‘All these gestures hung in time, in logic and in human experience. It’s all about inarticulacy, stretching towards communication.’ -John Berger


This exhibition is a celebration of paintings in dialogue with their preparatory works. So rarely do you see small drawings and sketchbooks included in an exhibition alongside the larger pieces. This exhibition aims to highlight their importance in terms of artistic process and practise.  Artists Taking Part include: Tyga Helme, Isobel Das Gupta, Catherine Repko, Emilie Goldfinger, Bobbye Fermie, Casper White, Okiki Akinfe, TaeDong Lee, and Beatrice Hasell-McCosh 

 

  • Beatrice Hasell-McCosh, The Past Was Asleep (Diptych), 2020

    Beatrice Hasell-McCosh

    The Past Was Asleep (Diptych), 2020

    Oil on Canvas
    127 x 180 cm

    £3,000

    Click for more details 

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    ‘’Drawing and making small studies for me has been a way of circling around an idea before settling on why I want to paint, what I want to include and what to leave out. Elaine de Kooning described making work as being like ‘when you’re dancing, you don’t stop to think now I’ll take a step…you allow it to flow’. As an artist too, drawings in a flowing dialogue with their corresponding paintings is something I am always attracted to when they are included in exhibitions and is something I am excited to highlight in this presentation of work.’’
    – Beatrice Hasell-McCosh

  • Tyga Helme, The Ganges, Gangotri

    Tyga Helme

    The Ganges, Gangotri

    Ink on paper
    56 x 220 cm

    £1,250 (framed)
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  • "These pieces came out of a teaching residency I did in India with the Royal Drawing School. I spent three months teaching and making work in an industrial town called Modinagar in Uttar Pradesh. I spent a lot of time moving around in the streets and exploring and I would do quick pencil drawings in sketchbooks. I was overwhelmed by the street life and felt a need to record what I could. It felt like note taking and at the time I didn’t know I would want to use them for paintings. They were more about the making of them, about looking and seeing, exploring and responding. It was only after making them that I got really excited to develop some of them into something else. The drawings became the catalyst for the paintings. The drawings were a starting point which jolted my memory for the places and allowed a freedom in exploring colour and composition, to really remember the feel of place."
    - Tyga Helme

  • Bobbye Fermie's work mainly consists of tender and dreamlike watercolours, in which she achieves to portray a sense of intimate stillness and softness that she relates to an introverted character. Bobbye is interested in highlighting the intimacy within the home setting and imagining a centre stage for her characters. In doing so, she invites her viewers up close into her quiet, reflective scenes. 

  • Okiki Akinfe, Testsuo’s Eyes , 2020

    Okiki Akinfe

    Testsuo’s Eyes , 2020
    Oil on Board
    32 x 39 cm
    SOLD

  • Okiki Akinfe, Untitled Triptych , 2020

    Okiki Akinfe

    Untitled Triptych , 2020 Pen and pencil on paper
    8 x 24 cm each
  • A sketchbook demonstrates the power of gathering. It is all the information made up of lived experience and snatched thoughts, which contribute to how an artist makes work. These notes and ideas are as important as the finished work but are so often overlooked as part of an exhibition. Since lockdown ended many artists who were forced to pause making work have returned to their practise and are making larger pieces based on small drawings, studies or thoughts gathered over these past 5 months. This show will be a celebration of the ‘inarticulate’ ideas that contribute to the final works as well as those works that they connect with.

  • TaeDong Lee, Dark Forest

    TaeDong Lee

    Dark Forest
    Oil on Canvas
    270 x 100 cm
    £3,000
    Click for more details 
  • TaeDong begins from sensing emotions in landscapes he visits. TaeDong searches his memories of the places he has visited, constructing a semi-abstract landscape that reflects his past emotional state, using recorded sounds, pictures, diaries and videos as reference. The shape of the landscape becomes gradually distorted as he paints, the colours expressing the emotional mass of the landscape. With distorted shapes and colours, he makes an emotional place on canvas which he calls emotion-interpreted space.

    Through emotion-interpreted space, TaeDong communicates with the viewers what he feels, providing an escapism from daily life and psychological relaxation.

  • TaeDong Lee, Green Waterfall

    TaeDong Lee

    Green Waterfall
    Oil on Canvas
    162 x 130 cm
    £2,500 
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  • "The lockdown really made me reconsider my practice. As someone who always painted the people around me, now images, films and the people I interact with online (Twitter,
    zoom and TikTok) and old films have become important, which has broadened the spectrum of references in my paintings. I have moved away from painting my friends, and now I focus on other source material.

     

    These paintings are all based around models from specific fashion shows. The idea of a
    model as a hanger for clothes or a tool for the designer is something I am interested in. The sitters of classical works are often the same. I think it's interesting that the sitters face
    in a portrait is essential to convey their personality. Here I am hoping they can be a conduit for different feeling and ideas. struggle with the written word, so my studio practice in many ways could be seen as an attempt to articulate myself and ideas in other ways.- Casper White



     

     

  • Isobel Das Gupta, Basking, in new ways, 2020

    Isobel Das Gupta

    Basking, in new ways, 2020

    Gouache, pastel and oil on paper
    69.5 x 100cm (unframed)
    Work Comes Framed
    £850
    Click for more details 

     

  • "My practice is centred on drawing through the mediums of charcoal and paint.
    I like to draw from observation; in situ, from photographs and film stills, as well as from memory. I enjoy the process of abstracting these drawings; enlarging, dissecting and reassembling them onto canvas. I often abandon the drawing at a point along the way, allowing me to have a new conversation with the canvas. My recent focus has been on ideas that relate to limits and resistance, architecture and mechanics, home and migration."
    - Isobel Plent Das Gupta

  • Emilie Goldfinger's work consists of stoneware tiles inscribed with pieces of fictional epistolary writing. Postcards and diary entries are her main focus, revealing snippets of conversation and inner monologues of the characters that live inside her head. Recurring themes of long-distance love, the interior life, and human curiosity arise throughout her work.

  • Cat Repko, Our Common Ground, 2020

    Cat Repko

    Our Common Ground, 2020

     

    Oil on Canvas

    120 x 180 cm

    £3,000

    Click for more details 

  • How important art practice is in our lives, and how important it is to continue making, thinking, reflecting and discussing. How important it is to have a place for doubts. How important it is to learn from one another and to teach each other through the work that we make and the questions that we ask.

    My practice stems from a deeply investigative relationship with material and self, an investigation that evolves from time spent in the studio, and initial writing.

    Certain themes run through my work - a heavy grieving, a death, a sense of displacement. We are also living in a very strange time - there is an undercurrent of anxiety, depression and uncertainty about the future; and we feel it beneath us. These weights are expressed within my work, but they are held in a search to find light through sharing, of holding these weights in our work, and of finding something of a joy amongst all of it. Of sharing together. More beautiful together.

    - Cat Repko

    The work claims no answers, no great ideas, no beauty; this work is made of questions. Seeking, seeking, seeking.
    O, we search

  • “I make decisions on colour based on the ‘ground’ I use. For example, if I chose a blue piece of paper or painted a blue layer first on a canvas, the colour I use next will be one that complements blue – from there I just let my knowledge of colour and instinct take control" - Oriele Steiner 
    - It's Nice That

  • Hung in Time: John Berger draws Tilda Swinton

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    Hung in Time: John Berger Draws Tilda Swinton

     

    Berger

    We who draw do so, not only to make something observed visible to others, but also to accompany something invisible to its incalculable destination. 

     

    Swinton reading Spinoza

    The human body, corpus humanum, is composed of many individuals of different nature, each one of which is highly composite.

     

    Berger

    We were born on the same day, the 5th of November. To say that we have a lot of things in common is complicated, but also there’s something that we share, quite mysterious but very deeply.

     

    Swinton reading Spinoza

    The human body needs for its preservation many other bodies from which it is, so to speak, continually regenerated.

     

    Berger

    Sometimes I think it’s as though, in another life, we met or did something.

     

    Swinton reading Spinoza

    The individuals composing the human body, and consequently the human body itself, is affected in many ways by external bodies.

     

    Berger

    Not in the sense of reincarnation—it’s not that—because what’s important about this, if it’s like that, is that we are aware of it in some department which isn’t memory, although it’s quite close to memory, of this thing that maybe in another life we  . . . touched together.  And then I think to myself, when I think like that, well maybe, maybe we made an appointment, to see each other again in this life. “Ok, 5th of November? Ok.” But it wasn’t the same year, but that didn’t matter. We weren’t in that kind of time.

    Like we got off at the same station.

    Exactly.  We got off at the same station.

     

    Swinton reading Spinoza

    When a fluid part of a human body is so determined by an external body that it impinges frequently on another part which is soft it changes its surface, and as it were, imprints on it the traces of the external impelling body.

     

    Berger

    We mortals know only too well that time is in our mouths, and hands, and feet, and that change is all we have to rely upon.  And when I reach now for a gesture that reconciles me to the triumph that human art can be, I think about that gleam in the lip of the glass that a woman brought to her lips 500 years ago and the precision with which her artist witnessed that moment or rather that pose depicting that moment and the magical whisper of movement behind the limbo—the sound and smells and temperature from the street below.  Imagine: all these gestures hang in time and logic and human experience; all about inarticulancy stretching towards communication, and life, good old life itself, ticking by forever. But here bottled, like the genie in oil, and feigned like a magic window for curious human aliens.