Remi/Rough has recently completed a piece of commissioned work for media agency MEC in South London. See the time-lapse video of Remi working on the hoarding.
If you are interested in seeing it with your own eyes, here is the address: 1 Paris Gardens, London, SE1 8NU
Related link
MEC website – www.mecglobal.com
We made our way down to one of our favorite art galleries to check out the new set of works from Dale Grimshaw that makes up his new show entitled “Moreish”. Having seen a few previous shows from the same artist, we knew that we were up for another display of strong emotions from the artist and we were right.
This time, the artist looks at the notion of “excess” that is spreading in modern societies and which seems to affect an increasing number of people. Here is what the artist had to say about it “It is a case of enough is never enough. The ‘haves’ want more and the ‘haves not’ can pay for it. Once we get that acquisitive taste, we just want more and more”
As the title of this show suggests – Moreish, the food element is everywhere in Dale Grimshaw’s pieces and they are piling on top of each other and dripping down faces of the characters the artist using in his paintings. This certainly gives a sense of a “too much” but also of a “waste” which “moreish” behaviour might lead to. The color palette used here – black/dark background in most cases combined with fiery colours, clearly translate the negative artist’s view on that notion of excess spreading in our societies according to him. A a result, the atmospere of the show is rather thick and heavy and you can almost feel its weight on your shoulders.
It is also worth pointing out the variety of characters that are depicting in Dale Grimshaw’s work, from the sweet and soft women’s faces to the rather alien looking “thing” which, apart from perhaps warning us what will happen if we embrace “excess, will add even more tension to the show.
From a more technical point of view, Dale Grimshaw’s techniques are just amazing. Oil and acrylics are the main mediums for this set of new works while canvases and wooden boards are the main supports used here. If we had to pick a piece out of the lot and on a pure aesthetic point of view, ” The Platter” (oil on board) would be the one. The color palette is striking. See pictures below
The Platter
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The show runs until the 23rd November 2012
Signal gallery | 32 Paul Street London EC2A 4LB | 020 7613 1550
Street sculptor and photographer, Slinkachu has been busy putting together his new show, Global Model Village, which opens September 27th at Andipa Gallery in London. It will feature a mix of installations placed in different cities around the world over the past couple of years.
But that is not all since the show coincides with the launch of his new book also called – incidentally also called Global Model Village which collects together 50 different installations left in cities such as New York, Moscow, Cape Town, Paris, Beijing, Hong Kong and of course London.
Slinkachu followers will have seen most of the images but it is worth noticing that the sets of photographs from his last show at Fame Festival in Italy and from his solo show last year in Germany may be less familiar so get preordering the UK version
Global Model Village opens on the 27th September 2012 at Andipa Gallery, London
There is still time to go and see the Art For Heart’s Sake – Charity Auction in aid of Kids Company which runs until the 17th February 2012. Art For Heart’s Sake is a social enterprise that seeks to raise awareness and encourage charitable donation through creative engagement.
Some of the noticeable work on auction is ‘Margarita’ by Carne Griffiths. The artwork has been specially created for the exhibition, and is painted in tea and ink onto 540gsm watercolour paper, yes tea!
Other donated works includes artwork from David Spiller, Adam Bridgland, Charlotte Cory, Zoe Mendelson, Inject Love – Brusse and Hanse Cora, and will also feature 100 photographic prints all available to buy chosen from an amazing 5400 submitted works in the hipstamatic sponsored competition
Bid online for this work by visiting the art for heart’s sake website www.artforheartssake.co.uk
In our first group show in the new Paul Street space, we are presenting four very interesting artists whose work links and entwines in very winning ways. It’s a fine match between the abstract and figurative ends of the painting spectrum.
However, this is not a one sided game, but an exploration of overlapping skills and techniques, that will make excellent viewing, if not producing any obvious winners.
Dan Baldwin
Of the two strongly figurative artists in the show, Dan Baldwin is best known to the UK. His dynamic and intricately subtle paintings are a familiar and respected part of the contemporary/urban art scene.
Joram Roukes
Joram Roukes is a new name to the UK. Roukes large-scale oil paintings have a sense of fantasy and humour that is superficially akin to Baldwin’s work. However, there is a more robust and serious purpose to these works, which gives them a powerful and dark effect.
Andrew McAttee
The absence of any familiar figurative imagery seems to create an unnerving sense of emptiness. This is indeed joyous and decorative work (Power Pop Art as the artist calls it), with a childlike directness, but somehow there is still a sense of a void, giving the work an edge.
John Squire
His artwork first came to public notice with the very popular Pollockesque album cover designs for his band. Since then, his work has been paired down and has become generally abstract in form.
When
10th February Private View.
11th February – 5th March open to public.
Where
Signal gallery – 32 Paul Street London, EC2A 4LB
Words by Signal gallery
Whatever some may think about the London 2012 Olympics, it is bringing a lot art and life to the city making it not only the sport capital of the world but very much a cultural hub right now. We have started to enjoy the many exhibitions and pop up art shows part of the London 2012 festival that is running along the Olympics and actually right into September.
We made our first stop at Art Drive and we so glad we did. The NCP Car Park, 35 Great Eastern Street, Shoreditch, London EC2A 3ER which I ignored so many times as I walked past, is now cocooning the BMW Art Car Collection. 17 cars turned into pieces of art. I will never see again that car park with the same eyes.
You have to go back in 1975 to see the first ever BMW Art Car burning some rubber at the famous Le Mans 24-hour race. From there 16 other Art cars followed which all competed in this very race until the current and last one ever painted – The Jeff Koons one, see below for pictures. Some of the artists who got involved in this 35-year long project are Andy Warhol, Alexander Calder, Cesar Manrique or Frank Stella.
But enough about the history, let’s go and see the cars! The settings for this show are completely surreal: the car wash team, based outside of the car park was at it while I was greeted with a big smile by the the Art Drive team and quickly ushered inside the car park and rapidly wafted in a huge lift that can most definitely contain a couple of cars but above all that made me feel right into some sort of action or sci-fi movies like Alien. I was excited now.
The girofar then went off, a strident sound soon followed that smashed the relative silence that had settled during my journey up to the unknown. The door slid open: I had reached the 8th floor and was about to see my first Art Car.
Enjoy the pictures below and leave a comment if you like any of them! Consult this website to read more about the cars, designs and artists that took part in this project
A bit of trivia for you – the BMW Art Car M1 by Andy Warhol was the most successful car on the circuit de la Sarthe, it took sixth place overall in 1979.
The latest and last BMW Art Car by Jeff Koons
ALEXANDER CALDER
SANDRO CHIA (left) | ESTHER MALANGU
ROY LICHTENSTEIN
FRANK STELLA
ANDY WARHOL
We at Art-Pie have enjoyed following the work of contemporary British Artist Dave White for many years. We are drawn to the energy of his explosive and dripping paint style, and moved by his primary subject matter of animals.
This November 4th – 28th sees Dave’s new show Critical open at the Loughran Gallery in Chelsea. Focusing on animals from the critically endangered list and near extinction, or the tiers just below, it’s the labor of an artist impassioned by the plight of animals.
The Art-Pie team had the pleasure of interviewing Dave this past September at his studio in Dorset, exactly half-way through the creation of his new collection.
Dorset in South West England is a landscape dominated by spectacular nature, and it is breathtaking. We toured his studio, conducted a very insightful interview, and saw prints from several past collections, including his recent shows Albion based on native English wildlife, and Apex which documents great white sharks.
“I love cities…. I am in London all the time but I can’t live there. I love Dorset. There’s a tranquility, a complete silence that just works for me. [It’s a] headspace that ….almost cements the 1:1 relationship you have with the medium that you work with…there’s no distraction for me. It’s just me, and that.”
We too felt the strength and power of the natural surroundings, and in learning more about Dave’s formal background as an artist, came to understand how it shaped the progression of his career. Dave graduated with a BA (Hons) in Fine Art (Painting) from Liverpool John Moores University, and was “blessed” as he describes, to be a working artist since his first show in ‘94 at the Royal College of Arts, which was his initial animal series.
Dave is an experienced artist of 24 years who knows himself, but has incredible humility.
“You never ever stop learning. And the most important thing is, never ever ever ever give up, ever. The best advice I can give people is discover yourself. Don’t look at anybody else’s work. Just know in your heart and soul that you want to make something. [It’s ok to be influenced] Don’t become obsessed with other people’s work. Do your own thing. Do what makes you happy.”
Our drive to Dorset from London was stunning as we enjoyed the beautiful winding country roads, rolling hills with stunning coastlines, and multiple stops into the medieval ruins of several castles and churches. It was impossible to not feel the power of his environment, and the nature evidenced in his work. He told us his passion for animals comes from childhood, and how he still views them in awe with the “…same wonderment from being a child, amazed that we live in the same world.”
Dave describes his interaction with the wild animals in Dorset as “…blessed and lucky that I see almost daily stags, foxes, owls”. That influenced him to create his Albion series which focused on native English species, and really cemented his incredible affinity for animals. The more research he did, the more his passion grew, as he realized so many of these animals are being pushed to brinks of extinction. He described his shock at headlines touting articles like “40 Million Mobile Phones Sold in the Last Quarter”, while the demise of entire species attracts so little attention.
The depiction of animals has been a near constant throughout Dave’s career, allowing him witness to the forefront of their sad demise. So many factors have contributed but the crux is modern times; Dave cites climate change, habitat destruction, and hunting amongst others. While maybe not intentional, Dave’s work has come to immortalize these animals. Brave use of color, eyes that jump off the canvas and grab the viewer, it all comes together to heighten their heartbreaking destiny. Dave’s shows such as Natural Selection, Apex, Albion, and now his greatest effort yet Critical, raise this awareness.
While Dave described how the peace and inspiring nature of Dorset allows him to connect with his craft, he admits “I would never paint in silence”.
Dave told us excitedly that he enjoys an eclectic variety including Jazz (his father was a jazz drummer), finds himself stuck in an old-school time warp of ‘91 – ‘02 hip hop, and loves ‘93 – ‘07 jungle, and drum and bass.
However more than any other style, it seems Dave is moved to his core by classical music which he feels “approaches perfect“, describing the extreme volume as he would “...blow my head off in here, playing Appalachian Spring by Leonard Bernstein”.
Dave approaches his painting as a serious craft and a consummate professional. He told us multiple times, “You’re only as good as your last piece.” Arriving at his studio by 7am, he fully prepares himself before he starts the work. Does the sketch, lays underpaints, mixes his colors. But then he loses himself in a zone he likens to a meditative state. He locks the door, he is completely unattached to thought, and that is how he produces, “….its an organic process”.
“I don’t actually think about painting when I’m painting, at all. ….I just basically know I need to do this, and do that, and how I get to the end I have no idea. I just go into a zone, ….it’s just a spontaneous thing. And I guess the older I’ve got, the more personal it it for me.”
We were curious about his inspirations, about the artists he admires and why. Japanese artist Takashi Murakami was his first mention, describing “I love his color, love his palette. When I saw them in the flesh, it literally blew my mind. …It’s an incredible skill to be able to put down what he does, the way he does… and it looks almost like it’s a print.”
We discussed Murakami’s long-standing collaboration with Louis Vuitton, and Dave described the partnership as “incredibly brave on both sides. Collaborations work if they’re genuine, if they aren’t one-sided and they are the best of both”. Dave speaks from experience as he has past collaborations with Nike and Jordan, as well as MTV.
Dave went on to describe his greatest admiration for Van Gogh, “A man who did it his way, tried to fit in with convention, but said you know what, fuck it. I’m just going to do what I do, and I’m so blessed to be able to do it.” Dave revealed his personal affinity for that, and how he’s read his diaries and is “…completely blown away by him”.
Dave described his second favourite artist to be Picasso:
“A man who reinvented himself throughout his career. The best work is that he did before he died, when he’s 80 years old. ‘I live in a castle. I’ve got a pet owl living above me. And I’m just going to paint and really not care what it looks like.’ There’s a life, and a zest, and a kind of beauty in the naivete of those late works, and I love it.”
Animals continue to shape Dave’s career as he explores different collections over the years, but always with his signature style of explosive and expressive colors, vibrant and dripping. The plight of animals and their march to extinction upsets him greatly, and his style conveys the strength of that conviction, “I want people to be confronted by these things, and look at them as they are looking at it”.
We support Dave and his artwork, and the message it drives to raise awareness for so many animals at risk. Dave offered much wisdom during his interview and we came to understand the heart and soul depicted through his paintings is very much his own. In parting wisdom, we leave you with this from Dave:
“Do your own thing. Do what makes you happy. Never ever give up. It’s not quick and there’s no formula. Produce things that are honest, true to yourself. High quality. Make the best shit you can. Do what is yourself, be yourself.”
You can find Critical running this November 4th – 28th at the Loughran Gallery in Chelsea.
What – ‘Critical’
Where – Loughran gallery, 43 Cadogan Gardens SW3 2TB
When – 4 to 28/11/ 2015
I’m very pleased to say
1) I have a new project in the works and
2) Art Pie is again media sponsor!
This project is smaller in scale than This ‘Me’ of Mine, but just as interesting. RECURSIVE explores the inner repetitive thought processes, both ones we’re aware of and ones we’re not. The works in the exhibition show evidence of this recursive thinking in action through the work. My goal for the blogsite is to create a place to discuss what repetition is, how it affects us, and why we’re so drawn to it. So far, that is working really well!
Here’s an example:
janeboyer
Submitted on 2014/05/16 at 1:03 pm
I’ve been thinking of how I feel about the change in repetition, and really, how would I put it into words?I can remember feeling ‘solid’, meaning I knew who I was in relation to where I was and who I was with. Mechanization made communities prosperous, providing most of the work for a local population.
I knew what products I could depend on, where to buy them and how much they would cost. I knew I would need to save money to afford more expensive things I wanted. There was stability in knowing products were readily available and in constant supply. I came home with products I liked in shopping bags. I could smell the production process of tires and toothpaste on the air, knowing they smelled polluting.Now, as someone involved in a digital world, I work where I do not live, I purchase products from all over the world which are shipped to me.
I feel guilty at the thought that less wealthy people than I (and I am not wealthy!) make the clothes I wear and have produced them in a very foreign place in unknown circumstances and at unknown costs to the environment. I feel ‘transparent’ as I share quirky little thoughts on twitter and downright exposed when I post anything on Facebook. I feel impinged by knowing that I can never decide to remove my profile on Facebook. I feel hectic and rushed even though I sit at a table most of my day typing on a keyboard.
I see almost no one, except my husband, throughout my workday. In short, I feel boxed, constrained, observed and strangely non-material in a world that I struggle to comprehend, as my thoughts flit from task to task, page to page, and site to site.
Ian Pickering
Submitted on 2014/05/16 at 4:50 pm
I am not sure that repetition is mechanisation. Farming is repetitive as is much basic craftwork. I am also tempted to suggest that change has always produced a response that things have got worse. Feeling transparent. That is an insight and I understand the idea of being simultaneously connected but isolated.
codedimages
Submitted on 2014/05/16 at 5:17 pm
I recognise your descriptions. I do feel though that I work where I live, but the product of that work is then spread instantly to all parts of the globe and to anyone who cares to take an interest. Working alone is lonely.
I envy those who have a physically located group to associate with and are able to share ideas face-to-face. I don’t know if any of this has repetition at its core though. I do know I would not want to turn the clock back entirely. I feel privileged to be able to discuss ideas with people all over the world.
Being able to find like-minds wherever they might be is a huge plus for the web. On the other hand I need to find a better balance, where at least some portion of time is spent physically co-located with other artists. I will be working on that aspect in the days, weeks, months and years to come.
Kay
Submitted on 2014/05/17 at 1:46 pm
A few thoughts on a great topicI knit and crochet so there is much repetition involved in those actions. By chance I found and continue to find those repetitions creative. The stitching can also have a meditative quality to it, awakening me to the moment.
I don’t expect every repetitive action to have a meditative quality to it however I do recognise actions which are engaging and enlivening and those which have a dulling effect.I have had interesting on-line conversations and got connected to collaborative on-line projects -which I would never have come across without the digital world – I do value them. What I find with digital media is that it is all too easy to get stuck in repetitive actions which don’t lead to anything in particular.
The impact of some digital repetition is to dull / numb the brain. Perhaps that is why we crave the connection with humans who aren’t glued to the screen. The connections can perhaps be more random, intuitive and exploratory.I also think that repetitive digital actions in office spaces are questionable. The assumption seems to be that if people are at the screen they are working and even engaged in their work.
I don’t agree. Humans create and work in a range of ways. As a fellow human I need variety and stimulation through words, textiles and other random moments to develop. This becomes more important as I get older. I work with older people and am obsessed with memory, aging, loneliness and isolation! A few of the comments here refer to people experiencing a sense of isolation even in a world of virtual connections.
I think it is essential to create spaces which integrate the virtual and physical nature of life (I love the makers library network). Isolation is a killer. As a human I want to be awake to this and create repetitions which sustain me and who know others around me.
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We hope you’ll join us and join in the conversation…
Go to RECURSIVE
Last time a major show about Rene Magritte happened was in 1992 at the Hayward gallery, London. This time, Tate Liverpool is having a go at presenting us a character known to be a sexual obsessive with a twisted mind – the perfect definition of a surrealist painter, some would say, which Rene Magritte was.
Reading about his biography and it does not take long to get to the bottom of his deviance. Rene Magritte saw his mum getting pulled out of the river she threw herself in, she only had her nightdress wrapped around her head, the rest was naked. Rene Magritte was 14.
A direct link to this traumatic event can definitely be seen in The Lovers, painting he made in 1928 and on display at the Tate Liverpool for this show.
Commercial works have also taken a large place in Rene Magritte’s life and this show dedicates a large section to them – Rene Magritte did not get rich until late in his career and resorted some freelance graphic design work. One of his main clients was the Belgian couture house Norine.
What – René Magritte: The Pleasure Principle
Where – Tate (Liverpool)
When – 24 June – 16 October 2011
Related links
René Magritte: The artist who turned the world on its head (The Telegraph)
René Magritte: The Pleasure Principle – exhibition (The Guardian)
At last there is something for the “looking down while walking” individuals. There is a good reason to ignore your siblings, there is the new work from Jessica Stockholder to look at.
“Color Jam” is the name of the installation and is a make-over of State and Adams streets in downtown Chicago. A flow of colors have landed on the concrete and are licking the surrounding building.
Orange, lime green and turquoise shapes seem to wait for the bypassers in the hope of lighten these often bleak faces. Jessica Stockholder hit again with what she does best – site-specific works that merge painting to a three dimensional element.
Below is a photo of another installation made also in Chicago back in 2009 where brightly colored plywood platforms and metal bleachers were assembled to turn a section of Madison Square Park in New York into an abstract painting, “Flooded Chambers Maid.” Children instantly appropriated it as a playground, and adults used it as an informal seating area.
