Articles Tagged with: painting

Jordy Kerwick’s FIRST EVER limited edition print release

We are very excited to be releasing Jordy Kerwick’s FIRST EVER limited edition prints.

We have two available, printed from two of the most popular paintings in his debut UK solo show Diary Of An Introvert with us in December 2018. Both are hand-signed and stamped editions of 15.

Jordy Kerwick Limited Edition

Jordy Kerwick Limited Edition

Print Specifications

  • Limited edition print run edition of 15.
  • Signed and numbered by the artist.
  • Stamped with an embossed Delphian Gallery seal to prove authenticity.
  • Supplied with certificate of authenticity to provide limited edition provenance.
  • Size – 50 x 70 cm including a small white border for easy framing.
  • Archival Giclée print with an archival lifespan of up to 200 years.
  • Presented on Hahnemühle Photo Rag premium fine art paper.
  • 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.
  • Printed in the UK.
  • Global shipping available.

Jordy Kerwick Limited Edition

Jordy Kerwick Limited Edition

To purchase, please click THIS LINK


Art Aesthetics Review of Diary Of An Introvert

Art Aesthetics magazine have recently reviewed our solo show with Australian painter Jordy Kerwick. Read what they had to say below…

Kerwick’s still lifes are the perfect foil to the quixotic ideals of the artist. He only started painting in 2015, but has risen in truly meteoric fashion having already exhibited as far and wide as New York and San Francisco in the United States, and Paris, Cologne and Hamburg in Europe despite working from Melbourne, Australia. We finally caught up with Kerwick’s first solo UK show, Diary of an Introvert, in South London. I was accompanied, charitably, by Aistè, who generously made time for me having just released a new single, ‘My Only Friend’.

Our destination was Delphian Gallery: the itinerant art space founded by Nick Thompson and Benjamin Murphy. Their brisk existence requires that one show’s success entails the next show’s very premises. (They needn’t worry, Kerwick has done exceptionally well with only a couple of paintings remaining for sale.) So we went to Delphian Gallery’s temporary venue at the AMP Gallery’s space in uber-cool Peckham.

Art Aesthetics

Kerwick’s paintings seem to prevaricate on the ‘artist’ as a figment of our imaginations. (They’re usually stereotyped as philosophy-thinking, chain-smoking, wine-drinking, beret-wearing Frenchies—according to my school’s careers advisor at least.) Of course, they’re not. You’ll struggle to find persons more professional and committed than artists, but bad reputations die hard. Kerwick isn’t scared of utilising these tropes, but makes for some fine self-exposition amid his own painterly equivocation. For by engaging in these tropes, the artist reflexively reveals himself.

Kerwick’s Diary of an Introvert encompasses some thirteen paintings of which twelve are still lifes. You espy geraniums and flytraps, which are usually set atop stacks of books bearing the names of other, bolder artists, thinkers, or musicians. Their spines carry Susan Sontag and Marcel Proust alongside Nick Cave and Patti Smith. (Unfortunately, these musicians aren’t quite to Aistè’s taste.) As for the artists, the works of James Ensor, Jean-Michel Basquiat and Bob Thompson are a world away from Kerwick. Ensor (1860-1949) was a forerunner of Expressionism. His Tribulations of St Anthony (1887) is wildly colourful and surreal for an artist working in the 19th Century. The Fauves (a.k.a., the Wild Beasts) followed on from the Expressionists. They also influenced Bob Thompson’s vivid, but starkly flat compositions. It’s strange, then, to find these artists’ names scrawled against the dull-pastels and ochres of Kerwick, who, when interviewed by Maria Stoljar, blandly said, ‘I really like the muted earthy tones.’ But then quietly proposed that this is ‘probably not a good thing.’ Aistè thinks the same: ‘I just want more colours.’

So other than the plants and the books, what else? You sometimes look at white spots on the canvas and what appear to be unfinished cigarettes; ‘pills and cocaine,’ suggests Aistè, though she’s not really sure if Kerwick is really that kind of guy. You can see what we’re referring to in Diary of an Introvert 7 (2018). You’ve got cigarettes sitting beside the ambiguous white spots and lines on the table. Ian Curtis supports Bob Thompson who supports Basquiat upon whom rests some pink germaniums. We’ve no difficulty imagining Curtis, Thompson and Basquiat taking full advantage of the table’s wares, but not Kerwick. For they’re proper ‘tortured artists’ whose creativity was breath-taking, but quickly burnt out. You sense that Kerwick is ‘looking in’ on these artists, but too self-consciously aware that he’s not them. ‘I don’t smoke,’ he told Stoljar, ‘but you don’t want something to be too pretty and cigarettes aren’t pretty. I still look at people smoking and think it’s cool. I’m not endorsing it for one second.’

We’re accustomed to thinking of painters as cool: rebellious, penniless, alcoholic, perhaps sensitive, but always creative. It’s supposed to come at some cost: they die too soon, are melancholic if not downright mad. (Of course, the truth is rather more boring. But we’re dealing with the popular ‘image’ of the artist.)  Kerwick plays up to this by daubing ‘la paix et la tranquillité et le pressentiment’ on the side of Diary of an Introvert 4 (2018). 

Kerwick’s interview with Stoljar is enlightening. He puts much of his work down to the fear of growing old: ‘not that I was ever cool, but I just feel less cool that I was before.’ We want out artists to be misunderstood and ahead of their time like Ensor; or, tragically cut short like Basquiat; or as expressive and bold as Thompson. Yet Kerwick is none of these things. (He’s happily married with children in Melbourne, Australia.) He’s previously said that ‘home doesn’t possess wonderment for me, not like LA or Paris.’

Nowhere is Kerwick’s self-deprecating character more visibly at work than in Diary of an Introvert 2 (2018) where the works of Voltaire and Trotsky and Gertrude Stein are crowned by ‘Miniature Schnauzers’ (very cool) and supported by the simple admission, ‘I can’t paint’. Aistè reckons he means, ‘I can’t paint…like Basquiat, like Thompson, or like Ensor.’ And yet, sometimes he does. You’ll often come across a Basquiat-like mark, cypher or glyph.

Art Aesthetics

I finally think I’ve got an analogy for Kerwick: He’s more Sancho Panza than Don Quixote. In Miguel de Cervantes’ masterpiece (1605 & 1615) the eponymous character simply reads too many books about chivalrous heroes. So many, in fact, that he loses his mind. He takes these stories so literally that he endeavours to become a grand knight-errant in search of adventure. He’s followed by his ‘squire’ Sancho Panza who serves as the level-headed foil to the wild idealism of Don Quixote.

Kerwick’s paintings proffer Ensor, Thompson and Basquiat as so many Don Quixotes. (How many artists aspire to Basquiat?) But for Kerwick, as for Sancho, these are fictions, so many books, upon which he places his flowers and, with a forthright naïvety, simply paints. ‘It’s kind of sad,’ says Aistè. ‘I think he’d like to be just like those Expressionists and Fauves.’ I disagree, there is such derring-do in these paintings, just obliquely, perfectly referenced. For that, it’s 4/5 stars from me and 3/5 from Aistè (although she admits that maybe that’s just because she doesn’t like Nick Cave and Patti Smith).

Thanks ART AESTHETICS!

See the Art Aesthetics website HERE

And learn more about Jordy HERE, and buy his prints HERE


Hector Campbell Interview

Curator and art historian Hector Campbell has curated a brilliant show of all student or recent-graduate painters, which opens in London on the 22nd of November. We decided to catch-up with him to find out a little about the show.

Firstly, could you please tell the readers a little about your background?

I recently moved to London, having lived in Bristol for the last six years. I studied History of Art at Bristol University, which was a great course and allowed me to participate in curatorial projects with their print and theatre collections. However, as with many university courses, the actual contact hours were relatively few (around 4 or 5 hours of lectures a week) so I had plenty of time to get involved in some exciting projects that the thriving Bristol art scene had to offer. Having been interested in Street Art and Graffiti since my teenage years, I was lucky enough to get work with many artists whose work I had been a fan of for over a decade. During my time in Bristol I worked alongside author and curate Ed Bartlett to compile travel publisher Lonely Planet’s first ‘Street Art’ guidebook, organised the UK premiere of documentary Saving Banksy complete with live painting from Blek le Rat and others, and worked for Fluorescent Smogg, a gallery and production house doing some of the best work in Street Art/Graffiti scene.

In the last couple of years I found myself coming to London more and more frequently for events and exhibitions (quite often seeing 20 exhibitions a day to try and fit in as many as possible), so it felt about the right time to move to London and see what opportunities it had to offer, and so far it’s been incredibly rewarding.

 

There are some really exciting young painters coming up at the moment, can you tell me a little bit about some of the artists you’ve discovered and how you found their work? 

I think it’s a very exciting time for painting, especially in London. With a large proportion of post- YBA generation artists turning to sculpture, video and installation in the 00’s, it’s only recently that I’ve noticed a big return to painting, especially amongst student and young artists.

I was overwhelmed by the response from the artists I approached about this exhibition, and the line-up is something I could only have dreamed about when I started planning this show a few months ago. Many of the artists I discovered at degree shows; Elisa Carutti and Minyoung Choi both showed incredible bodies of work in the Slade School of Fine Art’s MA show, and Marco Piemonte I found hidden down a long corridor during Chelsea College of Art’s MA show. I first saw Jonathan Kelly’s work in the 2017 Royal Academy Schools show, and have been a fan of his since then. India Nielsen’s work I had seen on Instagram (a brilliant resource for anyone involved in art, and where I daily find new artists that I love), and was excited to see it in person at the Royal College of Art degree show earlier this year. A friend of mine at Edinburgh University recommended Emily Herring’s work to me a while ago, and when she moved back to London after graduating I made sure to check it out. Finally, I first saw Lydia Blakeley and Rhiannon Salisbury’s work in small group exhibitions, Lydia’s at Enclave Projects in Deptford and Rhiannon’s at the Turps Painting Leavers Show at Paul Stolper Gallery.

Hector Campbell - Jonathan Kelly

Jonathan Kelly



Why did you decide to curate a show of exclusively students and recent graduates?

I started going to some of the big degree shows a few years ago, after realising they were great places to see work by emerging artists, and having not realised before that they were open to the public. This year I made a concerted effort to go to as many as possible, and I found that it was always the paintings that I was drawn to most. As a member of the public going to look around a degree show, you often have minimal resources available to you, the name of the works, and occasional artist statement if you’re lucky. You’re therefore left to take the works largely on aesthetic value, and while I’m sure much of the more experimental video, sculpture and installations on show are fascinating once being conceptualised to the professors in the critique, painting is accessible without that level of description or explanation.

Admission Productions, who are presenting the exhibition, have taken a chance on me as an emerging curator, so I thought it only right to continue that trend and show the work of some of my favourite student and graduate artists.

Did you have a particular feel in mind for the show and have you selected the individual works that the artists are putting in, or have you allowed them to submit whatever they choose? 

The exhibition space, Arthill Gallery in West Brompton, is beautiful and has partition walls creating lots of hanging space. I’ve therefore asked each artist to submit one or two larger works, as I think it’s rare that emerging artists get the chance to show works of this size, especially in a group exhibition. Each artist will almost get their own space within the gallery for these larger paintings. Then there is a long back wall at the gallery where I plan to do a salon hang of smaller works, with each artists giving us two small paintings, and that’s where I plan to draw out the relationships between the artists and the individual works and hopefully find some common themes. I’m not having a big say in the individual works, as excitingly the majority of the artists are making new paintings for this exhibition.

Hector Campbell - Rhiannon Salisbury

Rhiannon Salisbury



How does your role as an art historian inform your role as a curator, and vice versa?

I think that my background in Art History has allowed me to develop a certain level of connoisseurship, having been taught the skills of visual analysis and the importance of looking, alongside the purely historical studies that I’ve done. I hope that this allows me to select artists who not only I love, but that the public will love as well.

On the flip side, I think curating informs my practice as an art historian as there’s no substitute for the practical application of staging an exhibition. The problems and issues you encounter and overcome during that process, therefore, gives me a greater understanding of the history of exhibitions and curatorial practice as a whole.

If you would like to see more of the works in the show, Hector will be doing a week-long takeover on our sister account @Daily_Contemporary_Art from the 19th.

Young London Painters opens on the 22nd of November at Arthill Gallery, North End Road, West Brompton, W14 9NU.

Private view: 22/11/18 7-10pm

Show run: 23+24th of November 10am-5pm.

Hector Campbell recently interviewed us for Arrested Motion, which can be read HERE

Hector Campbell


Border Controls

BORDER CONTROLS
Rosalind Davis and Justin Hibbs
The Sevenoaks Kaleidoscope Gallery, Buckhurst Lane Sevenoaks, TN13 1LQ 

 
Special Event:
Saturday 24 November 2.30-4.30pm.
Artists in conversation with Sasha Bowles. Talk begins at 3pm. Free

Read an exhibition review by David Minton here 
Excerpt: As an infectious notion of composing takes shape, we are both empowered and constrained by the frame to choose and compose, reject and move on. Looking from the ‘other’ open end of the piece, the ‘back’, alter-ego to the mirrored surface, is softer in black and grey, pulling, as it were, its mirrored side out to escape to a freer space; ground, welded corners and workplace matter-of-factness of steel subvert any illusions that the reflections might harbour of what might be real….

Sensibilities and sensitivities inhabit touch and mark, eye and concept, point and counterpoint. Inferences resonate knowingly through the works here in a to-ing and fro-ing of aesthetic positions.
The implicit notion of taste that infuses this show offers hints and tints of suggestion, of control and direction, the collaboration dance-like, leading and following, point and counterpoint…..

Exhibition: 6-24 November 2018 
Opening times: Monday to Friday (except Thursday) 9-6pm | Thursday: 9- 8pm | Saturday: 9-5pm 
Only 35 minutes from Charing Cross, 27 minutes from London Bridge with frequent trains. 

Border Controls - Rosalind Davis Justin Hibbs

Border Controls – Rosalind Davis Justin Hibbs

Border Controls is an exhibition considered within the shadow of increasingly restricted borders and political controls with regard to migration and the increasing isolationism seen both here in the UK (with Brexit) as well as the wider geographical tensions seen currently in Europe and America. The collaboration between Davis and Hibbs see’s the artists’ consciously inhabiting the thresholds and boundaries between their respective practices in an attempt to openup conversation and discourse around these issues. The personal and political dimensions of art-making and authorship are seen here as a lens through which to consider wider social concerns and questions that address the dynamics of power, autonomy and control.

For their exhibition at Kaleidoscope Gallery, Davis and Hibbs will show the piece ‘Border Controls’– a large scale  sculptural installation that brings together different aspects of both artists practice into direct dialogue with one another, creating a single collaborative work. Alongside this the artists will also exhibita number of individual artworks that extend this conversation. Within the parameters of the gallery neither artists work can be negotiated without experiencing reflections of the other within them. Physical borders cross, overlap, fluctuate and collapse within an installation which transforms, dematerialises and disorients our understanding of space.

Border Controls - Rosalind Davis Justin Hibbs

Border Controls – Rosalind Davis Justin Hibbs

Davis and Hibbs have collaborated informally for years; over shared thematic concerns, overlapping research interests and an ongoing ‘conversation’ around one another’s practices and curatorial projects. Both have independent careers but also are a couple who share a studio, where inevitable questions arise about how and where to set boundaries.

‘Artistic production is nodal, networked, and a perpetually unfinished project, things nudging each other, domino effects transpiring. The real-world analogue of this is that in an artist’s studio, it’s always a transitional moment: the detached artwork as standalone statement is a falsity, a piece of theatre. In reality, one thing leads to another, all kinds of ambient forces shaping what’s made’(Martin Herbert).

The artists individual practices share common references to the social, political and aesthetic agendas encoded within architectural structures and in different ways renegotiate the visual and ideological legacies of modernism to probe both real and idealised notions of space. They create structures where interpretation and the reading of context is contingent on the audiences’ individual and relational responses.

“Davis’ sculptural interventions have an ability to change composition in a circular narrative portraying how we move through space while adapting to the structures and how we adapt structure to the way we move through space.’  (Jillian Knipe. Wall Street International).There is an ongoing negotiation between our perspective of being external to the structure and our bodily experience of interacting with it.

Hibbs’ site-specific installations, sculptures and wall drawings re-map the relationships between architecture, spatial perception and it’s representation across different formats. With a sense of constantly shifting perspectives the work plays off the spatial illusionism of the image with the structural language of three-dimensional construction processes.

#Bordercontrols
Web: www.rosalinddavis.co.uk | www.svaf.co.uk 

Instagram: @rosalindnldavis | @justinjhibbs | @sevenoakskaleidoscope
Twitter: @rosalinddavis | @Justinjhibbs | @KaleidoscopGa

Artists biogs here. 

 

We will be hosting a talk with Rosalind during our next show with Jordy Kerwick, which you can find out more about HERE


Diary of an Introvert – Jordy Kerwick

We are proud to present ‘Diary of an Introvert’ by Jordy Kerwick (b. 1982). This will be Kerwick’s debut UK solo show.
With a substantial Instagram following, he is part of a new generation of internationally renowned artists who attribute part of their success to connecting, sharing, and selling online.
 
diary of an introvert - jordy kerwick
His work draws on the contours of organic forms in domestic settings. Texture and colour inhabit his canvas, often centred on a potted plant. Sometimes traces of human life present themselves in way of an abandoned cigarette or a pile of books, their titles written playfully on their spines almost as if conversing with the viewer. The artist utilises a decisive use of impasto paint in blocks of colour combined with anarchic references to drugs, punk, and the odd romantic poet or philosopher. Kerwick’s paintings go beyond simply beautiful subject matter to reveal deeply personal stories like an inside joke.
 
We will be showing Kerwick‘s latest body of work of original paintings, as well as releasing his first ever limited edition prints.
Join us for the private view  on Thursday the 6th December from 6-9pm
Exhibition then runs 7th – 16th December.
For more information about Diary of an Introvert, and to see some behind-the-scenes images, please join us in the Facebook event HERE
To register your interest in purchasing available works, please email us HERE

Jordy Kerwick Announcement

We are very excited to announce that we will be hosting Jordy Kerwick’s first ever UK solo show this December!

More info will be released soon, but if you would like to register your interest in purchasing a painting or print, please email info@delphiangallery.com

Jordy Kerwick

Jordy Kerwick

For more works like the one above, check out his work HERE, and to learn more about his amazing work go HERE


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.


Masterclass with Benjamin Murphy at West London Art Factory

Masterclass with Benjamin Murphy at West London Art Factory. Supported by Jewel Goodby Contemporary and Cre8 Tapes.

Masterclass with Benjamin Murphy

Masterclass with Benjamin Murphy

West London Art Factory invites you to spend an evening with accredited artist Benjamin Murphy, learning to create your own artwork using electrical tape alone. This unique medium is one that makes Benjamin’s work instantly recognisable, as well as its monochromatic themes and figurative subjects. The masterclass offers you an opportunity to watch Benjamin’s process of creating his work and learn these techniques first hand, working with Ben to create your own unique piece. The class will begin with a welcome, followed by a demonstration by Benjamin then an opportunity for you to create your own work, guided by Benjamin, using a number of colours and tapes available, on an A3 perspex sheet. The result will be an original piece of art for you to take home.

No prior experience is needed, all levels are welcome and all material is provided. Drinks and refreshments will be available.

Please note, this class has limited spaces so be sure to secure your place!!

 

BOOK NOW


We asked 43 artists what is the one thing about the art world they wish would disappear forever, here are their answers…

We recently asked 43 of our favourite artists, what is the one thing about the art world that they would disappear forever. Below are their answers.

art world advice

Paul Weiner (@POWeiner) – American art school admissions and recruiting offices that convince unwitting 17 year olds to waste tens to hundreds of thousands of dollars while promising services and career advice they aren’t capable of rendering.

Charley Peters (@CharleyPeters) – Private Views where the wine is served out of plastic cups.

Remi Rough (@RemiRough) – The way galleries are completely unapproachable… if you want a job in hospitality you send your CV off in the art world sending work to a gallery is completely taboo!?

Jonny Green (@JonnyGreenArt) – The class system.

Richard Stone (@Artist_Stone) – I think the art world makes itself up as it goes along, there’s art worlds within worlds too and this can be incredibly frustrating for anyone. However, there’s always a few heroes, people like Michael Petry who go out of their way to shake things up, like curating emerging artists with very established, or challenging gender or sexuality disparity within art institutions for example.

Kevin Perkins (@Kevin_Perkins_) – Damien Hirst (can I say that?).

Sally Bourke (@Justondark) – Art prizes.

Klone Yourself (@KloneYourself) – I’m afraid it’s like Jenga, you take out one piece and everything might fall apart. But as an experiment I’d love to take out the ego from the art world and see what will happen.

Lee Johnson (@LeeJohnson.eu) – Reliance on – and (ab)use of – gallery interns ought to be overhauled. And exhibition ticket prices. I used to work in museums and know how expensive loans and insurance can be for blockbuster shows, but so many people can’t afford over £20 for a ticket.

Jenny Brosinski (@Jenny_Brosisnski) – Depressions.

Andy Dixon (@Andy.Dxn) – Honestly, I’ve learned to respect all aspects of the art world, even the elements that some may describe as dark or ugly. It’s like a fragile eco-system, you can’t just remove the dangerous tigers from the jungle and not expect the whole thing to fall apart.

Daisy Parris (@DaisyParris) – Exploitation of young artists.

Benjamin Murphy (@BenjaminMurphy_) – Contemporary Pop Art, or more specifically, 90% of Contemporary Pop Art. People need to stop with the painting of celebrities, and stop trying to be Andy Warhol.

Jake Chapman (@JakeChapmaniac) – Paint.

Tom Anholt (@TomAnholt) – Obsession of finding trends.

Spencer Shakespeare (@SpencerShakespeare) -Superficial privileged idiots. (I might be one of them I know).

Rowan Newton (@Rowan_Newton) – Galleries playing it safe.

Hayden Kays (@HaydenKays) – The thinking that it is of more importance than the real world.

Matthew Allen (@Matthew__Allen) – ATTITUDE!

Rae Hicks (@Rae_Hicks_On_Gangs) – Exploitation/people working for free and the static, non-flow of money.

Jonni Cheatwood (@Jonni_Cheatwood) – I have a love/hate relationship with the social media aspect of the art world. I’m grateful for the artist appreciation accounts that have posted my work because I have had some badass opportunities come my way as a result; but I have a hard time with it as well. Social media gives everyone a voice, which is incredible when it’s used for good, but it can be a dangerous place.

Andrew Salgado (@Andrew.Salgado.Art) – the horrible self-important attitudes that accompany a lot of people in the industry. Unfortunately, a lot of people tend to be total ego-trips and profoundly unlikable.

Soumya Netrabile (@Netrabile) – I don’t know enough about it to have a strong opinion on the matter, but I have heard lots of people complain about the exclusivity—how hard it is to get your work seen by galleries.

Luke Hannam (@LukeHannamPaintings) – I hate the following words: works, practice, and contemporary.

Hedley Roberts (@HedleyRoberts) – Wannabe artists, curators, gallerists and dealers. These are really tough jobs to do well, they’re not lifestyle options.

Nick JS Thompson (@nickjsthompson) – Exhibition descriptions that are so “art speak” that it makes them exclusionary.

Neva Hosking (@NevaHosking) – Networking!

Justin Long (@_JustinLong) – @jeffkoons.

Erin Lawlor (@TheErinLawlor) – Pot plants in installations.

Tony Riff (@TonyRiff) – Egos… to be fair I haven’t really experienced much of that personally, but I’ve heard plenty of horror stories.

Justin Lee Williams (@ArtJLW) – I love and hate it all, so I’m not sure on this one…

Wingshan Smith (@wingshansmith) – Zero-hour contracts and grey carpets at art fairs.

Fiona Grady (@Fiona_Grady) – Unpaid ‘opportunities,’ occasionally I’m approached by companies offering me a commission where there’s no fee or money for materials. You’d never ask a decorator to paint your house for free and tell them it’s a good opportunity for exposure – there needs to be a better culture in the arts for paying artists fairly.

Jordy Kerwick (@JordyKerwick) – Snobs.

Obit (@LazyObit) – Bloggers. They’re pointless, they’re powerless and they’re parasites.

Johnny Thornton (@_JohnnyThornton) – The pretension and elitism that exists in parts of the NYC art scene.

Magnus Gjoen (@MagnusGjoen) – Artists obsessed with what everyone else is doing and not concentrating on their own craft.

Jesse Draxler (@JesseDraxler) – Everything besides the art.

Richie Culver (@RichieCulver) – Some of my early works.

Martin Lukac (@Martin.Lukac) – I don’t have any problems like that. Everything is balanced and time will prove what is good and what’s not.

Mevlana Lipp (@Mevlana_Lipp) – Sexism.

Danny Romeril (@D_Romeril) –  The price of studios and paint.

Florence Hutchings (@FlorenceBH) – Art school snobbiness.

Catherine Haggarty (@Catherine_Haggarty) – Sometimes – instagram. But mostly white men who control shows and advertising and sales. Diversity is needed! Thankfully seeing more women run spaces and artists taking back control!

 

For more of these, see what the same artists would give as advice to young artists at the start of their careers HERE

 

 

What would YOU advise an artist at the beginning of their career? Let us know in the comments below.