Category Archives: REVIEWS

Robert Brandenburg at Gallery 1988

In “Pooh… and Other Sh*t,” Robert Brandenburg brings “hijacked” art to Gallery 1988 in Venice Beach, CA.

As a self-taught artist from Ohio, Brandenburg brings an expansive perspective to viewers. Born in 1954, he paints contemporary works that offer a light repose from the mundane.

His versatile style allows him to incorporate renderings into a variety of works on a variety of mediums. Less art than humor, he creates an entertaining interlude and encourages viewers to recreate everyday scenes in a less than ordinary manner.

Renamed The Bird, Brandenburg alters a metal sign from 1956 used to advertise the Ford Thunderbird. In the original a couple speeds away in the automobile, waving to onlookers. In the re-mastered version, the passenger extends her middle finger to the people standing by. From metal to cardboard, In Mammy Cakes Brandenburg alters a Hostess Cupcake box from a chocolate frosted vanilla cupcake to a white mouthed image mirroring minstrel shows that ran in America from the 1830’s into the mid-1900’s. During these often severely racist performances, white men painted themselves in black face.

To compliment his images, Brandenburg includes brief bios and explanations into the life of his creations. One of his works, Hannah Lecter, features a young girl on a greeting card. Originally, she was eating a tasty piece of chocolate but Brandenburg coated the original snack with a dripping red acrylic paint to make it appear as if she indulges in human flesh.  The title and corresponding story names her as Hannibal Lecter’s love child. He also alters several Norman Rockwell paintings depicting the ‘ideal’ family life of 1940’s America including one from Rockwell’s “Four Freedom” series entitled Freedom from Want. Brandenburg redubs it Freedom from Stress and replaces the original turkey with a glass pipe, beers, and whiskey explaining, “experience suggests that the happy family is going to need a little more than turkey to keep things running smoothly for the rest of the day.”

Brandenburg brings a fresh look to “normal” images by incorporating himself into a variety of mediums at his new solo exhibition. By redesigning iconic images, he urges society to reexamine omnipresent sights that do not always reflect truth.

“Pooh… and Other Sh*t” hijacked art by Robert Brandenburg at Gallery 1988 Venice
Dates: January 7 – 28, 2011
Hours: Wed – Sun: 11AM – 6PM

ROA at Form gallery

ROA - Paradox at Form galleryROA is an artist that we are very familiar with being that he was one of the first artists we followed while in the UK. We lived around his street works and would see some of his iconic pieces on a day to day basis. We even attended his first ever solo show at Pure Evil Gallery in London. So we were extremely excited to hear that he would be extending his tour to Australia.

The focus of ROA’s work of course is monochromatic animals of epic proportions that are typically inspired by the wildlife in the regions that he visits. Australia is home to an enormous amount of native animals that cannot be found anywhere else in the world, so you could imagine that there was plenty to inspire a unique body of work.

The show was hosted by Form Gallery, a large space in Perth CBD. The installations were designed to lead you through a specific path so that you could view and interact with all of the larger pieces. At the entrance to the gallery was a ten foot high Kangaroo with two rotating doors mounted in the piece that lead you into the main room where there was a series of smaller yet still impressively interactive works on offer.

Something that was unexpected was the second large installation at the rear of the gallery, a desert bone yard of sorts, featuring walls of and a floor of red dirt synonymous with Western Australia.

ROA must have been under an incredible amount of pressure putting together this show in only 3 weeks and creating all the original pieces of art on location in Perth. The collection of recycled materials used for the pieces was just another beautiful part of the show which we later found out were mostly harvested from old warehouses in the Midlands. Yes, this Belgian artist really connected with this space and Australian culture.

This show runs all the way through to January next year, so if you find yourself on the other side of Australia, go check it out.

Check out the full photoset on flickr

ROA - Paradox at Form gallery

ROA - Paradox at Form galleryROA - Paradox at Form gallery

French artists at Genty Fine Art’s Christmas Show

I have always loved the saying “you learn something new everyday”; mainly because it is a saying my grandfather always drummed into me and also because I think it is a very accurate description for the ‘art world’.

“L’arbre juane” by Francoise Bossut

This was especially the case when I met David Genty. Genty Fine Art mainly work with established French contemporary artists or artists who have lived and worked in France. For me this was an area I have not really come across as most of the artists I am friendly with, interested in or collect are predominantly English or British.

In addition to the French connection Genty Fine Art showcases sculpture as well as paintings which is another area I have never really ‘got in to’. I think this is predominantly a collector issue in that I can collect works of passion (that are on paper, canvas or print) without really thinking about where they will go, whereas with sculpture I have always felt that the piece has to be carefully thought about to ensure it fitted with the home – plus its not as easy to store sculpture!

David and Helen Genty founded Genty Fine Art as Galerie Genty in Western France in 2005 and changed to the current name when they returned to the UK in 2009. Having studied Philosophy, History & Theory of art and living in France for many years David has an excellent working knowledge and friendship with the artists they represent.

Genty Fine Art’s Christmas Show was therefore a great way to see the selection of artists Genty Fine Art work with, with my two favourites being Jean-Claude Mathieu (sculpture) and Francoise Bossut (paintings). David and Helen were on-hand to provide the right mix of enthusiasm and information about the works complimented with festive mulled cider and mince pies.

Christmas Show
Christmas Show

Exhibition: 10th – 23rd December
Genty Fine Art, Tygers Head, Tonbridge, Kent

For more information visit: www.genty.co.uk
© Genty Fine Art and the Artist(s)

Helen Gorrill’s solo show DEICIDE at Degree Art

Saturday 26 November I made way to Degree Art’s gallery on Vyner Street to view the works of Helen Gorrill on show in the solo exhibition titled DEICIDE. The gallery is not so far away from Bethnal Green as people might think and a fair pace will get you to the gallery in 10 minutes.

Upon arrival to the gallery I chatted with gallery manager (and all round arts, culture & fashion voice) Ryan Lanji who gave me a few pointers about the show, which I had not picked up on from my brief musings online. The first of which being the portrait of a Pope which was attached to the floor at the entrance of the gallery; meaning that everyone that enters walks over the Pope – a sign of the conflict with sexuality and religion which appears a central aspect in Helen’s work.

Degree Art Gallery Manager, Ryan Lanji

After which Ryan explained about the Confession Chamber which was the interactive element of Helen’s work; a look at the notion of confession, who to and why. Within the chamber, which has been meticulously created to represent a real confession box, are confessions from every body that has entered, along with some well know confessors from the art world. Some of which have been stitched into the fabric of the inside, some written in chalk on the walls and some placed in envelopes on the wall. Everybody was encouraged to enter there own confessions…

The last point we covered, which really was not apparent with the online material was the sheer size of Helen’s work. I had imagined them to be water colour pieces which would look great in a plain white frame and would be of reasonable size to go above the fire place, hang in the dining room or be a centre piece for the spare room. I did not for one minute imagine them to be the slightly oversized real life height that they are!

The reason for this as I found out when talking with Helen is intertwined within the whole body of work. The role reversal; the woman in charge, the woman in power, the woman imposing in height standing above the crouched, submissive man.

Ryan Lanji and Helen Gorrill

Helen’s work was hung from chains on the ceiling to allow for the full effect of the size to be felt. They covered the main walls of the gallery and in my opinion are hard to find fault with in terms of the concept. Secured to the floor were 3 images of men in submissive postions, all positioned under the images of the women. In addition to this there was Helen’s provocative installation pieces which are steeped in religious references as well as a swipe at the controlling nature of the Church.

Helen’s background is that of an interesting mix of religion and control. A Christian background, a marriage to a Policeman who was also a Jehovah’s Witness and a seeming questioning of the effect of male influence in her life and choices. One of Helen’s shows was censored; the male nudity was covered but the female nudity was not – a very interesting point, especially as it was censored by men. This also questions the influence that men have had over society and the extent of control over what social acceptances should be. Helen’s work was actually featured on a Vatican sponsored website for some time because they thought it was promoting the Confession – when they realised it was actually asking a few more questions it was promptly removed!

Listening to Helen reference sexuality, feminism and religion in her work was very compelling in considering whether this is just a result of Helen’s personal experience or is a genuine perception of the world which many of us overlook or choose to ignore. Helen was supported by Degree Art’s very own Chloe Lawrence who covered some points in
literature relating to the feminist cause and the response this drew from female artists. References to Yoko Ono’s “Cut Piece”, Carole Schneemann’s “Interior Scroll” and Judy Chicago’s “Dinner Party” were all made. In addition we also heard from Kim Foxton who spoke about religion and the role of women through history and how this has changed.

Ryan Lanji, Helen Gorrill, Chloe Lawrence & Kim Foxton

Questions from the audience as well as Degree Art Founders Elinor Olisa & Isobel Beauchamp followed and this evolved to more personal discussions with the speakers accompanied with refreshments.

Overall a very well put together show which had important questions to state, as well as what I felt were aesthetically pleasing works. A great
environment to discuss the work and a well chosen line up of supporting speakers made a very enjoyable ‘art evening’.

Information
The provocative solo show ran from 3 November to 28 November 2011 with an evening in conversation with the artist on Saturday 26 November 2011.

All works are available for purchase from Degree Art.
To read more about the artist and to view all works visit: http://www.degreeart.com/events/deicide-solo-exhibition-and-new-works-helen-gorrill

Visit Helen Gorrill’s site here: http://www.helengorrill.com/about.aspx

© Degree Art and the Artist

Wimbledon Art Studios

Want to see art outside of the commercial galleries? Or maybe like me you have lofty dreams of starting your own art collection. This weekend take a trip to South West London from 25 November to the Wimbledon Art Studios, Winter Open Studios Art Show.  The open show sees artists opening up their studio spaces this weekend, giving the public the chance to explore a treasure trove of new works. There’s an eclectic mix by up and coming, as well as established artists, photographers, ceramicists and textile designers.

Community and the artist

Darryn Eggleton
By Darryn Eggleton

The Wimbledon Studios aim to provide a spring board for working artists, which couldn’t be apt in today’s dire financial climate. The studios are the largest, single site art studio complex in London and Britain. This fantastic project is not merely about the singular artist and the creative community within, Wimbledon Art Studios aim to give local people the opportunity to view and appreciate contemporary art, whilst building links with the resident artists.

The opening night was bustling with proud parents, artist’s friends and locals. The last open show attracted over 5,000 visitors and I suspect they shall hit they figure or more this year.

On the preview night studio workers were happy to talk about the spaces and I was impressed by the colour map brochure produced for the show. Plenty of friendly guides and artists were on hand when I lost my bearings in the rabbit warren of corridors and stairways, so be warned you may loose yourself but find an interesting artwork in the process!

The entrance, which bridged the two buildings in a temporary structure, displayed some key pieces including Kate Kelleher’s eye catching painting, and a sculpture by Kevin Herlihy who uses found and recycled mediums. There were also some small board works for sale to raise money for the studios upkeep. At £55 a go, I decided to snap up a board by Jayson Lilley. Other artists you should stop by at –  Darryn Eggleton‘s amazing animal paintings and Alison Pearl‘s delicate and seemingly impossible objects made from paper.

Inside the spaces

As I tottered around with my new art work I explored the studios which are spread over 2 areas.  The main Red Studio building, originally a paper warehouse, opened with just 6 artists renting spaces in 1993. Now, the original warehouse consists of over 100 studio spaces and in addition there are now 60 studio spaces in a newly, purpose built ‘Blue Studios’ building, on the same site. On 1st November 2011 an additional 55 brand new studios were opened in a reclaimed section of the warehouse. Now the site has over 200 artist tenants. The close proximity of the studios make it feel homely, it felt like I was stepping into a person’s private space, almost like their bedroom, a definite plus side away from the clinical commercial gallery spaces.

The artist and the studio

Is a studio site like the one in Wimbledon an ideal place for an artist to gain recognition though? And do the resident artists actually like the makeshift space in the built up industrial estate in Wandsworth? I asked Idun Eustace, an resident artist at the Wimbledon site who is displaying her pieces for the show.

Idun has been at the studios since 2007 and first exhibited during the autumn show. Idun lectures in life drawing and oil painting for EAL, Ealing, West London. Her works of semi-abstract still life evoke many influences from the Norwegian landscape where she was born and brought up.

Alison Pearl
By Alison Pearl

What do you think of the new studio space that opened in November 2011? So how does it compare to other, more formal, settings you’ve shown at? Such as gallery spaces/fairs?

The new space (as a whole) has got a nice feel to it & is much more spacious than the studios in the old Red Studio building – Although my new space has no natural light ,I feel this doesn’t matter so much, as I look upon it as a challenge to see how it changes my work. There are studios with natural light but I chose this one for the space as I want to run life drawing classes from there as well as paint.

Do you feel the studios are successful in terms of building a creative hub for emerging artists and also for artists to sell their work too? Or do the more traditional roots of art fairs and private galleries, like the Affordable Art Fair, work better?

I think it’s a little hit and miss sales wise  – sometimes you sell and others not.  The good thing about the studios is that they don’t take a commission on sales whereas fairs, such as AAF and other London Galleries take 50 %. It does give merging artists as well as more established artists a great platform to sell their work.

Where do get your ideas for pieces? Whilst travelling around London, or more abstractly?

I draw a lot and source ideas almost everywhere – e.g. If I go in to London on the train (with my sketchbook) I will look out of the window and take a mental picture and draw it immediately, or when I’m on holiday (usually to Norway), I always have my sketchbook (and camera) handy. I also sometimes draw and paint from memory so these may be more abstract – I look on the drawing process this way; if you’re an artist you ought to draw as its part of the process of painting. Painting is really drawing with your brush.

Idun Eustace
By Idun Eustace

You are trained in many different disciplines, painting, printmaking, life drawing, photography, graphics, illustration & textiles. Do you or would you ever incorporate these into you pieces?

I do use photography as reference only, whether it be a design ref or a colour reference – I have used printmaking in my art but not currently – I do however like the way Munch used print making as reference/addition in his art and have recently been looking into this. I’m quite interested in African tribal art textiles. I have also been toying with the idea of introducing burlap/hessian in my work but at present this is embryonic only. I am looking at the work of artists like Tapies and Sandra Blow for inspiration.

You are quite active on Twitter, do you feel artists have to embrace this more so now? Have you felt the need to use it more?

I feel the use of twitter is essential to reach out to a wider audience and think that one’s got to advertise oneself, no-one else will do it for you and  hopefully one’s twitter followers will RT and thus reach more people – so it can only be a good thing. You have to grab opportunities as life is too short.

Idun’s works feature at the open show till 27 November and she is also planning to run classes that will be available to artists at the Studios as well as outsiders, contact her here for more information idun@blueyonder.co.uk. Follow her on Twitter @idunart

The Open Studios Art Show at the Wimbledon Art Studios is open to the public till 27 November Friday 2pm – 10pm
Saturday & Sunday 11am – 6pm. For more information about the show and the artists see click here.