Q & A with Nuno Moreira, Photographer

29 January 2014 § Leave a comment

Nuno Moreira is a talented Portuguese photographer who has recently published ‘State of Mind’ – a photobook reviewed recently in akickupthearts here. We asked him a few questions about his work, influences and Japan, where he is currently based.

Q. I note that you are currently in Tokyo promoting “State Of Mind” and have worked there in the past. Do you have a specific attachment to Japan?

I’m based in Tokyo and happily living here with my Japanese wife. I intend on staying for a little longer and develop more work both with photography and art direction. Since I came here I’ve been trying to gather a circle of fellow artist friends and possibly delve into partnerships that can be enriching for everyone.

Tokyo is a great city to live and work, I made the entire editing of “State of Mind” here during last year. Everything is very functional, stable and tidy. Sometimes it gets way too much but I still have a lot to discover and the traditional aspects of Japanese society and the ancient daily rituals are really the motif that brought me here in the first place.

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Q. On the Japanese theme, your work has formal similarities with the great Daido Moriyama’s work – that is high contrast, black & white images, often from unusual viewpoints. Did he influence you in any way?

I should probably say thank you for the compliment, but Moriyama is really not an influence in my work. I appreciate his style, most of the times I find it over repetitive even though I acknowledge his importance in contemporary photography. The formal aspects are similar, we both shoot in black and white and many street scenes but in terms of mood it’s quite different. If I had to characterize my style – which seems like an awful thing to do – I would say it draws more influences from classic cinema, perhaps similar with the Nouvelle Vague movement where everything is more loose and unconventional but still leading somewhere.

Q. Are there other photographers – or artists – who have been particularly influential?

I like the work of Charles Harbutt quite a lot. And the funny thing is that I discovered Harbutt’s work the first time I came to Japan while browsing through an antique shop. I found his 1973 book, “Travelog” totally by accident and thought we had many things in common. Especially the way of overlooking the city and people in a cinematic way. Funny enough, I couldn’t really predict that one year later I would be moving to Japan, editing my own photo book, and that I would have a recommendation from Harbutt himself on the book.

nuno moreira

Q. Travelling seems to be an important, or even vital, part of your life. How does this manifest itself in your work?

That’s correct, I’ve come to realize that traveling plays a vital role in my life. I need the sense of dislocation to actually feel more in control of my body and regain consciousness on where I am going and what I intend to do next. I think being stuck in one place doing the same thing is something that really doesn’t work for me and most artists I know. Being in a place for the first time, even if for a short period, opens this gigantic window of possibilities where perception works in a different way. I like these shifts in reality and the challenges that follow change. I also feel there’s many insights and more mental activity deriving from the different inputs in new places therefore I take a lot more pictures and my mind is usually much clearer and faster when traveling. Life is all about movement, don’t you think?

Q. This is a book that was many years in the making. At what point did you realise that there was a photo book that would emerge from these images? Did you have a conscious plan for it from the beginning?

I didn’t have a plan to make this book until I actually started to gather all the photos and seeing them in perspective. In that sense I could say “State of Mind” works as a kind of monograph of what I’ve been shooting and seeing for the last 5 years.

nuno moreira

Q. Another Japanese photographic artist who has been prominent recently is Rinko Kawauchi. She is famed as a master of editing, bringing together a series of widely varied images, to create something new and meaningful – a particularly skill relevant to the art form that is the photo book. How important is editing  to you? / How did you approach the editing of your own work?

I’m familiar with Rinko Kawauchi’s work and her editing and image sequencing is indeed interesting and sometimes surprising. Unfortunately there’s many other astonishing Japanese photographers who are not so well known and deserve credit, being my personal favorite probably Issei Suda.

The editing of “State of Mind” was perhaps the most difficult part and what took me the most time to accomplish. The process of editing basically consisted of putting images side by side and choosing the best rhythm and flow between them. This was something I had to do physically, with printed images. It’s utterly impossible to work only in digital terms, at least for me. I wanted the book to follow a specific narrative even though there’s different images and some jumps here and there. Sometimes images in a spread form a dialogue, sometimes they need to be isolated and stand alone against a white facing page. To find the right flow or visual path for a photo book is not an easy thing, so I think it really makes sense if the photographer can work with a proper designer and someone who is not so emotionally close with the images. If I would do the book today it would probably look different but I suppose that’s part of the learning curve.

Q. “State of Mind” features many single people isolated in urban environments – looking, thinking, passing by. There is often an evident sadness and loneliness, but also hope. What are the feelings that you want the reader to see in this collection of work?

I’ve been listening to what people think of this book and the series and it’s very interesting because it really works as a mirror to whatever you’re feeling at the moment you see them. It’s the projective power of images. I guess I like lonely people in general and that’ what attracts me to shoot them in the first place, the reason might be because my parents only had me and I was raised in an environment where I would play all by myself. Having said this, the images in the book have a lot of me in it even though that’s not clearly obvious.

There’s really no specific message to the reader. I just want the viewer to be engaged in the scenes and get into the poetic quality of the people they’re looking at. If I can capture the attention and make you imagine situations like frames from a movie, if that’s sufficient to trigger the imagination, I’m very satisfied.

Q. This is a book ideally suited to the atmosphere generated by BW imagery. Do you also work in colour?

Very rarely do I shoot with color film. Sometimes when I want to try something different I do it, but I find better results almost always by shooting black and white. I believe the reason being that it’s easier for me to see the world and what would work better in black and white. It’s more neutral and the different shades of grey also interest me. Besides, I believe when we’re looking at a black and white image our eye is less distracted and we can enjoy better to look at the lines, composition, structure, light, shadows, textures and overall atmosphere.

Q. An obvious question. Whats next?

Next is promoting this book and doing exhibitions and distribution. I’ve put a lot of myself into this project and being a self-published book means I have to do all the work and communication by myself. It’s not a bad thing, but it demands a lot of time I could be shooting or thinking of more work.

If all goes according with plan, I estimate to have a new book ready in one or two years. It will continue from where this one started but something perhaps more conceptual and hopefully a step further.

nuno moreira state of mind

State of Mind by Nuno Moreira

  • 287 x 200mm
  • 112 pages with 79 photographs
  • Limited to 500 copies
  • ISBN 978-989-20-4151-3
  • 35 Euro

Copies may be purchased directly from the artist at www.nmphotos.org or email info@nmdesign.org

State of Mind – a Photobook by Nuno Moreira

21 December 2013 § 1 Comment

Photobooks are a strange art form unto themselves. Some photographers see individual images as the ultimate expression of their craft whilst for others the photo book is the essential form. The sum of many parts, they comprise individual photographic works, not necessarily of high individual quality, but when edited together they make a greater whole.

Something unique is created not only from the images and their editing but also from the feel and texture of the paper as well as the design, typography, size and layout and, often compared to plays or film, they may well also have a dramatic narrative. (Anyone with any further interest in the art of the photobook should certainly make efforts to see the definitive work: The Photobook – A History by Parr & Badger.)

01The Portuguese photographer, Nuno Moreira has, with State of Mind, created a perfect example of such an artwork. This is a photobook comprising works from his personal archive constructed and captured over a period of several years of travelling covering such diverse locations as Japan, Portugal, Hungary, Malaysia, Spain, South Korea, Ukraine, Romania, Russia and Taiwan.
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What is perhaps initially surprising however is that the images do not indicate the diversity of these locations, but rather the opposite. The book brings them together under a unifying umbrella where continents, countries and cities melt into a statement on the humanity of their populations.

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The people here are shown as a series of individuals or small groups. Sometimes we just glimpse their shadows, backs or reflections, sometimes just traces of their existence. A foot steps in to a railway carriage, shadows pass each other on a busy (we assume) pavement, a woman struggles with an umbrella in a sea of snowy tyre tracks or passengers gaze blankly from train windows.

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There is a lot of travelling going on. People walking the streets, in stations, cafes and trains. There are roads, pavements, walkways and waiting areas. Through constant change and movement Moreira has found a unity in these divergent peoples. Perhaps through his own experiences of travelling these represent stills within a continuous journey. We do however see the diversity of the individuals, each with their own thoughts and in these silent moments.

The title State of Mind could ultimately then refer to not only the individuals pictured, but also be an observation of the collective whole or indeed an ongoing picture of the mental state of Moreira himself during his travels. It is a photobook of the highest quality where the individual images are actually often compelling works of art in themselves but it is however as a photobook they indeed work best.

  • State of Mind
  • 287 x 200mm
  • 112 pages with 79 photographs
  • Limited to 500 copies
  • ISBN 978-989-20-4151-3
  • 35 Euro

Copies may be purchased directly from the artist at www.nmphotos.org or email info@nmdesign.org

A Q & A with the artist will follow soon in another blog.

 

Saatchi Painted Faces Showdown at the Griffin Gallery

18 December 2013 § Leave a comment

Following on from the Griffin Art Prize 2013 Exhibition – which is now on the road around the South of England for a few months (see post) – the Griffin Gallery are transferring Saatchi’s Showdown from the virtual online world in to reality.

Miguel Laino

The winner of the prize has been announced as Miguel Laino for his simple but expressive small oil painting shown here, winning over a very high quality – and truly international – final ten. The remaining finalists were: Chris Stevens, Casper Verborg (illustrated middle left), Stephane Villafane, Kristina Alisauskaite (middle right), Sergey Dyomin, Fiona Maclean, Minas Halaj, Maurice Sapiro, Daniel Gonzalez Coves (bottom).

Saatchi online Griffin Gallery

Painted Faces is one phase of a continuing Saatchi Online competition that provides artists from anywhere in the world a showcase for their work. Chantal Joffe was the judge for this event.  Previous judges have been equally big names of the contemporary art world and Barnaby Furnas, Ged Quinn, Wangechi Mutu and Dexter Dalwood have for example run their eyes over entries.

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For the first time the works of the 10 Showdown finalists are being shown at the Griffin Gallery, from 5- 20 December with the winner and runner-up receiving art materials to the value of £1000 and £500 respectively – not bad I’d say.

The competition is being run in partnership with Winsor & Newton and is on at the West London Griffin Gallery until 20th December 2013. This is an excellent small show which is a short stroll from Westfield shopping centre – why not take a break from the Christmas shopping and drop in for an artistic break – or a more arty gift? All works are on sale and modestly priced.

For more details about the competition please go to www.saatchionline.com/showdown

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Artists to Watch – Luke George & Elizabeth Rose

8 December 2013 § Leave a comment

Is it me or have I been noticing more and more artistsic partnerships lately? The likes of Gilbert & George and Jean Claude &  Christo have been around for a while, but more recently it seems that artists working together has become more accepted, with well known pairings like Allora & Calzadilla, Elmgreen & Dragset, Noble & Webster, The Chapman Brothers and Doyle & Mallinson. On top of these more recently emerging or paired up are Nerhol, kennardphillips, Keeler & Tornero, Swales & Sinclair and so on. There is even the notable pretend pairing – Bob & Roberta Smith – that is actually a single artist Patrick Brill.

Griffin Art Prize

Griffin Art Prize

Then there are Luke George & Elizabeth Rose who met at City & Guilds London, and who have recently come to prominence as winners of the Griffin Art Prize (see recent feature) – a newly established prize for recent graduates that is rapidly becoming one of the most important of the London art world.

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As deserved winners they are keen to investigate the possibilities of materials – in their case primarily paint and canvas. They manage to draw a remarkable range of texture and depth from such traditional and well-used materials and their medium to large sized canvases are a joy to examine at any scale.

George and Rose,Gate,2013,220x300,mixed media on canvas copy

Channelling the unpredicatable ‘avenir’ of Derrida (“There is a future which is predictable, programmed, scheduled, foreseeable. But there is a future, l’avenir (to come) which refers to someone who comes whose arrival is totally unexpected.”) they look to shared intuition and “happy accident” to takes the artwork in a entirely new direction.

Georgeand Rose,l'avenir, 2013,153x168,mixedmedia on canvas

They are “excited by the notion of our paintings eventually making themselves; by responding directly to the surfaces and working in such a way that our actions are dictated entirely by the process rather than our own aesthetic needs as individuals.”

Their work is excellent, inventive and attractive – and if it takes two to tango – then why not?

The Griffin Art Prize tours to High House Gallery in the Cotswolds from 18 January to 16 February 2014

Ian Tweedy, Post Red Scare Raid at The Arts Club

7 December 2013 § Leave a comment

The rotating exhibitions at the recent re-incarnation of the Arts Club are always rather hit or miss. I find the work often very austere or bland – the sort of work that would fit nicely in to one of those multi-million pound lofts overlooking the Thames favoured by Fund managers and Russian bankers – that’s to say the typical new Arts Club member.

Ian Tweedy Arts Club

Ian Tweedy is a surprising choice. Not shown by any London galleries, he has little notable exhibiting history and doesn’t even have his own web site. His name seems to be getting noticed though having recently been selected by two very notable curators: Francesco Bonami at Fondazione Sandretto Re Rebaudengo, Turin and Daniel Birnbaum La Triennale di Torino.

Ian Tweedy Arts Club

Born at an American air base in Germany, he began his career as a street artist in Germany subsequently studying at Milan and moving his graffiti art techniques indoors, using personal items, historical objects, and documents of the past as the canvas for his bold graphic interventions. A deep concern with history is pervasive throughout Tweedy’s work, much of which is informed by his life of moving from place to place: “I always felt I lived on foreign territory. I was forced to adapt continually to different cultures, and this lack of roots led me towards the challenge of recreating a personal history.”

Ian Tweedy

Postmodernism has readily begged, borrowed or stolen from previous styles mixing high and low culture and here Tweedy uses this – slightly stale – tactic to create his work. Post Red Scare Raid referes to the American post-war anti-communist ‘Red Scare’ period. Whilst obsessed with works by Mantegna Tweedy encountered a photograph from the period featuring forced deportations and found links between them ‘challenging grand notions of History Painting‘ – apparently.

ian-tweedy-artist-at-untitled-NYC-2012-www.lylybye.blogspot.com_2

His works here are scenes after a supposed raid – figures are missing and only artefacts and fragments remain. Working skilfully  in oil and acrylic, on paper and canvas, flags, banners and clothing are suggested in almost abstract shapes on indistinct backgrounds. Dimensions vary considerably as does appeal with smaller oils on found canvas constrained by srtange pine frames less interesting than the striking larger works. Rather Arts Club ‘hit and miss’ again, but Tweedy is undoubtedly a talent to watch for the future (see also recent post here on Gabriella Boyd).

The Arts Club, Dover Street, London until 26 January 2014 (members and guests only)

N. Dash is also showing.

NB: individual images of works are not of pieces currently on show as no photos are allowed (!).

 

James Franco – Actor or Artist?

5 December 2013 § Leave a comment

Its just not the done thing in the art world for an artist to have made their name elsewhere. God help an author, actor, musician or businessman with a talent in art – the art establishment will do its worst to avoid taking them seriously. Artists are required to be devoted to their trade and where any notion of their work being something other than a full-time activity damns them to the sidelines of history.

James Franco Psycho Nacirema

It is also dangerous for known artists to flirt with fame elsewhere. Yoko Ono has been frequently ridiculed despite her position as one of the most significant artists of her era – her sin of course was to cavort with a Beatle whilst making as much music as art. Grayson Perry‘s work is now less valid to many following over-publicity of his cross dressing and chat shows appearances. There are many more of course.

James Franco Psycho Nacirema

Those who first found fame outside the art world will find it even tougher. Bob Dylan and Ronnie Wood are trying their damnedest but are not accepted in the art world, their mediocre work doesn’t help. A new name to consider is James Franco. This from Franco’s Wiki entry: ‘an American actor, director, screenwriter, producer, teacher and author.’ They have obviously forgotten to add artist, since he has this year been shown at no less than Pace London.

James Franco Psycho Nacirema

His exhibition was entitled Psycho Nacirema (American backwards), featuring multi-media installations and presented by the Scottish artist Douglas Gordon. It presents a mise-en-scène of director Alfred Hitchcock’s 1960 thriller Psycho, remodelling the infamous Bates Motel intertwined with the 1920’s Arbuckle scandal.

James Franco Psycho Nacirema

Gordon, an artist of considerable experience and a reputation, has openly acted as a curator and teacher for Franco reworking one of Gordon’s most well-known works – 24 Hour Psycho (1993). Franco states “Film is the medium that employs all art forms, but it is contained within the screen. We take this multi- form idea and pull it through the screen, so that the different forms are once again fully dimensional and a new nexus of interaction and significance is created. In this show, we go back to the original locations and images of Psycho and alter them so that once again the viewer’s relationship with the material changes. One becomes an actor when interacting with this work. Film becomes raw material and is sculpted into new work.”

James Franco Psycho Nacirema

This was an interesting multi-media collaboration, nicely summarised by Franco’s statement above, however, the suspicion for now remains that Gordon’s contribution was the greater. One suspects that he fleshed out Franco’s bare bones in to an interesting and surprisingly good exhibition. I shall look forward to the next and wait to see if more of Franco’s hand is visible!

James Franco Artist or actor? Undecided!

Psycho Nacirema was at Pace London between 6 June & 27 July 2013

See video at NOWNESS blog here

Artists to Watch – Gabriella Boyd

27 November 2013 § 1 Comment

Gabriella Boyd is a young London-based artist who graduated from Glasgow school of Art in 2011. Her canvases, which are frequently very large, are boldly and colourful, painted in broad strokes where a vivid orange, bright red, forest green and sharp yellow compete. A single colour may dominate flat, large areas and contrast sharply with adjacent colour fields. They are very pleasing to the eye.

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The seeming ease of their production is deceptive however. Boyd’s paintings stand between the light and playful and something more disturbing.  Melancholic or erotic undercurrents are balanced with an overt playfulness presented through these bold patterns and colours.

Gabriella Boyd

Depicted in her works are fictional and very theatrical spaces. Often they seem to be rooms but usually are much more ambiguous or undefined spaces which are often subdivided – separated by shutters, windows, tables or walls. In this dreamlike setting occasional figures – or should we call them characters – pass by or perhaps linger in the background. We may just see a ponytail, a back, head, legs or a hand.

Gabriella Boyd

If we see a face it is usually enigmatic – it could be partial, glancing sidelong at us or looking out of shot. If more than one appears each seem oblivious to the other existence. Are these figures in the same time or space or just lost in the landscape of their own thoughts?

Gabriella Boyd

There is an overwhelming feeling of unease. Something has just happened or is about to happen – there is tension in the air. These invented interiors play with the boundaries of literal, psychological and formal space. Nothing is fixed and we are free to drift within the dramas being played out on these canvas sets. The characters are exposed to us, their private lies played out in front of us. Props within the images invite actions – a hoop to be jumped through (!), a melon to be eaten, a plate to be filled.

Gabriella Boyd

This is a talent to look out for but one that has not slipped past unnoticed however. She was a Saatchi New Sensation in 2011, featured in the important Catlin guide and the RA Summer show in 2012, has recently had a solo show at High House Gallery and now working with galleries in Brazil and Belgium.

Gabriella Boyd

Her work is bold, attractive and is wonderful to be around – it is hard not to take just one extra glance, just to see if there is a new idea one can extract.

Gabriella Boyd

Gabriella Boyd’s work is available from High House Gallery

Exciting Contemporary Art Arrives in the Cotswolds

20 November 2013 § 2 Comments

‘Exciting’ and ‘contemporary art‘ are not words that you would usually associate with the word ‘Cotswolds‘ – Land Rovers, Labradors and Leaders of the Conservative party perhaps come to mind more readily. Other than a mere handful of galleries in Oxford and Bristol the whole region has a desperate dearth of places where one can reasonably claim to be able to enjoy the type of contemporary art which one could genuinely define as being ‘innovative’ or ‘fresh’.

Jonny Briggs

Jonny Briggs

Fortunately this has now changed. The new owners of an historic grade II listed Victorian gothic mansion (apologies for the mouthful, but that’s exactly what it is) have opened a new contemporary art space, High House Gallery. For the last 18 months they have been bringing all that is innovative and interesting from the London art scene out in to the (contemporary) artistic wilderness that is ‘Poshtershire’.

Adeline de Monseignat

Adeline de Monseignat

Located in Clanfield, close to the border between Oxfordshire and Gloucestershire the indoor space has a rotating exhibition programme whilst the formal gardens have hosted garden displays of contemporary works – do not think stone and bronze, instead how about concrete, glass, steel and whalebone (!).

Rinko-Kawauchi

Rinko-Kawauchi

Exhibitions so far have mostly tented towards the pick of recent graduates from top London art colleges such as Chelsea, St Martins, Goldsmiths and RCA. Lindsey Bull, Gabriella Boyd, Tom Howse and  are excellent examples of HHG artists that should go far.

Gabriella Boyd

Gabriella Boyd

In addition there are a sprinkling of talented overseas artists like the Portuguese photographer Virgilio Ferreira and US artist Andrew Leventis.

Andrew Leventis

Andrew Leventis

Furthermore the gallery not only consults on all aspects of contemporary art but holds a stock of top international artists. Quality pieces are currently available to buy from the likes of George Shaw, John Stezaker, Ryan McGinley and Mariah Robertson.

Mariah Robertson

Mariah Robertson

The big news for the start of next year is that the opening exhibition of the 2014 season features a touring version of the highly regarded Griffin Art Prize. Fitting well with the gallery ethos it is limited to recent (5 year limit) graduates. The shortlist for the prize is currently on show at the Griffin Gallery in West London. For those who have not been able to see the show there its excursion out to the Cotswolds is well worth catching.

Griffin Art Prize

Griffin Art Prize

Visit the High House website to register for news of new exhibitions and events by email, Facebook or Twitter.

Griffin Art Prize 2013 touring show is at High House Gallery 16 January – 16 February 2014.

Elizabeth Price wins £60,000 Contemporary Art Society Annual Award

19 November 2013 § 2 Comments

Mark Wallinger, in a ceremony at the Dairy Art Centre in London last night, awarded the Contemporary Art Society annual prize to Elizabeth Price who will produce a work for the Ashmolean Museum. Price will create a significant new moving image piece will be premiered in Oxford on completion.

Elizabeth Price

Turner Prize winner Elizabeth Price is an artist who uses images, text and music to explore archives and collections. While her work is informed by mainstream cinema and experimental film, it is mostly concerned with the medium of digital video and its comparative ubiquity in today’s culture.

Elizabeth Price_UserGroupDisco

Price’s commission will explore the archives and collections of the Ashmolean Museum and the Pitt Rivers Museum, looking particularly at photographs of artefacts and documents used historically by curators, anthropologists and archaeologists working in the field, while simultaneously engaging with digital technologies.

Elizabeth Price

Elizabeth Price was visibly delighted at winning the award.  “I’m so happy to win this prize. I’m particularly excited about the unique opportunity to work with the collections, and the people at the Ashmolean and Pitt Rivers Museums in Oxford.”

Price beat some fine artists to the award. Other entries were Jess Flood-Paddock for Birmingham Museums, Des Hughes for The Hepworth Wakefield and Lucy McKenzie.

Elizabeth Price

Although not a name that will be familiar to many art lovers the (CAS) has long been doing much important work ‘behind the scenes’ raising money, brokering purchases and awarding commissions. Now in its fifth year, this prestigious £60,000 prize is one of the highest value contemporary art awards in the country.

By means of its annual award CAS has donated many ‘firsts’ to museums across the country throughout its illustrious history, including the first works by Paul Gauguin, Pablo Picasso and Francis Bacon and, more recently, the first works by Damien Hirst, Elizabeth Price and 2013 Turner Prize nominee Laure Prouvost.

 

Images: Elizabeth Price, USER GROUP DISCO (2009), HD Video, 15 minutes. © the artist and MOT International. Gifted by the Contemporary Art Society to Scottish National Gallery of Modern Art, Edinburgh, in 2012.

The Griffin Art Prize 2013 Exhibition

15 November 2013 § 1 Comment

The Griffin Art Prize (GAP) has cemented its place as one of the best in the country for emerging artists with another top quality exhibition and I felt it deserved a a quick detour visit to see the work on show. This years prize, awarded last week, features an excellent shortlist with some very promising artists.

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Showcasing developing artists as well as those just graduating it provides a window of opportunity perhaps for those graduates whose work was not singled out for wider attention at degree shows and who have developed well since. This is very important as each years new graduates easily attract wide attention and have plenty of opportunity to impress, whilst a few years on there is less chance to be recognised as an ‘emerging’ artist.

Luke George & Elizabeth Rose

Luke George & Elizabeth Rose

Luke George & Elizabeth Rose were this years winners and it was easy to see why. Their abstract works in gesso and oil are rich in subtle colour and texture. At each viewing angle or distance something new appears, elements come to the fore, textures appear and fade.

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It will be exciting to see what new work they can create given the excellent studio space and facilities that the GAP supplies for the year ahead. These images are different views of the one work

Mary Wintour

Other artists caught the eye too. Mary Wintour‘s overpainted collages are bright and inventive with some intriguing imagery where the boundaries between photograph and painting seem to disappear.

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Emily Moore takes inspiration from mountain landscapes for her appealing geometric collages, but she also works with paint,  collage and camera.

Rae Hicks

The expressive paintings of Rae Hicks feature surreal landscapes and imaginary structures. Questions of what, where, why and how inspire repeated viewing.

Nicola Wong

Nicola Wong asks questions about the nature of everyday life – whether unweaving a painted canvas or constructing a ‘canvas of bookends within a frame.

Susannah Douglass

Susannah Douglass’ immaculate drawings are developed from collaged photocopies of anonymous internet images.  The imaginary almost becomes real.

Griffin Gallery

There is also work from Helen Frank, Scott Robertson, Eleanor Bledlow and Yuhwa Son.

Take the opportunity to see some potential future stars and perhaps even buy a work at a very reasonable price.

GAP 2013 exhibition runs until the end of November at the Griffin Gallery.

GAP 2013 tours to High House Gallery from 16 January to 16 February 2014 before continuing to the White Moose Gallery in Barnstable.

The GAP is open to ‘any UK based artist whose primary activity is painting or drawing and has graduated with a BA, MA or PhD from a recognized institution’ in the previous 5 years.

 

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