Articles Tagged with: hoxton

A Long Way From Home – RSVP for the private view now!

We are very excited to be launching our next show, A Long Way From Home with Kevin Perkins and Igor Moritz next week!

 

A Long Way From Home - Kevin Perkins and Igor Moritz

Igor Moritz

 

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.

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.

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.

A Long Way From Home - Kevin Perkins and Igor Moritz

Kevin Perkins

For more details and to RSVP for free tickets visit the link below.

HERE

To request the catalogue of available works please email
info@delphiangallery.com

Exhibition kindly supported by theprintspace.

 

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


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.

 

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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.


Jesus Leguizamo

Jesus Leguizamo

Jesus Leguizamo is a figurative painter from Bogotà, Colombia who recently featured in Saatchi’s list of new and upcoming artists. His works are rich in detail and are incredibly tactile. They are portraits of vivid memories and abstract concepts including themes such as fatherhood, war and love. Sections of his paintings are intensely focused or canbe confused in a haze of passionate expression through colour and form.

Many today may disregard the value of paintings that delicately render our physical appearances in a world of camera technology and cheap means of reproduction. Everyday, millions of images of us go online on Instagram and Facebook. All of us share our experiences to preserve a moment in our lives in order to say, “Yes, this is me. I was here.”

However, painting in the realm of art has far more complexities in the way of attaining a multi-facetted essence of our existence. Throughout history we have always been drawn to images of human faces in the pursuit of stories they may tell. Personal histories and relationships are embedded in each brushstroke. Works like the paintings by Jesus Leguizamo are not simply faithful recreations or most detailed copies of how a person looks like. What is truly revealing is when we turn our attention to the information the artist chooses to omit,blur or distort and the reasons behind these decisions. It’s through these balances that we gain insight. The human sphere isn’t so stable as a photograph, nor are the ideas that define who we are.

The hand touching paintbrush on to canvas is the hand that presses the camera shutter. Two kinds of reality interpreted: a layered thoughtfulness as opposed to spontaneity as seen in nature. Both can be equally exciting but through contemporary figurative painting, we may be more fruitful in discovering interwoven dynamics of conscious and unconscious intentions within layers of paint.

To the viewer, Leguizamo communicates the mind’s eye. All surroundings are condensed to blocks of light or dark. Sometimes steams of light are permitted, or thick dabs of paint that recall violent emotional links. Actions are often concentrated on and our eyes are drawn to the way a scholar scratches his head in frustration or the lingering gaze of a soldier, dressed and ready to go into combat. We cannot read any other aspect of his expression or know with any clarity what he truly looks like. Striking impasto paint, fleshy tones of redand brown evoking images of healing wounds, obscure most of his face. Is this the echo of a loved one’s memory? Or does it foreshadow emotional and physical trauma to come? Where the photograph is a window to the eyes, the painting is a window to our inner selves.

Leguizamo’s work is so accessible because it gives us the thrill of uncovering clues to the human condition. From understanding others, we can begin to understand ourselves.

Words – Wingshan Smith


Kevin Perkins

 

We’re very excited to announce that we will be working with Texas-based artist Kevin Perkins. He will be putting some works into our next show Obscurely Prophetic (more details to come soon).

Check out his page under our Artists tab for more info.