London 2.0 - Eine Gruppenausstellung
Saturday, May 2nd
The gallery is closed.
Opening HoursTue–Fri 12–7pm, Sat 12–6pm and by appointment
In collaboration with Charlotte Hopkins Hall (*1979, lives and works in London) and following cities such as Athens, Berlin, Cologne and Paris, with London 2.0 we continue our cyclic group exhibition series, which provides a loosely ordered insight into current trends and developments regarding different art metropolises.
Rather than looking for similarity within the artists’ works, we have chosen to focus on the diversity that makes up the artistic richness of these cultural hubs. Working in different fields and media, what links these artists is the fact that they live and work in the same city. Our second London show features works by Jane Bustin, Wayne Clough, Anna Freeman Bentley, Lewis Hammond, Phil Miller and Clare Price.
Jane Bustin (*1964) explores the processes and subject matter of contemporary abstract painting through a practice that combines traditional techniques with a wide variety of materials and supports including aluminium, wood, copper, silk, paper, latex, gesso, ceramics and ready-made objects. Bustin modifies her treatment of paint and utilises the qualities and scale of these various supports to make reference to sources and subject matters that explore the nature of perception. Bustin’s work features in Thames & Hudson’s recently published “100 Painters of Tomorrow”.
Wayne Clough (*1975) is a painter who explores how photojournalistic approaches in the British press construct historical narratives. His paintings are transcriptions of press photographs that depict significant events that have attempted to represent lived experience. His particular focus is on images of social upheaval spanning the last thirty years and he invariably concentrates on photography that he believes galvanises collective memory. Clough has been shortlisted for the “John Moores Painting Prize 2014”.
In her paintings, Anna Freeman Bentley (*1982) explores the built environment, architecture and interiors, inviting emotive, psychological and semiotic readings of space. With an intense, regularly dark palette and energetic yet often intricate brushwork, her paintings depict all manner of places – derelict factories and warehouses, baroque buildings, shops, cafes, and modern industrial and corporate architecture. Freeman Bentley’s new monograph “Mobility and Grandeur” has just been published.
Lewis Hammond’s (*1987) paintings address elements of humanity’s rich history; from political and religious ideologies to the creation of painted environments that set-up narratives. The artist often employs ambiguity in both the handling of the paint and the selecting of imagery to encourage multiple readings of the work. In 2013, Hammond was shortlisted for the “Marmite Art Prize” and, in 2014, for the “East London Painting Prize”.
Phil Miller (*1970) is a London based artist, photographer and filmmaker. His work is a complex process, involving the marriage of original photographs and artwork using projections and multiple exposures. Once layered, the images take on a new, almost cinematic quality with a real sense of movement, revealing elements to the viewer that are not always obvious at a first glance. “Why did you buy me plastic flowers?”, a short film directed by Phil Miller, was presented at the 2012 “London Short Film Festival”.
Drawing from the history of painting, particularly abstract expressionism, Clare Price (*1971) seeks to explore the vitality of matter and the agency of objects through the visceral nature of paint, gestures, pours and stains. The limitless possibilities of the materials invoke the chaos of the universe. The artist describes her paintings as ‘grubby objects in the world, in relation to the impalpable nature of the digital’. Price is the recipient of the 2013-2014 “Acme Jessica Wilkes Award”.