Delighted to be interviewed about my work and being shown at Kettles yard by BBC Radio Cambridgeshire.
Friday 4th October at 10am
3rd October - 27th October 2019
THE CAMBRIDGE SHOW
There is a page about my work on the Kettle’s Yard website. Click here.
I have been invited to talk about my work on Thursday 17th October at 115pm.
For more information click here.
This new exhibition brings together work by twenty-two artists who are based in and around Cambridge. Showcasing a cross-section of the artistic community operating in the local area, from photography to performance, the exhibition explores these artists’ diverse practices, and some of the themes and issues that they are engaging with right now.
There are mid-career artists amongst those who are more established and there is a real range on display – from paintings by Claerwen James and Alexandra Baraitser to performance works by Paul Kindersley, Harold Offeh and Caroline Wendling. It is a celebration of artists in and around Cambridge.
The artists were selected from an open-call to which 460 artists put forward work. The selection panel was chaired by Andrew Nairne, Director of Kettle’s Yard, and included Amy Botfield, Arts Council England; Guy Haywood, Curator, Exhibitions and Collection, Kettle’s Yard; Kettle’s Yard committee member Sabine Jaccaud, AstraZeneca; Issam Kourbaj, artist; and Harriet Loffler, Curator, New Hall Art Collection, Murray Edwards College.
Kettle’s Yard, Castle Street, Cambridge CB3 OAQ
tel. 01223 748100
Open Tuesday - Sunday 11am - 5pm
I am pleased to announce that I will be showing at Kettle’s Yard next month. The exhibition is showcasing a cross-section of work from across Cambridge ranging from performance to photography.
I will be in the gallery talking about my work on Thursday 17th October at 1.15pm. Just turn up!
22 artists are exhibited in this newly referbished building.
PERMEABLE SPACES 8th August - 13th September
Open Mon-Fri 9am-5pm
CLOSING PV Thursday 12th September 6-7.30pm
Alexandra Baraitser / Stephanie KIngston / Louise Butler Adams, Tooney Phillips, Amanda Lwin, Clio Lloyd-Jacob, Andrew James, Melissa Murray
Curated by Clio Lloyd-Jacob
This exhibition explores how physical spaces shape our perceptions and behaviour and how in return we shape them.
The Alison Richard Building operates simultaneously as an interior and an exterior space. Nicholas Hare’s atrium, with a four-storey staircase running though it, creates large, open landings. These provide perch-like communication spaces outside the departments, yet within the building.
Works in this exhibition reflect on, or highlight through contrast, spaces where multi stimuli vie for attention or coexist in precarious balance. To what extent do we internalise objects and walls as boundaries? How do they structure narritives of our thought? How does prevalence of reflective, glass and mnetal surfaces in contemporary environments affect our perception of space abd of ourselves? What, in our surroundings, reflects our influence, and how do we cope when there seems to be nothing?
The viewer is encouraged to imaginatively inhabit these artworks, constructing their own narratives and responses. We are relating this artwork to a broader context, with live art performance and a cross-disciplinary discussion on various aspects of how societies create boundaries.
This Instead of That was at ARTHOUSE1 in March 2019.
This Instead of That explores how artists respond to each other’s work and derive energy from their peers. An initial version of the exhibition featuring four artists showed at Lewisham Art House, 2018. A larger version of the show, co-curated by myself and Trevor Burgess showed at Arthouse1, London from 7 to 30 March 2019. I have been in a dialogue with Trevor Burgess for the last two years - and for this period we have been reflecting on each other’s work, selecting each other's paintings and making new paintings inspired by the process. We aim to tour this project to regional spaces.
Two of the artists in the show, Meg Lipke and Hermione Allsopp have collaborated to produce one sculpture for the gallery in Bermondsey. Although they live in different countries the artists are close friends and have worked together before. Allsopp writes about the experience ‘In making this work I have learnt and gained by this communal activity’.
This Instead of That
ARTHOUSE1, 45 Grange Road, Bermondsey, London SE1 3BH.
Read my blog about how the show came about:
PV: Wednesday 6 March 2019 6.30 - 8.30pm
Ending Party Sat 31st March 4pm
Hermione Allsopp / Meg Lipke
Alexandra Baraitser / Trevor Burgess
Nelson Diplexcito / George Wills
Catherine Ferguson / Tim Renshaw
Olha Pryymak / Julie Fountain
This Instead of That is a show about artistic exchange - what happens to both representation and reality when artists get together to re-evaluate their ideas and influences through dialogue with one another. It looks at the processes and practices of artistic exchange, and focuses on the interchanges that are established when similar passions collide.
The mutual sharing of ideas about a portfolio of work that is not your own, is deeply rooted in fine art practice. Essentially this quid pro quo movement of critical exchange has been around for centuries. For example, Matisse immersed himself in the work of others, quoting imagery from his friends and contemporaries, even going into debt to buy work from those painters he admired, thereby sustaining an ongoing dialogue with their work. Discussion about the work of colleagues and contemporaries remains a central strand in fine art training, and is often sustained beyond the confines of art school through informal networks, collaborations, social art practices, shared studios, and other innovative modes of exchange.
For the creation of this exhibition, the artists involved paired up, presenting each other with ideas or questions about the other’s work, the response to which was then commissioned for the exhibition at Lewisham Arthouse:
It is easy, in a world so dominated by the visual, to customize new ideas to fit what we already know. However, like Matisse, the contemporary artist will make a conversion of an idea that has the transformative effect of changing its core meaning. The artists here have shown how embracing new ideas from other artists about their own work can divert work in a new direction, transforming artistic development and allowing for extended collective discussion and understanding.
There is a catalogue available for This Instead of That, click here to download the PDF.
Read the review of my show Silent Painting at Tripp Gallery here https://www.theartsdesk.com/visual-arts/theres-poetry-painting-gives-endless-possibilities
Delighted to be interviewed about my work and being shown at Kettles yard by BBC Radio Cambridgeshire.
Friday 4th October at 10am
So pleased to announce that my paintings have been selected to exhibit at Cambridge University’s ARB Gallery this summer/autumn.
8th August - 12th September 2019
An exhibition that explores ideas surrounding both architecture and gender.
This Multimedia exhibition utilised a full range of mediums including film, solargraphs, digital printmaking, installation and painting - giving the show a multi-dimensional interpretation of this fascinating group of countries.
A full colour catalogue is now available.
The artists who exhibited at The Library at Willesden Green in 2016 were Jan Svenungsson, Katie Goodwin, Sirpa Pajunen-Moghissi and Alexandra Baraitser
There's still time to head down to Finsbury Park to see my latest work in the gallery at Park Theatre. The exhibition runs until 30th April 2018.
The artists showing at Tripp Gallery apply techniques to imbue the image with a symbolic dimension that speaks to the moment of having nothing left to say, when words and sounds fall silent. They also utilise visual, tactile and olfactory senses to tell their story.
Pryymak, for example, executes dramatically lit canvases depicting female figures in quiet contemplation. The smell and tactility of the herb-filled jars exhibited alongside them activate a sense of the uncanny. She writes: “These multi-sensory installations silently highlight an archaic revival as a take on future redemption”. Using anachronistic but realist imagery, Pryymak taps into her heritage for non-conformist ways of making wordless statements to address what art critic Ben Davis calls “the unspoken and intractably apocalyptic sense of the world”. In the installation at Tripp Gallery, the standard issue Soviet jars normally used for making home preserves now contain fragments of forgotten remedies.
Through painting Baraitser makes her own interpretation of iconic architecture and its associated lifestyle. The fashionable scenes displayed in her work are populated but focus on the non-communication or separation of each figure from the other. In the painting The Perfect 50s Housewife the artist infers an emotional absence. She is clearly inspired by the painter Edward Hopper. Her iconic frozen-in-time scenes allow a human presence, but the characters are speechless and isolated. The work shows an interest in the relationship between the figure and the space around them and the silences that this relationship produces.
Fountain’s work reflects the artist’s emotional landscapes and painting them is partly therapy for processing what she describes as her daily anxiety and unease. Paint and paper are useful tools for expressing the intensity of feeling within her relationship with her daughter and when reflecting on her own past childhood. The pieces are painstakingly constructed over a period of time and are solicitous works. They are not vibrant but have a delicate resonance that is concerned with freezing the film and capturing the moment(and feeling), in time.
If you are in London in March 2018 then I would be delighted if you would pop by to see work exhibited in two exhibitions:
CURATED BY ALEXANDRA BARAITSER
22 MARCH - 25 MARCH 2017
PRIVATE VIEW THURSDAY 22 MARCH 6 - 9
TRIPP GALLERY 59 Amwell Street, LONDON, EC1R 1UR Open THURSDAY - SUNDAY 12 - 5.30pm
5th March- 7th May. Park Theatre
Park Theatre, Clifton Terrace, Finsbury Park, London N4 3JPTube: Finsbury Park (Station Place Exit)
Exit left out of Station Place then left and under the bridge. Then second left onto Morris Place, Park Theatre is at the end.
"Images of women in a range of feelings. GLOW celebrates how wonderful a woman can be in the most simplest of settings."
T: 0207 167 6630
Here I am with my friend the artist Julie Fountain visiting Olha Prymaak's studio.
We had a great chat about our work, ideas and future projects.
Our central London exhibition Desktop was a success! We received lots of positive feedback!!
DESKTOP - artists have used the office desk as their muse - exhibiting the finished work in the office space
ARTISTS: Alexandra Baraitser/Roland Hicks/Kasper Pincis/Sirpa Pajunen-Moghissi/Ekkehard Altenburger
EXHIBITION: 25 - 26 January 2017 at THE OFFICE GROUP, 91 Wimpole Street, Marylebone, London W1
An assemblage of computer, pens, books, paper weights, elastic bands and blue tac, visible on a desk, establish the possibility of “work” within the domestic sphere. Yet these same mini-exhibitions of material objects appear oddly domestic, or personal when clustered on the desks of office spaces, providing an echo of the mundanity of everyday life within the increasingly corporatized spaces of work. Indeed, the word desktop, used to describe the computer interface, often uses icons that are visual representations of these material objects, cut free from their situatedness in either home or work.
The artists in this exhibition use the desktop as a starting point for explorations of the transitions between work and everyday spaces, and between virtual and imaginary spaces. The desktop has the ability to transport us from the domestic to the public, from the actual physical world, to worlds of pure imagination, such as the augmented reality of cyberspace. The exhibition is a study of these complex processes of migration and reality.
Roland Hicks’ artwork includes paintings, sculpture and trompe l’oeil reliefs which scrutinise the overlooked items of our daily lives. The pieces on show in ‘Desktop’ examine items of stationery turned into spontaneous sculptures, evidence of a minimal creative gesture. These intuitive creative acts, hastily assembled, are slowly and painstakingly recreated under Hicks’ hand, amplifying even the smallest of gestures and making us reconsider the mundane material that surrounds us. Rubber bands, push-pins, blu-tack and pieces of tape acquire an intriguing presence as he builds a tense relationship between figuration and abstraction. His works possess an inherent sense of absurdity as to why someone would assemble such compositions and it continues to question the point at which something becomes ‘Art’. Hicks playfully distorts where his creative process begins and ends; whether it is through the original assemblage, the painting process or the hand sculpted re-creation. Concerned with both the beautiful and banal, his work is infused with dualities; it is earnest yet playful, abstract and at once figurative, both simulated and authentic.
Sirpa is interested in exploring a mix of various media and materials. Layering them becomes a focus and part of the concept. Sometimes she uses elements originating from wood cuts carved over 30 years ago by her late mother the artist Seija Guttormsen . She uses photography ether found in old newspapers or that she has taken herself. Her artworks are created through multiple layering and by a process of deconstruction and arrangement. The final image combines an exploration of a range of materials (paints are bought from both art shops and DIY shops), with an investigation of the connections and associations of the visual history, whether aquired or inherited.
Baraitser's work pays homage to the greatest designs of the twentieth century. Her recent paintings are a series based on Copenhagen's fashionable “Illums Bolighus” department store, the kind of shop where people go for retail therapy or more often to simply imagine themselves living in their dream home. The spaces are inviting - the bright lighting sales floor is an attractive place that is flooded with warmth, hovering between shop, home and a giant dolls house. For DESKTOP she has painted a designer lamp surrounded by towers of books. This, at the end of an era of western civilisation, is specific to the contemporary relationship we have with places we call home and spaces we inhabit.
The sculptor Ekkehard Altenburger grew up on a farm at the Swiss / German border, and is based in the UK since 1995. He studied sculpture - first at Bremen's Hochschule fuer Kuenste and later at Edinburgh College of art. He finished his studies in 1999 with an MA from Chelsea College of art in London. Prior to his academic studies, he worked as master mason at the Gothic Cathedral of Schwabisch Gmuend in South Germany. Architecture has always influenced his work, which was the main reason for moving to London, to develop a practice very much inspired by the city that constantly inspires, challenges and informs his work. Meeting and filming the then 94 year old architect Oscar Niemeyer in 2001 in his Office at the Copacabana left a lasting influence. His work explores the physical balance of the built environment, using architectural references as well as sculptural volumes of physical material. This balance is also represented in the relationship between form and surface of a sculpture. Altenburger often uses texture and colour to manipulate surfaces, adding a further layer of information to a sculptural form.Altenburger usually works in heavy materials, mainly steel and stone. More recently he has developed prints and drawings in paper, which appear as assembled reliefs. Many of his works are in the public domain, where he developed site-specific works for both private and public clients. Due to the scale of his works, Altenburger regularly works with quarries and Granite / Marble factories throughout Europe.
Kasper studied his BA in Fine Art and History of Art at Goldsmiths College, University of London in 2001-4, and Postgraduate Diploma in Fine Art at the Royal Academy Schools, 2004-7. He lives and works in London, and is represented by dalla Rosa in London and Aanant & Zoo in Berlin.
Recently my work has become more and more focused on a process that achieves the maximum effect from the most economical, if repetitive, of means. Originally my work was interested in the aesthetics of the vicarious experience of 'exploration' with research conducted via library books, slide shows and borrowed narratives from episodes such as the ascent of Everest or the Kon Tiki expedition. It seems to have flipped now from images of the heroic, underscored by the domestic and mundane, to an almost heroic performance of that mundane and bureaucratic process- typing the letter 'o' almost two million times on a typewriter or photocopying every page of the encyclopedia onto one sheet of paper.