The 2015 edition of annual exhibition Young Gods, in collaboration with CHARLIE SMITH London.
The exhibition will take place simultaneously across two locations in west and east London. Selected and curated by Zavier Ellis, director of Shoreditch gallery CHARLIE SMITH london and co-founder of THE FUTURE CAN WAIT, the exhibition will be a multi-disciplinary presentation of London’s most exciting graduates from the summer of 2014.
Congratulations to the ten artists selected by Gordon Cheung; Jenny Linden Urnes, Jenni Lomax, Alistair Smart and Anj Smith for the shortlist of the Griffin Art Prize 2014 UK.
The Shortlist artists will exhibit their work at the Griffin Gallery where the winner of the Griffin Art Prize 2014 UK will be announced at the Shortlist exhibition Private View on the 18th November.
The Griffin Art Prize 2014 UK is an exciting opportunity for emerging artists in painting and drawing. It is supported by the world’s leading fine art brands, Winsor & Newton, Liquitex and Conté à Paris. The prize offers one outstanding candidate a six month residency in the Studio Building, 21 Evesham street, London W11 4AJ. A large, well-lit studio, materials and a small financial allowance are provided for the winning artist to develop new work for a one-person show in the Griffin Gallery, London W11.
Private view and prize giving on Tuesday 18th Novmber
This exhibition, presented by The Magma Group, combines expressive and conceptual qualities in art, notwithstanding that these aspects seem to be mutually exclusive. Concepts are therefore realised with expressive energy rather than by cool intellect.
Griffin Art Prize 2013 winners, Luke George and Elizabeth Rose present their solo show at Griffin Gallery; the result of six months intense investigation into the particular properties of the madder root and its use as an artists’ pigment.
After winning the Griffin Art Prize in November 2013 with their show-stopping abstract piece, Gate, George and Rose moved into the purpose built studio in March 2014 and since then have been working closely with the Winsor & Newton Innovation and Development Department situated next to their studio.
They were particularly fascinated by the story of Madder, and its historical connection with Winsor & Newton. By 1804, George Field, an outstanding colourman and chemist, managed to turn the madder extract, which was soluble in water, into a solid pigment that was insoluble. This resulted in what was known as a madder lake. It had a longer-lasting colour and could be used in creating paints. Field wrote 10 volumes of notes and experiments on how to improve the quality of pigments and these notes were considered so important by William Winsor, the co-founder of Winsor & Newton, that he bought the lot. It takes about 13 weeks to produce madder pigments for both oil and water colours. Many other methods old and new have been tried to produce the pigment. However, none have been found to match the unique properties of the Rose Madder produced following Field’s methods and, since 1835, Winsor & Newton is proud to be part of an age old tradition which produces real madder and not a synthetic version.
George and Rose have experimented with madder pigment development to create a new body of work that captures the physicality and explosive nature of the precipitation process. Smoothly sanded gesso surfaces collide with violent splashes and drips of pink, red and brown, crystallised into intricate filigree patterns across the surface of the canvas. George and Rose have allowed the process and the material to dictate the direction of the work, yet taking control of the final product – much in the way Winsor & Newton have developed the unmatched Rose Madder pigment for over a hundred and fifty years.
This body of work is as much an exploration of history and tradition in colourmaking as it is a vision of the future – these two young and extraordinarily committed artists carry the canon of art history on their shoulders, but they wear it lightly, delicately picking their way through the stories of others to create a new vision of their own. The exhibition will include several drawings and new paintings on canvas, including one very large piece that they will be working on in-situ in the week leading up to the opening night. The exhibition will pack a punch, and visitors should expect to leave the gallery feeling as if they have been through a physical experience, just as Luke and Lizzie have in creating it.
This exhibition does not seek to be perfect. Neither does it claim to showcase perfect artists. Instead, this is an exploration of perfectionism of process. Of artists so committed to their practice that it permeates their every movement and waking thought, manifest in the meticulous detail demonstrated in their work.
Collectively, these artists reflect a shift in artistic practice towards the material, the technical and the skilful. Combine this with conceptual rigour, and the result is artwork that shimmers with emotion and power. Long live the Perfectionists!
Dale Adcock’s monumental, symbolic structures give no hint of a brushstroke. And yet they are clearly man-made. Clearly the result of hours of dedicated, and yet invisible, handiwork.
Jemma Applebycreates light and shadow on paper, with an indefinable magic touch.
Katrina Blannin’s almost perfect geometric arrangements are as subtle in their variations as to be barely visible, and yet absolutely apparent in the balance of the work.
Jane Dixon’s practice encompasses a wide range of ideologies and narratives, her meticulous, methodical approach not immediately obvious but integral to the work’s success.
Lee Edwards dedicates hours to documenting the most intimate and emotional parts of his life. A series of personal memorials.
Iavor Lubomirov is a perfectionist in his artistic pursuits. He is also a mathematician. A perfect combination, resulting in extraordinary feats of human engineering.
Carol Robertson creates perfect, shimmering circles of calm on canvas. They are the result of a long-winded and systematic process, combined with a desire to convey a feeling.
Inbal Strauss creates imagined objects that seem functional but are in fact only reminiscent of functionality. Each part of each object is meticulously fabricated, with each method of fabrication precisely matched to the ideology behind it. Nothing is left to chance.
Tanya Wood revels in the ordinary, the everyday, the overlooked. She dedicates hours of her time to understanding every millimetre of her chosen subject, thus elevating it to the level of a cherished and valuable thing.
Drawing Into Sculpture is an exhibition which examines how, why, and to what extent, sculptors (or, more precisely, artists who work primarily in three dimensions) use drawing in their practice.
Each of the five artists has a different relationship with pen (or pencil, charcoal or ink) and paper. For some drawing is merely a practical process through which ideas are worked out, noted or recorded; their scribbles immediate, unselfconscious and free. For others it is a springboard, a playground for ideas and exploratory musings. Some consider it very much part of their practice, equally important to their three-dimensional work, either as a two dimensional interpretation of it, or as something all of itself. But for others it is a private act, confined to the studio and the sketchbook.
Precise or fluid, literal or absurd, each drawing captures something of the artist’s character, and, when exhibited alongside their finished sculptures, they provide an intriguing insight into how a work of art might come to be.
- Jess Carlisle
Adeline de Monseignat
Private view for Drawing into Sculpture on Wednesday 28th May.
As a group these four artists create alternative narratives of imagined landscapes and fantasy. Vasilis’ and Reginald’s work feature lush environments of vegetation opposing the barren post-apocalyptic wastelands of Susanne and Jess’ works. The four are unified by a strong sense of architectural imprint and the footprint of human absence. Together these works celebrate and interrogate images of opulence, remote and beautiful locations, the fantastical, architecture, sci-fi, failed empires and the passing of time. These works transport and transcend, creating an imagined window through which to contemplate human histories.
Private view of Archaeologies on Wednesday 23rd April.
Showdown is an online competition hosted by Saatchi Art for artists to showcase their work and have the chance for it to be judged by internationally celebrated artists and curators. The artist Jaime Gili, widely acclaimed for his vividly coloured geometric works, joins previous judges who have included Barnaby Furnas, Ged Quinn, Wangechi Mutu, Peter Coffin, Dexter Dalwood, Matthias Weischer and Chantal Joffe.
We are delighted to be partnering with Saatchi Art and Saatchi Gallery again for their In Glorious Colour Showdown. The works of the finalists we will be exhibited at Griffin Gallery, from 20th March – 19th April. The winner and runner-up, who will be announced at the Private View on Wednesday 19th March, will receive Winsor & Newton art materials to the value of £1000 and £500 respectively.
The 10 finalists, chosen by Jaime Gili, Nigel Hurst, CEO, Saatchi Gallery, Rebecca Pelly-Fry, Director, Griffin Gallery, and Rebecca Wilson, Chief Curator, Saatchi Art are:
Matt Coombs (USA)
Arpad Forgo (Hungary)
Johnathan Gabb (UK)
Guy Matchoro (France)
Dragomir Misina (UK)
Alexandros Papathanasiou (Italy)
Jessica Rimondi (Italy)
Cecile Van Hanja (Netherlands)
Robert Von Bangert (USA)
Vivien Zhang (UK)
1st prize winner: Jonathan Gabb, deep gum 8
Gabb won £1000 of Winsor & Newton artists materials.
From award-winners to international exhibitors, nine artists from major institutions all over the world have been hand-picked by Becca Pelly-Fry, Griffin Gallery Director, to showcase the breadth and variety of water-based colour, including ink, watercolour, acrylic and gouache. The nine artists in the show encompass a wide range of both conceptual concerns and techniques with water-based colour.
Watercolour is often seen as challenging, unpredictable and best suited to delicate landscape paintings, mainly due to its translucency and ability to portray light. These artists all exhibit great skill and dexterity with a medium that is difficult to master, each artist really using and making the most of its unique qualities to create fresh, exciting, and perhaps even surprising artwork.
The 2013 edition of annual exhibition Young Gods will take place simultaneously across two locations in west and east London. Selected and curated by Zavier Ellis, director of Shoreditch gallery CHARLIE SMITH london and co-founder of THE FUTURE CAN WAIT, the exhibition will be a multi-disciplinary presentation of London’s most exciting graduates from the summer of 2013. Young Gods is presented in conjunction with the Griffin Gallery, supported by fine art brands Winsor & Newton, Conté à Paris and Liquitex.
Showdown is an online competition initiated by Saatchi Online in order to give artists from all over the world the opportunity to showcase their work and for it to be judged by internationally acclaimed artists and curators.
Judges for the competition so far include Barnaby Furnas, Ged Quinn, Wangechi Mutu, Peter Coffin, Dexter Dalwood, Matthias Weischer and Rebecca Pelly-Fry. The competition is also a great way for collectors to discover emerging artists from around the world.
We are delighted to be partnering with them for their Painted Faces Showdown. For the first time, the works of the 10 Showdown finalists we will be exhibited at the Griffin Gallery, from 5- 20 December (click here to access the invite). The winner and runner-up of Painted Faces will receive art materials to the value of £1000 and £500 respectively.
Click here for more details about the competition.
Private view and winners announcement on Wednesday 4th December
The Italian artists have each won a prize in 2012, awarded in one of three categories by the Italian AOP Academy, supported by Winsor & Newton, Liquitex and Conté à Paris. The artists from the UK are students or recent graduates from the Royal Academy Schools in London, selected from their proposals. By bringing together artists from two different countries and contexts, the Griffin Gallery aims to foster dialogue and discussion, expand artists’ networks and provide exposure for a group of exceptionally talented emerging artists.
The themes and media from this small snapshot of current artistic practice are varied, but the conceptual and formal concerns converge on a preoccupation with material surfaces, with the structures and devices of presentation and an engagement with abstraction. The works are exquisitely produced and constructed, tone and texture is a selection device, which often overrules the origins or narrative dimension of an object or form. This accomplished and self- analytical approach results in works which are contained, engaged in a suggestive interior monologue.
Though each is very distinct, the six artists’ practices are firmly situated in post-internet art making without necessarily referring directly to electronic space or source material. Visual material is almost exclusively culled and often heavily processed. This sourcing of the existing image, external and generic, removes biographical or narrative threads in favour of visual clues and automatic gestures of image selection. At the same time, the works are largely rooted in traditional technique, painting and sculpture, print making and textiles. This aspect of craft provides a space with recently acquired counter-cultural potential. In close engagement with the works in Surfacing, lured in by the examination of the artist’s hand and decision making, the viewer may discover a different kind of narrative emerge, a glimpsed action, a remembered structure. The generic and impersonal, the superficial and distant is here transformed into a space of mesmerizing recognition.
In collaboration with the Trinity Gallery in Tokyo, this refreshing and risk-taking exhibition will present for a week only the works of three young Japanese artists – winners of the Grand Prix and Semi-Grand Prix Liquitex Art Prize 2012.
Looking at the limit between the genuine and the imitation, Ayano Honda, winner of the Grand Prix Liquitex Art Prize, has been producing engaging, immersive and brightly coloured installations. She is currently resident in Griffin Gallery’s artist studio, preparing work for the exhibition.
Tessan Watabe, winner of the Semi-Grand Prix Liquitex Art Prize, tries to represent the unreal, creating colourful paintings of his dreams.
Makiko Satake, winner of the Semi-Grand Prix Liquitex Art Prize, explores the hidden and the visible through sculptural and delicate objects, pushing the acrylic paint to the limits of its materiality.
The inaugural winner of the Griffin Art Prize, Jaresova has been working in the artists’ studio above the Griffin Gallery since February. Exploring themes of physical and psychological confinement, Jaresova makes beautifully rendered drawings, paintings and three dimensional models.
The winner of the Griffin Art Prize has access to any materials of choice from Winsor & Newton, Conté à Paris and Liquitex. Jaresova took the opportunity to re-discover oil paints and the exhibition will showcase paintings made with her characteristically subdued palette. She experimented with the drying times of different Winsor & Newton mediums to create thin layers of paint that allow for a play between the image and the ground. The artists’ studio is on the same floor as the Innovation and Development laboratory allowing Jaresova access to products and processes she would not have otherwise considered.
This exhibition displays the results of the artists residency in the Free Radical Centre’s science laboratories in Melbourne, Australia. Each artist was asked to respond artistically to the topic of free radicals, thus bringing science and art together. Through this process the artists realised the significant impact of free radicals on the fundamental human processes. Most particularly how free radicals are essential for life, but paradoxically also cause ageing and our inevitable demise. Parallels can also be drawn between artists’ materials such as paints and plastics which require free radicals to polymerise or cure, but are nonetheless degraded by them overtime.
The fascinating project was documented throughout with a live blog and an Artist Profile magazine feature. Workshops run by the resident artists and scientists for art groups in regional locations across Australia served to further share experiences and provoke community discussion.
This thought provoking exhibition brings together paintings, drawings and installations presenting each individual artist’s interpretation of this previously unexplored topic. The exhibition takes the audience on the artists’ journeys of exploration and discovery.
Proudly supported by: ARC Centre of Excellence for Free Radical Chemistry and Biotechnology, Winsor and Newton, Artist Profile, and the Commonwealth Government through Inspiring Australia.
Click here to view the Exhibition E – Book which documents the works created during this artistic exploration into free radical chemistry.
FACK! (Forum for Artists in Chelsea and Kensington) presents the West London Art Prize 2013 at Griffin Gallery, a selection of artists who have a ‘W’ postcode. The winner will receive at six week residency at Griffin Gallery.
FACK! is pleased to announce the winner of the first West London Art Prize as Jonathan Kelly.
Jonathan graduated from Wimbledon College of Art & Design in 2011 with a BA in Fine Art (Painting). He will take up residence in one of our artist studios in January 2014, with an open studio event (dates to be announced) at the end of his six week residency.
An exhibition of the 14 shortlisted artists is on display at Griffin Gallery between 7 June and 11 July.
A call for entries into the prize was announced in early 2013, with the criteria for entry being residency in London, with a ‘W’ postcode. This is the first prize of this kind to prioritise artists based in West London, offering the winning artist £1000, £250 of art materials, a six week residency and open studio event.
Exhibition runs from 7th June – 11th July at Griffin Gallery.
The selection panel comprises:
Christopher Pensa – Director, Love Art London & consultant arts adviser
Phillip Allen – Artist
Becca Pelly-Fry – Director, Griffin Gallery & Global Artist Outreach Programme Manager for ColArt
Julian Wild – Sculptor and Public Artist
FACK! (Forum for Artists in Chelsea and Kensington) is a forum for visual artists that delivers opportunities, talks and information about creative practice. It is FACK’s intention to create a community for artists and a platform for discussion and debate.
To view a PDF version of the Ch Ch Ch Changing exhibition catalogue, please click here.
The question “is painting dead?” has been asked for well over a century now; however, many artists today are embracing paint as a medium with vital potential to be continuously rethought, rather than viewing it in opposition to contemporary practice.
This exhibition presents work by twelve contemporary artists who use pigment or paint as both material and idea, in ways encompassing sculpture, installation, exhibition, performance, video and painting.
Ch Ch Ch Changing comprises six pairs of artists, who have worked together in that unique relationship between teacher (artist) and student (emerging artist) on Fine Art courses at Camberwell, Goldsmiths, Kensington and Chelsea, Slade, Kingston, and Wimbledon.
Ch Ch Ch Changing is an exhibition curated by Erika Winstone, inspired by the song ‘Changes’ by David Bowie (1971) and the book ‘Ch-Ch-Ch-Changes: Artists talking about Teaching’ edited by David Mollin and John Reardon (2009).
Mathieu Dufois is an emerging artist who has already made his mark on the art world. He studied fine art at the Ecole des Beaux-Arts in Le Mans and has exhibited in a number of galleries in France and New York since he graduated in 2007. His distinctive work is largely inspired by the cinema of the 1950s and is a mix of black and white drawings, photography and installations. He works largely with Conté à Paris products, primarily the Pierre Noire and graphite lead pencils. During the course of his two week exhibition he will be giving several talks about his particular techniques.
'My work is formed through strong, passionate ties to the cinematic arts; specifically it is born from films of the ‘film noir’ period. In looking at certain cinematic sequences through the aspect of drawing, I undertake an exercise in re-appropriation, re-formation and re-cycling the images. My production takes different forms, such as large series of drawings, models and experimental films or animations.
The act of drawing is equal to an almost archaeological action which brings to the surface, like a magnetic force, the memories or emotional substance of a period forged by a number of cinematic works, buried now by lack of interest or indifference but which formed the collective conscience of several generations.' - Mathieu Dufois
For his first exhibition in the UK, Dufois has decided to present work at the Griffin Gallery which explores different forms of drawing , whether it be a large series, models or animated films.
The majority of the series of drawings presented in this space were used to make an animated film called Memento mori. What we see therefore at the Griffin Gallery are the preliminary materials, mounted and separated from the film, but which are primarily witness to the process of creation and production (the sequential image, the decomposition of movement).
For Dufois, this exhibiton is an opportunity to show his latest film, entitled La conservation de l’éclat, for the first time. This project was developed from a large quantity of paper models which were then drawn on, cut-up and folded to form chaotic urban landscapes.
Dufois’ personal ‘cinema’ is made with a few, economical resources, just paper and black pencils – the materials which are closest to his heart.
The 2013 edition of annual exhibition Young Gods will take place simultaneously across two locations in west and east London. Selected and curated by Zavier Ellis, director of Shoreditch gallery CHARLIE SMITH london and co-founder of THE FUTURE CAN WAIT, the exhibition will be a multi-disciplinary presentation of London’s most exciting graduates from the summer of 2012. Young Gods is presented in conjunction with the Griffin Gallery.
Focusing on the theme of artists’ materials at the Griffin Gallery, this exhibition will include four painters in Steven Allan, Andrew Leventis, Sikelela Owen and Sheila Wallis. Sculptor George Rae will recreate his life-size clay tree Quercus Robur, and Eyal Edelman will produce a real time interactive performance / sound / projection piece that encourages the audience to interact critically and directly with the other work on show.
Forming a bridge between the two sites, Edelman’s Everyone’s a Critic will be documented, edited and presented as a stand-alone video at CHARLIE SMITH london, alongside Peter Georgallou, who will make a floor to ceiling cycle driven loom that manufactures tweed; Salome Ghazanfari, who draws on street cults to make performance / video / installation; Adele Morse, who will present video and installation based on her search for the Orang Pendek species; and Jessica Rayner, whose multi-disciplinary work centres on expeditions to investigate the relationship between science, ecology and the human condition. Also showing at both sites will be Christopher Kulendran Thomas, whose complex political work draws partially on two main themes that run between the two shows: the nature of art in itself, and globalization.
The exhibition promises to be a relevant focus on London’s most exciting future talent. Previous selections have included David Blandy, Leah Capaldi, Oliver Clegg, Ines de Coo, Annie Kevans, Alexis Milne, Nika Neelova, Ryan Riddington and Douglas White.
Steven Allan (Royal College of Art)
Eyal Edelman (Camberwell College of Arts)
Andrew Leventis (Goldsmiths College)
Sikelela Owen (Royal Academy Schools)
George Rae (Central Saint Martins)
Christopher Kulendran Thomas (Goldsmiths College)
Sheila Wallis (City & Guilds of London Art School)