Articles Tagged with: theprintspace

Divergent Motion Install

Divergent motion install

Jake Grewal, Cannon Dill, and Florence Hutchings

L-R: Jake Grewal, Cannon Dill, Florence Hutchings, Paul Weiner, Nick JS Thompson, Jesse Draxler, Jerry Kowalsky, Benjamin Murphy

divergent motion install

L-R: Mike Ballard, Claire Johnson, Galina Munroe, Cathy Tabbakh

divergent motion install

L-R: Beth Rodway, Rusudan Khizanishvili, Mike Ballard, Florence Hutchings, Klaus Is Koming, Francisco Mendes Moreira, Lou Ros, Tess Williams

Divergent Motion install

Florence Hutchings, Klaus Is Koming, Francisco Mendes Moreira, Lou Ros, Tess Williams

 

For the catalogue of works, please email Info@delphiangallery.com

 


Selling Art Online – the new free book from creativehub.

Our friends over at creativehub have just announced the release of their free book, Selling Art Online 2019!

selling art online

This is an evolution of their 2018 edition, which sold over 15K copies with a 96% approval rating. We have given out copies of this book at a few of our panel discussions since it was released, and creativehub founder Stuart Waplington joined us for one discussion in 2018 to discuss the very subject featured in the book.

Selling Art Online 2019 is packed full of new and updated chapters along with fresh case studies from the ‘new wave’ of artists making their names, and serious sales revenue, online. This will be a great resource for artists hoping to sell their work online, and it is super easy to get hold of your own free copy.

Occasional Delphian collaborator Kate Mothes (founder of groundbreaking curatorial platform Young Space) shares her wisdom on all things Instagram, and how artists can use this as a marketing tool to create traffic online.

With multiple other case studies and 8 chapters, Selling Art Online 2019 gives you everything you need to get set up in just one day.

ORDER YOUR FREE COPY HERE

To order your free copy online head to store.creativehub.io or collect your free copy in person at their
London print studio; theprintspace, 74 Kingsland Road, London, E2 8DL.


Open Call Install Photos

Thank you so much to the 520 people who came to the private view of our Open Call 2019 exhibition, and to the hundreds more who have viewed it during its two-week run.

For those of you who couldn’t make it, here are some photos of the install, and of the private view.

Prints of most of the works in the show are available for a limited time, to view these please click THIS LINK

open call install

open call install

open call install

open call install

As always, we’d like to say a HUGE thank you to theprintspace for supporting the show, as well as another huge thanks to Crate Brewery and Jarr Kombucha for providing the drinks for the opening.

Photos of all the individual works can be seen by clicking this link

Our next show is Bertrand Fournier’s DEBUT UK SOLO SHOW, more information for which can be found [HERE]


Open Call Winners

We are very pleased to announce the five Open Call winners from our 2019 show. Each of the five judges was allowed one Judges Pick, the list of these is below.

Prints of all of these, as well as the rest of the show, are available on our website. Click HERE for more.

 

Rhiannon Salisbury

Benjamin Murphy‘s Judges Pick, as well as being the Overall Winner

open call winners

Rhiannon Salisbury – UHH

Vojtech Kovarik

Nick JS Thompson‘s Judges Pick

open call winners

Vojtech Kovarik – Self Portrait With A Snake

Valerie Savchits

Wingshan Smith’s Judges Pick

Open Call Winners

Valerie Savchits – Dissolved Into Nothingness

Nettle Grellier

Hector Campbell‘s Judges Pick

open call winners

Nettle Grellier – Daybed

Jukka Virkkunen

Florence Hutching‘s Judges Pick

open call winners

Jukka Virkkunen – Flowers III

 


Third Fifteen Winners of our 2019 Open Call

Here are the first 15 winners of our 2019 Open Call. We had an incredibly difficult time whittling the 10,000 submissions down to just 45, but we got there in the end. Here are the first 15.

The below artists are in alphabetical order, and the works below aren’t necessarily the ones in the show.

Most of the works in the show are available as prints, which you can view by clicking this link.

 

Michalitsa Kozakopoulou (@CandyPinkFlesh)

Nettle Grellier (@NettleGrellierArtist)

Peter Evans (@PeterEvans___)

Rachael Neale (@Rachael.Neale)

Rhiannon Salisbury (@Rhiannon_R_Salisbury)

Rhys Thomas (@RhysThomasArtist)

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Down the Docks – 60 x 40 cm #delphianopencall @delphiangallery

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Ronan Bowes (@Ronan_O_Buadhaig)

Rune Christensen (@Rune_Christensen)

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WIP! Oil pastel and acrylic on canvas, 50×60 #contemporary #stilleben #painter #wip

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Sasha Baszynski (@Baszynski_Sasha)

Sergio Giannotta (@Sergio.Giannotta)

Sophi Megan (@SophiMeganArt)

Tania Alvarez (@TaniaAlvarezArt)

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Piece of a larger painting in progress.

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Tomas Harker (@TomasHarker)

Valerie Savchits (@Valerie.Savchits)

Vojtech Kovarik (@Vojtech_Kovarik)

 

To see the first fifteen winners, please click this link

To see the second fifteen winners, please click this link


Second Fifteen Winners of our 2019 Open Call.

Here are the second fifteen winners of our 2019 Open Call. We had an incredibly difficult time whittling the 10,000 submissions down to just 45, but we got there in the end. Here are the first 15.

The below artists are in alphabetical order, and the works below aren’t necessarily the ones in the show.

 

Most of the works in the show are available as prints, which you can view by clicking this link.

 

Gabriele Herzog (@Gabriele_Herzog)

Geoffrey Bohm (@GeoffreyBohm)

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War Cries On A Salt Lick

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Jacob Littlejohn (@JacobALittlejohn)

Jake Grewal (@JakeGrewal)

Jemisha Maadhavji (@Jemisha_Maadhavji)

Jim McElvaney (@JimMcElvaney)

Jonas Mayer (@JonasMayerr)

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#wip #acrylicpainting #contemporaryart #figurativeart #abstractart #2019 #studio #jonasmayer

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Jukka Virkkunen (@JukkaVirkkunen)

Julie Caves (@Julie_Caves)

Kirsten Valentine (@KirstenValentine)

Klaus is Koming (@KlausIsKoming)

Loreal Prystaj (@LorealPrystajPhotography)

Mateusz Sarzynski (@Mateusz.Sarzynski)

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trust no one oil paint #polishartist #contemporaryarts #kunst #artbrut #malarstwo #toppaint

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Matt Coombs (@Coombs.Matt)

Max Freund (@MaxFreund)

To see the first fifteen, please click this link


How To Navigate The Art World – Panel Discussion

After the success of of our last talk Transition: How To Prosper In The Art World, we decided to do another similar one, this one taking its inspiration from our 2019 Open Call exhibition – How To Navigate The Art World.

how to navigate the art world

UHH by 2019 Open Call winner Rhiannon Salisbury

Panelists include:

Delphian director and artist Benjamin Murphy.

Delphian director and artist Nick JS Thompson.

2019 Open Call winner – artist Rhiannon Salisbury.

Curator, writer, and art-historian Hector Campbell.

All of the questions that will be put to the panel have been asked by followers – please feel free to add your own via instagram @dephiangallery

To attend, please RSVP to the Eventbrite HERE

 


First fifteen winners of our 2019 Open Call

Here are the first 15 winners of our 2019 Open Call. We had an incredibly difficult time whittling the 10,000 submissions down to just 45, but we got there in the end. Here are the first 15.

The below artists are in alphabetical order, and the works below aren’t necessarily the ones in the show.

Aleksander Jednaszewski (@Szarrza)

Aubrey Laret (@Aubrey_Laret)

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Thank you @delphiangallery for selecting my picture Dead Flowers for their open call. To be exhibited from the 28th March.

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Bill Daggs (@BillDaggs)

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‘More Best than Moore was’ 100 x 100cm, acrylic on canvas – off to its new home this week.

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Billy Bagilhole (@BillyBagilhole)

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“Wet cigarette” Mixed media on canvas 100cm x 70cm Excited to share the Charcoal frame I’ve been working on / swipe right to see in detail. Slightly different to my previous work so Im eager to hear any opinions! ? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . #painting #artcuration #painter #fineart #artcollector #mixedmedia #artist #artistique #gallerist #artmag #artcurator #acrylicabstract #canvas #curation #paintingworkshop #interiordesign #abstractpainting #contemporarypainting #artmag #paintingsdaily #art_collective #artistresidency #artgallery #artcurators #creativespace #markmaking #artist_magazine #delphianopencall

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Blake O’Brien (@Blake_Obrien)

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new little one with a tac #delphianopencall

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Brad Teodoruk and Neil Ernest Tomkins (@BradTeodoruk & @Neil_Ernest_Tomkins)

B.D. Graft (@B.D.Graft)

Caleb Hahne (@CalebHahne)

Daniel Bierdümpfl (@DanielBierduempfl)

David Iain Brown (@DavidIainBrown)

Elizabeth Power (@ElizabethPowerArt)

Elliot Nehra (@ElliotNehra)

Fabian Warnsing (@FabianWarnsing)

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Fergus Polglase (@FergusPolglase)

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‘The taste of mud’ (Rugby players) 130cm x 160cm Acrylic, graphite, spray paint and pastel on canvas 2019

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Francisca Pinto (@FranciscaPinta)

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2019 Open Call Winners!

We have been absolutely blown away by the response to this year’s Open Call, and we are extremely pleased to announce the winners below. It was incredibly tough whittling down the 10,000 submissions to just 45, and so an unsuccessful application should not be seen as a failure. We could probably put on 20 great shows with all of the amazing work we received.

2019 winners

Vojtech Kovarik

Delphian Gallery’s Open Call is an annual free-to-enter online competition with the intention of discovering the most captivating and challenging work by emerging and early career artists. The first prize winner will win a fully funded solo exhibition with Delphian Gallery in London in 2019. With over 10,000 submissions from around the world, our selection this year embraces the aesthetic subjectivities of the curatorial team. Aided by last year’s overall winner Florence Hutchings, alongside curator, Hector Campbell as judges, we whittled down the submissions until we had just 45. The resulting works displayed are vibrantly varied in style, medium, and geography but build upon a collective formal language of immediacy.

Please join us for the private view on the 28th of March, you can find the full details HERE

 

The 2019 winners are:

Aleksander Jednaszewski, Aubrey Laret, Bill Daggs, Billy Bagilhole, Blake O’Brien, Brad Teodoruk and Neil Tomkins, Brian de Graft, Caleb Hahne, Daniel Bierdümpfl, David Iain Brown, Elizabeth Power, Elliot Nehra, Fabian Warnsing, Fergus Polglase, Francisca Pinto, Gabriele Herzog, Geoffrey Bohm, Jacob Littlejohn, Jake Grewal, Jemisha Maadhavji, Jim McElvaney, Jonas Mayer, Jukka Virkkunen, Julie Caves, Kirsten Valentine, Klaus is Koming, Loreal Prystaj, Mateusz Sarzynski, Matt Coombs, Max Freund, Michalitsa Kozakopoulou, Nettle Grellier, Peter Evans, Rachael Neale, Rhiannon Salisbury, Rhys Thomas, Ronan Bowes, Rune Christensen, Sasha Baszynski, Sergio Giannotta, Sophi Megan, Tania Alvarez, Tomas Harker, Valerie Savchits, Vojtech Kovarik.

2019 winners

Jemisha Maadhavji

Prints of the works are available on our website. The exhibition is kindly supported by theprintspace, and drinks for the private view are graciously provided by Crate Brewery and Jarr Kombucha.


Creative Restlessness – A conversation between Benjamin Murphy and Kevin Perkins

Creative Restlessness – A conversation between Benjamin Murphy and Kevin Perkins

 

I was first made aware of Kevin’s work through social media and I was struck by his boundless energy for experimentation. Whilst undertaking this wild experimentation, his work retained a feel that was unmistakably his. I have exhibited, and exhibited his work a few times before our upcoming show A Long Way From Home (With Igor Moritz), and in each show he has exhibited a different form of painting. Each of these, however, are executed with an expert precision, whilst also displaying a wonderful expressiveness and economy of gesture. I decided to have a chat to him ahead of the show we did with him back in January, about his work, and his approach to making in general.

 

Kevin Perkins

Utilising the unusual medium of coloured pencil on salvaged book covers; the portraits depict (mostly) lone sitters smoking, drinking tea, reflected in mirrors or simply ‘being’ and certainly give the nod to a golden era of twentieth century European painting. The surfaces of the book covers themselves lend an almost canvas-like quality to the images, and also help to add a beautiful ageing affect to the colour. Through these works, Perkins continues to develop his excellent ability to reference and draw from art-history, producing nostalgic works that drip with both playfulness and charisma.

 

[Benjamin Murphy] – Firstly – why are you an artist?

 

[Kevin Perkins] – I originally started painting out of necessity. I got hired to teach high school painting classes with no real background in painting. I’d watch YouTube videos and read tutorials before every class and then make a demo of whatever concept I was trying to teach. That turned into a real practice. I was looking at a massive amount of art and decided that I wanted to try and be a real artist, whatever that means.

 

I felt like an imposter for a long time. But now I guess I make work out of what I like to think of as a creative restlessness.

 

[BM] – Is this perhaps why you are experimenting so much within your practice?

 

[KP] – Oh yeah. Definitely.  I tend to have a hard time staying put in one specific approach to my work. I’m not really interested in creating the same kind of work over and over. I don’t care if that’s what sells, I make the work for myself, to fulfill a need that I have.

 

[BM] – I think the driving force for most artists is a need for experimentation, even if their work remains on a similar track. Where do you see your work going in future?

 

[KP] – I tend to not think about the future of my work. It’s a very in the moment kind of thing. Though I’m interested in moving into sculpture but haven’t had the space or time to figure out what that looks like for me.

 

[BM] – So where does your imagery come from?

 

[KP] – I cobble together images that I’ve found from my stockpile of old books, magazines publications, and photographs, as well as the occasional internet find, life drawings, and reimagining of master works. I don’t really seek out imagery for the work often. Instead, if I stumble across something that may work I’ll tuck it back until I’m ready for it.

 

[BM] – How in control would you say of how the paintings ultimately end up looking, do you have a ideal aesthetic in mind or is your process more experimental?

 

[KP] – The idea of an ideal aesthetic is something that I don’t put much stock in because it’s always changing. But to say that my work is experimental is reaching too far. Achieving consistency is not something I concern myself with. I produce work and it inevitably looks like my work. It may be influenced by someone or some thing that I’ve consumed but the way I apply paint, the rhythm of my hand, the energy will be evident in the work. It’s like writing letters. I don’t think about the way I write the letter “e” but if I write enough of them a pattern will emerge. In the same way, if I am true to myself and produce work that is a creative outflow of my interests, then patterns within the works will begin to form and an aesthetic that is true and uniquely mine will appear.

 

That being said, I do follow a similar process with the creation of most of my works. Which lends itself to a more consistent and specific aesthetic.

 

My drawings and studies are free and open to the whims of chance

kevin perkins

Kevin Perkins – book cover portraits

[BM] – With my work I aim to paint haptically, thinking as little about how I want it to look or what it means as possible, because I want it to mean different things to each individual viewer. Would you say that you paint in a similar way?

 

[KP] – Yes and no. I’m not so concerned about the outcome or what it means. I’d like for the work to look a certain way but that can range depending on where I am at mentally and emotionally as I’m creating the work. I make the work for myself. So to disassociate from the outcome for the sake of the viewer would be dishonest to myself and I feel that my work and my drive to make the work would suffer. I don’t care about the viewer so much. People will interact with and read into the work what they will and I’ve got no control over that.

 

[BM] – What are your intentions when you approach a canvas?

 

[KP] – I’m more interested in the creation than the outcome. Don’t get me wrong

though, the outcome is certainly an important aspect to it all. But once I’m done with the work I have no intention of returning to it. I’ve detached myself from the work. It’s served it’s purpose for me. I treat every painting like a puzzle. The enjoyment is putting it together. Once I’m done with that I could care less if it ends up in the trash or on someone’s wall. I suppose though that it’s nice to make a little money so that I can keep up the insanity of making work.

 

Maybe I’m being too honest.

 

[BM] – Yeah I can totally see what you mean, for me it’s all about the process. Once it’s finished and framed it feels almost as if it was done by someone else.

 

[KP] – So how do you feel about your most recent works, and did you alter your approach in any way knowing that this was a two-person show?

 

Yes I did. I was more open and free with my use of color. Igor has a beautiful sense of color and I guess my works needed a bit of a boost in order to stand in the same space as his.

 

[BM] – Is that the first time you’ve worked in this way?

 

[KP] – I feel like I’ve been edging toward it for a while.

 

[BM] – Can you tell us a little about the works you created for the show?

 

[KP] – I messed around with form a lot in this body of work. These paintings move in and out of refinement. Some of the work is incredibly unrefined, for example one of my self portraits was done in one take, drawn while only looking in the mirror and never at the canvas (blind contour). Another work, one of the nudes, was left as an unpolished charcoal drawing. And then there of course were more refined renderings in other works in the show.

 

The enjoyment for me comes in pushing the figures and the spaces that they inhabit beyond the norms of portraiture. Portraits are tricky, I’m never really trying to paint a specific person the way they actually look. I’m more considering the narrative around them and how that comes across in the work.

 

In retrospect, the paintings here emphasize the process, and the history, of how I work. As I stated earlier, I don’t like to think much about how someone may interpret the work. My interest in it lies in the development, the making of the works.

kevin perkins

Kevin Perkins – Book cover drawing

Kevin’s book cover works will be released as a catalogue via Kunst Katalog soon, follow their profile via the hyperlink for more details.

The other artist in our show with Kevin Perkins was Igor Moritz, read Benjamin’s conversation with him [HERE]

Originally published in AfterNyne Magazine.