Posts Tagged ‘1990’

Sadie Murdoch

“If Sadie Murdoch’s work is about the elision of women from narratives about modernism, it is also about the intrinsic interrelation between photography and these processes of marginalisation. Thus, whilst the viewer may be confronted with more overt narratives of re-enactment in which we see Murdoch herself performing the role of a potentially forgotten heroine of Modernism, creating these images through actual photography rather than some other currently available means, might be said to be the most distilled locus of her re-enactment practice.”

Ken Pratt
Frauhaus exhibition text 2007

Selected Exhibitions:
2007 Modelling Charlotte Perriand solo show, Henry Moore Institute, Leeds
2007 Frauhaus group show, The Agency, London
2005 Henry Peacock Gallery, solo show, London
2004 Whitney Museum of American Art Independent Study Program, group exhibition, New York
2002 The Harsh Law of Spacing solo show, Henry Peacock Gallery and domoBaal Contemporary Art

Matthew Tickle

“Matthew Tickle created a chiasmus, an asymmetrical crossing of the two kinds of installation. He has done so by incorporating into the haptic installation the anticipation that it will have been photographed. That is, the experience of the here-and-now is always already undone in that very experience, already a represented and disseminated ‘there and then.”

Michael Newman
Installation and Photography: Matthew Tickle’s Idyll Matt’s Gallery, London 2001

Selected Exhibitions:
2006 Punctum & Nebula Hull Art Lab, Hull
2004 Nothing Will Come Of Nothing St Mary-Le-Quay, Ipswich Commissioned by The Wolsey Art Gallery; What The Eye Can’t See The Heart Can’t Grieve For Public Artwork at Queen Mary
1999 Idyll Matt’s Gallery London
1995 Scrutiny Matt’s Gallery London

Jonathan McLeod

Jonathan McLeod lives and works in London and the North West Scottish Highlands

Selected Exhibitions
2007 Carter Presents London
2006 Port Eliot Literature Festival; V22 London; 2006 After the Butcher Berlin
2005 First Assembly The Ragged School, London

Frank Creber

“As an artist with over twenty years experience of working within community groups in a deprived neighbourhood of Bow, Frank Creber is committed to making works that explore a deeply urban affair between a new world created in the pursuit of progress and modernity and the community that it is setting out to serve. A community whose optimism is by no means universal because they have seen before that the developers’ bulldozers can just as easily destroy the inner-city infrastructure geared to serving local needs.”

“My paintings are informed by my experience as an artist working with the communities in the deprived neighbourhood of Poplar. For the past few years my paintings have focused on the figure in front of the built environment. I imagine a high view-point above the city, looking down to figures in the foreground set against the pattern of roads, housing and construction sites, the etching ‘TV Dinner’ comes from a series of works exploring domestic life”.

Kate Davis

“Kate Davis produces work which deals with primordial or transformed states of being. Her elegant installations, photographs drawings and videos speak of those moments before and beyond language. They refuse to be easily consumed and persistently avoid a reductive meaning. Beneath the formal rigour of her art lies an exploration of sensual human experience. Through subtle manipulation of often the most traditional of techniques Davis imparts an aesthetic that has a baroque yet controlled sense of ecstasy. Davis’ work is both intimate and distant; her precise use of materials and images expresses a fascination with an extraordinary and beguiling world”.

Dale McFarland 2000

Christopher Summerfield

‘My work is a response to both the natural and manufactured world, both celebrating and questioning their relationship. Forms found in the natural world have been appropriated in the design and engineering of numerous manufactured objects. Obvious examples are the design of ships and aeroplanes, being informed by the fluid/aerodynamics of fish and birds.

The works I produce are often multiples; cast metal with reference to engineering and process manufacturing. My work is located between abstraction and representation, not wishing to illustrate or imitate existing images and forms, but instead to reinvent them. New relationships are found, often producing ‘toy like’ hybrids of the natural and manmade world, which echo the dreamlike world of childhood, where disparate and incongruous elements fuse together.

Currently, I am exploring digital photography as an outcome for my artwork. I continue to produce sculptures, but no longer wish to exclusively exhibit those objects in a gallery. I have photographed them in a range of contexts and the photograph can be the artwork, not just documentation. The sculptural object is sometimes a transitional phase in the creative process’.

Neil Jeffries

Neil Jeffries makes idiosyncratic metal reliefs in which formal and narrative devices inter-locate exploring issues of memory, corporality, embarrassment and euphoria. His  miscellany of apparently incongruous subjects and concepts might be shapes, stories, points of view, dreamed experience, holes, corners and edges, with fragments joined together to suggest a narrative.

Selected Exhibitions
2003 Flowers Central, London
1999 Flowers West, California1995 Stadttuttlingen Stadische Galrie, Tuttlingen, Germany
1992 Flowers East, London
1986 Blond Fine Art, London

Brian McCann

4-15 November 2014 Brian McCann exhibition  in the Platform Gallery, Knights Park Campus, Kingston University and Stanley Picker Gallery Project Studio. Recognition, the artist’s bronze sculpture commissioned for the launch of the Gallery in 1997 stands in the grounds.

There are more invisibilities to be attained: In my sculpture and drawing practice there is recognition of the hidden.

Sculpture and drawing have in some ways a lot to do with the hidden: Something, which is visible and yet hidden at the same time. There are more invisibilities to be attained is the title of a poem by Phillip Lamantia [an American surrealist poet whose work I have long admired] that seems to suggest that we can allow matter [the visible] to reveal the invisible – to put eyes and tongues into every dumb and inanimate object.

I am continually looking for an essence in my sculpture and drawing practice. I search to find the source, to look back to the birth of that which signifies and to restore to ‘matter’ its true life (to inflict a freedom on the material). Often I deliberately take something that I feel I understand something, which is to some extent commonplace and break it up, magnify or reduce it. It is a desire to present this recognisable thing in another way, to peel away the layers of the visible world to expose the hidden, to put my hands on the primal matter.’

Brian McCann (1953-2014)
Member of Royal British Society of Sculptors

Selected Exhibitions
2006 Tom Bendhem:Collector Contemporary Art Society UK Tour
2003 Becoming Visible one person exhibition, Pilgrim Gallery, London
2002 Dusting the Giant one person exhibition, Palazzo Crispi, Naples
1997 Recognition Stanley Picker Gallery, London, for the Arts Sculpture Commission (10ft bronze fingerprint) to commemorate the opening of the gallery
1991 Recognition: Drawings from a series one person exhibition, Tate Liverpool