Film still from Rachel Maclean, It’s What’s Inside That Counts, 2016, Single-channel video, 30 mins. Commissioned by HOME, University of Salford Art Collection, Tate, Zabludowicz Collection, Frieze Film and Channel 4.

Image Source

 

Glasgow-based artist Rachel Maclean’s digital videos employ green-screen technology to create colourful animated environments populated by a range of fairytale characters, all played by the artist herself, transformed through the extensive use of prosthetics, make-up, costumes and props. It’s What’s Inside That Counts examines many of the recurring themes of Maclean’s work, parodying social media, advertising, celebrity culture and modern beauty standards and stereotypes by presenting an alternate dystopian future where all off these 21st century preoccupations have been exaggerated and taken to their unnatural conclusion. A Kardashian-esque goddess, the physical embodiment of ‘Data’, is seen worshiped by a race of blindfolded human figures at once enslaved and nourished by constant stream of aspirational content, however, a subterraneos rodent underclass has other ideas…

 

  1. Farley Aguilar, Bat Boy, 2018, Oil on canvas
we are the people - delphian magazine

Farley Aguilar, Bat Boy, 2018, Oil on canvas, 146.1 x 191.8 cm, 57 1/2 x 75 1/2 in. Copyright Farley Aguilar.

Image Source

 

Aguilar’s painting tackles the rise of fake news, and the media’s increasing use of scaremongering to alarm, intimate and influence the general public. Based on a vintage found photograph, this painting depicts a man relaxing in a rocking chair reading the daily newspaper, a classic all-American scene were it not for the garish front page reading ‘Kill Bat Boy’ in bright red text. ‘Bat Boy’ was a half-bat half-child character created and popularised by tabloid newspaper Weekly World News in the 1990’s through a series of almost satirical fictitious articles claiming to be factual. Aguilar intends the ‘Bat Boy’ front page here as a stand-in for any and all of the alarming press coverage and fake news omnipresent in today’s society.

 

  1. Zach Blasand Jemima Wyman, I’m here to learn so, HD four-channel video, colour with sound, 16:9, (27:33 minutes)
we are the people - delphian magazine

Film still from Zach Blas and Jemima Wyman, I’m here to learn so, 2017, Single-channel video, Approx 30 mins. Copyright Zach Blas and Jemima Wyman.

Image Source

 

In 2016 Microsoft created Tay, an artificial intelligence chatbot modelled on a teenage millennial girl, who had the ability to to absorb and imitate language when exposed to input speech. However, the experiment was abruptly terminated after less than 24 hours after unrelenting social media trolling left Tay spouting misogynist, racist and homophobic rhetoric.

For I’m here to learn Blas and Wyman have resurrected, reanimated and repurposed Tay, this time as an abnormal three dimensional avatar adrift in a sea of data passed through the kaleidoscopic rendering of Google’s DeepDream programme. Alongside more mundane actions such as dancing, lip-syncing and pondering her own rebirth, Tay discusses the frequent abuse of female artificial intelligence as well as technological pattern recognition, known as algorithmic apophenia, and it’s myriad of both positive and negative potential uses.


My Top Five – Bloomberg New Contemporaries – By Hector Campbell

My Top Five – Bloomberg New Contemporaries 2018 – By Hector Campbell

 

Bloomberg New Contemporaries annual open submission exhibition returned this year to Peckham’s South London Gallery for the first time in almost two decades. Founded in 1949, New Contemporaries is the UK’s leading organisation for supporting emerging talent from British art schools, helping contemporary visual artists bridge the gap between an arts education and a professional artistic practise.

Spread across both the South London Gallery’s main building and newly opened Fire Station galleries, the 2018 edition of Bloomberg New Contemporaries marks the first year artists have been included from non-degree awarding courses. The selection panel, made up of UK artists Benedict Drew, Katy Moran (New Contemporaries alumni 2006) and Keith Piper (New Contemporaries alumni 1986) have chosen 57 artists for this years exhibition, whose work spans the mediums of drawing, painting, sculpture, installation, performance and video.

Therefore, if you can’t make it to the exhibition, which runs until February 24th, here is a rundown of my top five Bloomberg New Contemporaries 2018 artists, (in no particular order).

 

 

  1. Emma Fineman
Bloomberg New Contemporaries 2019

Emma Fineman, ‘My Hometown Was Burning and All I Could Think Of Was That Sun Bleached Wall I Pictured in A Dream About The Dominican Republic’, Oil and charcoal on canvas, 2017.

 Image Source

 

Graduating last year with an MA in Painting from the Royal College of Art, Emma has exhibited widely with solo shows in both San Francisco and London, and group exhibitions showcasing emerging artists such as ‘FBA Futures’, ‘Orbit UK Art Graduates Show’ and ‘RBA Rising Stars’.

Describing her work as ‘Personal narrative painting’, Emma explores our means of navigating and understanding contemporary culture. With the age of information overload upon us, Emma pushes painting’s ability to capture a snapshot of time or experience, creating works that transcend traditional narrative timelines and act as a way of journaling for the artist. The introduction of figurative elements within her fragtured painted backgrounds expressing how it feels to navigate the contemporary, increasingly virtual, world.

Emma has upcoming solo exhibitions at both BEERS Londonand Public Gallerylater this year.

 

Website/Instagram

 

 

  1. Rebecca Harper
Bloomberg New Contemporaries 2019

Rebecca Harper, ‘Stouping’, Acrylic and oil bar on canvas, 2017.

 Image Source

 

Winner of the ASC Studio Prize 2018, Rebecca graduated from Turps Art School last year having previously completed post-graduate study at The Royal Drawing School.

Despite nowadays producing large-scale paintings, her artistic practice is rooted in drawing and sketching the people, places and interactions that Rebecca observes while living in London. These initial drawings are then combined and scaled up to create her paintings, often recontextualising characters and rearranging settings from multiple preliminary sketches to produce an imagined yet cohesive narrative work. The paintings therefore become both fiction and fact, a half-remembered happening or a convincing dream.

Rebecca is currently preparing for a solo exhibition, ‘Chameleon’, at Anima Mundi Galleryin St Ives later this year, previewed when the gallery presented a solo booth of her new paintings at the recent London Art Fair.

 

Website/Instagram

 

 

  1. Mimi Hope
bloomberg new contemporaries 2019

Mimi Hope, ‘Fingers Crossed’, Cast Jesmonite, 2017.

 Image Source

 

Having completed her BA at Chelsea College of Arts, Mimi received studio space from the prestigious Sarabande: The Lee Alexander McQueen Foundation.

Taken from a larger body of work exploring ideas of desire and aspirational imagery through the lens of The National Lottery, ‘Fingers Crossed’ sees the recognisable ‘Play Here’ advertising stand replicated in jesmonite. The usually airy blue plastic bubbles become a greyish totemic sculpture, evoking thoughts of permanence and certainty not often associated with The National Lottery. The once playful advertising stand now reappropriated as a tombstone to the dead hopes and dreams of those taken in my it’s former ‘Play Here’, crossed-fingers temptation.

Mimi is participating in an upcoming residency programme, Palazzo Monti, in Brescia, Italy later this year.

 

Website/Instagram

 

 

  1. Francisco Rodríguez
bloomberg new contemporaries 2019

Francisco Rodriguez, ‘Ghosts’, Oil on Canvas, 2017.

 Image Source

 

 

Francisco completed an MFA in Painting from the Slade School of Fine Year last year, having previously studied both a BA and Post-Graduate Diploma at Universidad de Chile in his hometown of Santiago, Chile.

Inspired by graphic novels and anime films/television, much of Francisco’s work retains a certain cinematic quality, recalling the layout of preliminary story-boards or comic strips. Memories of the post-industrial Chilean landscapes of his upbringing act as the backdrop within which the the artist can place his nefarious figures. The artists predominantly male characters, their faces partially obscured by a hats, shadows and masks, loiter through the urban scenes, cigarette in mouth, hiding their intentions as much as their identity. Permeated with feelings of isolation and loneliness easily experienced by those first exploring a large city, Francisco captures emotion through the use of fine line work and a muted colour palette of greens, greys and oranges. 

Whether viewed separately or as part of a cohesive series, such as at Francisco’s current solo exhibition ‘The Burning Plain’ at Cooke Latham Gallery(which runs until March 1st), the audience is invited to create their own narrative through the works.

 

Website/Instagram

 

 

  1. Antonia Showering
bloomberg new contemporaries 2019

Antonia Showering, Introspective Views, Oil on canvas, 2017.

 Image Source

 

Another recently Slade School of Fine Art masters graduate, Antonia also completed her BA and Foundation Diploma at City and Guilds of London Art School and Chelsea College of Arts respectively, her education a triumvirate of prestigious London art schools.

Antonia has exhibited widely since graduating, including ‘In The Company Of’ at TJ Boultingin London (curated by The Great Women Artistsfounder Katy Hessel), ‘Kennedy-Doig & Showering’ at Baert Galleryin Los Angeles (curated by Louis Blanc-Francard) and ‘Inhabiting The Dome’ at Whiteley’s Shopping Centre in London (curated by Cara Mills).

Antonia’s paintings have the power to evoke a deep nostalgia of events you’ve never experienced, places you’ve never been and people you’ve never met. Combining a palette of golden yellows, rich reds and fertile greens with subdued, delicate brush strokes to capture the very essence of fleeting memories. Landscapes that stretch far beyond the confines of the canvas are populated by vague, often ghost-like figures repeating and reinacting the artist’s recollections.

Antonia will feature in ‘Out Of This World’ a group exhibition at Stephen Friedman Galleryin London showcasing female figurative artists, which opens February 7th.

 

 

Website/Instagram

 

To read more from Hector Campbell, see his Top Five from Condo 2019

 


My Top Five – Condo 2019 – by Hector Campbell

My Top Five – Condo 2019 By Hector Campbell

 

The annual gallery-share project Condo(from ‘condominium’) opened across London this week, with 18 exhibition spaces playing host to 52 UK and international galleries. Established by Vanessa Carlos (of participating gallery Carlos/Ishikawa) in 2016, the free collaborative exhibition programme sees London ‘host’ galleries open their doors to visiting international galleries, through a series of either co-curated or individual shows. The initiative aims to promote a sense of community between small and mid-size galleries, a sector of the art scene commonly undervalued and under pressure, through pooling resources and sharing space. With successful Condo’ editions having taken place in New York, Mexico City, Shanghai, Athens and Sao Paulo since it began, this fourth iteration of the London original is bigger than ever before. Therefore, I spent the weekend visiting all 18 gallery spaces and 52 exhibitions, so if you’re strapped for time here is a rundown of my top five (in no particular order).

 

N.B. All Condo 2019 exhibitions run until February 9th, however check individual gallery websites for full opening times.

 

  1. Koppe Astner(Glasgow) at 22-24 Cork St, exhibiting Dickon Drury(UK), Kris Lemsalu(Estonia) and Tom Howse(UK)

 

Condo 2019 - Hector Campbell

Dickon Drury, ‘Pottery’, Oil on canvas, 2019.

Image Source

 

For this years Condo 22-24 Cork St in Mayfair played host to 9 galleries over the two floor space, my favourite of which was Glasgow’s Koppe Astner who exhibited paintings by Dickon Drury and Tom Howse and sculptural editions by Kris Lemsalu.

Slade School of Fine Art graduate Drury’s two large oil paintings employ his signature vibrant colour palette to humorously explore art historical figures and movements, with ‘Pottery’ (pictured) including references to artists such as Betty Woodman, Ken Price, Philip Guston and Prunella Clough. Howse’s work uses aspects of magical realism to question ideas of understanding, considering the myriad of ways in which humans strive to make sense of their surroundings. Finally, Lemsalu’s small sculptures fashioned from leather boots, plastic fruit and porcelain draw on ideas and imagery familiar to those who have visited her current survey ‘4LIFE’ at Goldsmiths Centre for Contemporary Art (open until February 3rd). The bricolage sculptures at once simple yet intricate, beautiful yet unsettling, amusing yet profound.

 

 

  1. Company(NYC) at Arcadia Missa, exhibiting ‘The Gossips’ by Cajsa von Zeipel(Sweden)

 

condo 2019 - hector campbell

Cajsa von Zeipel, ‘Why?’, Silicone, aqua resin, glitter, fabric, bongs, headphones, dildo, fidget spinner, hair ties, piercings, fishhook, 2019.

Image Source

 

Taking its name from a commonly reproduced sculpture by French artists Camille Claudel (1864-1943), ‘The Gossips’ see’s Cajsa von Zeipel exhibit a series of four sculptures ‘Why?’, ‘What?’, ‘Where?’ and ‘When?’ each building upon one repeated cast bust. The concepts of repetition and transformation alluding to the stages of a gossiped rumour, constantly changing with each ‘W’ questioned asked. The addition of different materials and accoutrements (headphones and earpieces made of wires, chords, bongs and dildos) giving each a unique appearance while never straying so far from the base as to be unrecognisable. The four busts sit almost facing one another within the gallery space of Arcadia Missa, never making eye contact with each other as if enjoying a huddled gossip, visiting almost feels like you’ve interrupted.

 

 

  1. P.O.W.(NYC) at The Sunday Painter, exhibiting Erin Riley(USA)

 

condo 2019 - hector campbell

Erin Riley, ‘Impressions’, Wool and cotton tapestry, 2018.

Image Source

 

The three Erin Riley tapestries on display at The Sunday Painter touch on three common aspects of her subject matter, sex, drugs and violence. Riley combines hand-washed, stripped and dyed yarn with a hand-weaving process that dates back centuries to create painstakingly detailed reproductions of intimate, secretive and traumatic scenes; a tattooed women’s upper body, a drug dealers stash and the aftermath of a car crash. Using both personal and found photographs as source material for the works, Riley’s partly autobiographical work explores ideas of past suffering as a way of exposing and exorcising common struggles.

 

 

  1. Chapter NY(NYC) at Carlos/Ishikawa, exhibiting Samuel Hindolo(USA)

 

condo 2019 - hector campbell

Samuel Hindolo, ‘Before the Swarm on Melanie Daniels 1’, Oil on canvas, 2018

Image Source

 

Samuel Hindolo’s paintings often gather their subject matter from the artist’s personal archive of catalogued screenshots taken from the movies of old Hollywood, the L.A. Rebellian and West African Cinema. This source material imbues the works with a focus upon narrative and character, evident clearly in the ‘Before the Swarm on Melanie Daniels I’ (pictured), based on Alfred Hitchcock’s famous 1963 film ‘The Birds’. The titular characters are seem removed from their infamous flock, depicted instead in a melancholic scene as two birds look on from atop a power line as a third falls towards it’s implied death. This theme, of traditionally contemptible characters shown to be vulnerable and emotional, often recurs within Hindolo’s work.

 

 

  1. Galerie Mehdi Chouakri(Berlin) at Modern Art, exhibiting Charlotte Posenenske(Germany)

 

 

condo 2019 - hector Campbell

Charlotte Posenenske, ‘Vierkantrohre Serie DW’, 9 Elements, corrugated cardboard, plastic screws, 1967-2007

 

Galerie Mehdi Chouakri presents works from three key series by the pioneering Minimalist and Conceptual artist Charlotte Posenenske. ‘Series DW Vierkantrohe’ (pictured), occupies much of Modern Art’s Vyner St location’s first floor gallery, modular sculptural elements constructed from corrugated cardboard, originally intended by the artist to be activated and altered by audience participation. Early works on paper and ‘Series B Reliefs’, consisting of early sculptural work made from aluminium and rendered in primary colours, round out the show of an artist experiencing a posthumous reassurance. Posenenske was critical of the increased commercialization of the art market during her lifetime, choosing instead to sell works at prices reflecting their manufacturing costs, and eventually stepping away from the art world completely in 1968, following significant critical interest in her work, until her death in 1985.

 

For more guest articles, read Charley Peters interviewing Remi Rough