New Curatorial Project

I am curating The Sound of Silence: A Painting show of four Women Artists



Paintings by Alexandra Baraitser, Kate Palmer, Julie Fountain and Olha Pryymak

Curated by Alexandra Baraitser

A painting is finished only if it is painted with extraordinary sensitivity, with brushwork that enhances intimacy and intensity. Only then can the viewer truly contemplate it. And standing there in front of it in a quiet gallery, we are both looking and listening. The exhibition “The Sound of Silence” brings together four artists who use paint and mark making techniques to recreate two dimensional noiseless energy.

In “Silence in the Age of Noise”, Erling Kagge makes us aware of how silence can only be experienced when we shut out the noise of contemporary life. Experiencing painting in this exhibition might help us to tune out of the din and engage with the silence these artists create. Through the process of painting they provide different experiences of ‘pause’ that enable us to think and focus when viewing the artwork. Painting is about both silence itself and creating silence.

Rembrant's self portrait (1669) was made at the end of his life when he was 63 years old. The artist paints his own face with thick layers but is surrounded by darker thinly applied paint. The darkness reflects the old man's mood as he contemplates his own demise and it seems he has nothing left to say

The artists in this exhibition apply similar 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. Pryymak, for example, executes dramatically lit canvases depicting figures full of emotion. Words, sounds and songs are part of the painting to help Pryymak show how light creates silence and this provides a springboard to further ideas.

Palmer’s series of work Sluff was made during a residency at a disused isolated restaurant in the Alps. Sluff is the loose snow that is dislodged and falls soundlessly around you during a steep descent on skis or a snowboard. Work made there was inspired by the multiple traces of tracks descending in the snow, emerging out of a lived and embodied experience of silence. Baraitser's interiors infer an emotional absence. Her iconic frozen-in-time scenes allow a human presence, but the characters are speechless and isolated. She is interested in the relationship between the figure and the space around them, and the silences that this relationship produces. Julie Fountain is a painter who works primarily on paper. The pieces are painstakingly constructed over a period of time and are solicitous works. They are neither vibrant or non-resonant but are concerned with friezing the film and capturing the moment in time.

The paintings in the show The Sound of Silence raise the question of whether painting has a voice. Maybe it does, but what is certain is that painting has the ability to touch on subjects that bring us to a psychological and material space where we can experience silence. As Ansel Krut writes “painting touches on the nature of silence, on distance and on exclusion. But most importantly, it touches on the privileges of looking.”




Contact: 0789 9682016



The Places We Go

Curated by Alexandra Baraitser and Julie Fountain PV 15th October 6 - 8pm

We shall not cease from exploration
And the end of all our exploring
Will be to arrive where we started
And know the place for the first time
— Little Gidding, Four Quartets - T.S. Eliot (1943)

The physical process of wandering enables us to draw in information as we move from site to site. However The Places We Go is as much about looking inward (searching what we conceptualise as a “space within”) as looking outward, as the borders between material space and internal space are often blurred. One of the ways a painter learns about life is to explore it: the artists in this exhibition eloquently capture the moment of returning to the start and finding something new in the familiar.

This exhibition of paintings brings together a wide range of work focusing on the particularities of place, whether unknown or known, that are available in human experience.


Picture Box Dan Hays 240x180cm 2013

Picture Box Dan Hays 240x180cm 2013

THE PLACE WE GO   15 October - 25 October 2015   PV 6-8 15 October

Günther Herbst / Dan Hays / Julie Fountain / Alexandra Baraitser / Clio Lloyd-Jacob / Stephanie Kingston

Open 12 - 5 Thur - Sun APT Gallery, Harold Wharf, 6 Creekside, Deptford, London, SE8 4SA



A new exhibition coming soon

Alexandra Baraitser Charles and Ray Eames At Home Oil on Canvas 120x110cm 2015

Alexandra Baraitser Charles and Ray Eames At Home Oil on Canvas 120x110cm 2015

Upcoming: The Places We Go, 15th - 25th October, 2015, APT Gallery, London

An exhibition of paintings by Alexandra Baraitser, Dan Hays, Julie Fountain, Clio Lloyd-Jacob, Stephanie Kingston, Günther Herbst

Curated by Alexandra Baraitser and Julie Fountain

Stephanie Kingston Oil on Canvas Passing Through 100x150cm 2014

Stephanie Kingston Oil on Canvas Passing Through 100x150cm 2014

Human Traces on the Urban Landscape

The exhibition Human Traces on the Urban Landscape was at Clare Hall, Herschel Road, Cambridge, CB3 9AL. Human Traces on the Urban Landscape, (co-curated with Julie Fountain), was first shown at STOUR Space, Hackney Wick in 2013. The artists: Rosie Snell, Günther Herbst and myself Alexandra Baraitser.

The city can be a lonely place, but the tracks left behind form shadows and echoes that are both haunting and inspirational. The 21st century urban space is both riotous and socially complex - a rich layering of networks, multi-racial and political - and yet it can appear empty. The painters Herbst, Baraitser and Snell - through a language both abstract and figurative, leave traces and clues for us to discover and mysteries to solve. In his book on Howard Hodgkin, Andrew Graham Dixon writes how a picture talks of the “human presence” and“remembering somebody in their absence”. Similarly, a focus on absence and presence is provided in this exhibition.


Paintings by Baraitser at Clare Hall, University of Cambridge March 2015