Works On Paper- Quench Gallery
Read more ...Quench Gallery is proud to announce an exhibition and auction of over 75 works on paper by many of the UKs leading artists including Lindsey Mendick, Sonia Boyce, Jeremy Deller, Delaine Le Bas, Pio Abad, Ryan Gander and Sophie Von Hellerman (Full list of artists below).
Quench is a project space and gallery in Margate, Kent run by Lindsey Mendick, Gemma Pharo and Guy Oliver. Quench was created in the pandemic with the aim of giving artists and curators an opportunity to develop new work and put on exhibitions. We are a not-for-profit venture and all proceeds from the gallery go directly to the artists. Quench also houses one-off events within the gallery such as screenings and performances, as well as, pop-up opportunities for local practitioners. In order to make art more accessible, Quench is passionate about providing arts education for children in the local area. Over the past two years we have successfully run a summer school, gallery tours and creative workshops for children and we have just initiated a Wednesday night youth club.
Due to the cuts in both arts funding and social services, the pressure on organisations like ours has increased to the point that we have sadly been unable to sustain the model that we have started and we are on the brink of having to close our doors. We are proud that we have supported 68 artists with bursaries amounting to 89.4K since 2021.
TERMS AND CONDITIONS
All works must be paid for on receipt of the 'WINNING BID' email. You will be given the option of a payment link or a BACs payment direct to Quench. BACs payments means no card fees and slightly more money direct to Quench projects.
Payments must be made within 48 hours of auction closing. If payment is not received we may offer the item to the next highest bidder.
When bidding please bear in mind the nature of the auction is an emergency fundraiser so fast payments are extremely well appreciated from the Quench team and will ensure the gallery can continue work.
Postage and Packaging
Works for UK -
Works can be sent Royal Mail Special Delivery at your own cost. You can also arrange courier collection from the gallery if you prefer, though this will need to be organised by yourself with 5 days warning to the gallery so we can prepare the artwork and make sure an invigilator is present for collection.
You may collect from the gallery in Margate at your convenience by appointment or during opening hours (see website for details or email quenchgallery@gmail.com)
International buyers -
Please note if you are buying from outside the UK courier is the only option available to you. Quench gallery can prepare the works for collection with 5 days notice so that we can make sure your works are ready and an invigilator is present for the courier collection.
If you have any questions please email quenchgallery@gmail.com
Full list of Artists:
Adham Faramawy
Alexander Glass
Alexis Harding
Alicia Reyes McNamara
Andrew Curtis
Andy Holden
Ann Churchill
Anna Freeman Bentley
Anna Perach
Anne Ryan
Anya Gallaccio
Athena Papadopoulos
Bianca Raffaella
Bobby Baker
Boo Saville
Brogan Bertie
Bryony Rose
Caroline Walker
Catherine Chinatree
Charlie Godet Thomas
Darcy Brenna
David Remfry
David Shillinglaw
Delaine Le Bas
Dominic Watson
Eileen Cooper
Emii Alrai
Emma Cousin
Emma Talbot
Eve Stainton
Finbar Ward
Gabriel Hartley
Gabriela Max
Gabriella Boyd
Gaby Sahhar
Gavin Turk
Giles Round
Grace Alexandria
Gray Wielebinski
Guy Oliver
Hannah Perry
Haroon Mirza
Haroun Hayward
Helen Teede
Holly Hendry
Jack Hirons
Jack Jubb
Jack Lavender
James Metsoja
Jane Bustin
Jane Hayes Greenwood
Jenkin Van Zyl
Jeremy Deller
Jessie Makinson
John Smith
Joline Kwakkenbos
Jonathan Baldock
Julie Verhoeven
Karla Black
Laura Footes
Laure Prouvost
Laurence Owen
Lindsey Mendick
Lola Stong-Brett
Layla Andrews
Lo Lo No
Lucy Bell
Lydia Pettit
Marianna Simnett
Masie Cousins
Mercedes Lucy
Mia Wilkinson
Milly Peck
Miranda Forrester
Natalia Gonzalez Martin
Nour El Saleh
Olivia Bax
Olivia Sterling
Paloma Proudfoot
Patrick Goddard
Pio Abad
Polly Morgan
Prem Sahib
Rachel Maclean
Rae-Yen Song
Rafaela de Ascanio
Rafał Zajko
Rana Begum
Rebecca Lucy Taylor (Self-Esteem)
Rhys Coren
Rosie Reed
Ryan Gander
Ryan Mosley
Saelia Aparicio
Sam Keelan
Samuel Vilanova
Shezad Dawood
Simeon Barclay
Dame Sonia Boyce
Sophie Barber
Sophie Spedding
Sophie Von Hellermann
Stuart Raynor
Studio Lenca
Susie Green
Tai Shani
Ted Rogers
Tim Allen
Tim Noble
Dame Tracey Emin
Twinkle Troughton
Vanessa Raw
Victoria Cantons
Vincent Hawkins
Zach Toppin
Confirm your bid
By confirming your bid, you commit to buy this item if you are the winning bidder at the end of the auction and you agree to the terms of this auction.
SIGNED IN AS :
Lot 80
£ 270
1
NOT STARTED
Athena Papadopoulos - The Screen, (after Edvard Munch)
Athena Papadopoulos - The Screen, (after Edvard Munch)
Bidding starts on 27-07-2024 17:00
CURRENT PRICE:
(Reserve not met !)
LOT #:
BIDS:
£ 270
80
1
Highest bidder: Marcelle Joseph
YOUR BID:
£
CLOSED
Minimum bid is £290 (Bid increments are £20).
You are the highest bidder ! , but the reserve price has not been met.
You have been outbid! Bid again!
The Screen, (after Edvard Munch)
2024
29.6 x 21cm
Graphite, ink, paint and sticker on paper
Athena Papadopoulos was born in Toronto and currently lives and works in the UK. She has exhibited extensively across Europe with solo exhibitions at MOSTYN, Wales; Kunsthalle Lissabon, Lisbon; CURA Basement, Rome; and Shoot the Lobster, NYC. Participation in group exhibitions has been numerous, most recently her works have been presented at spaces including the Institute of Contemporary Art (ICA), Los Angeles and Museo Madre, Naples. Past group exhibitions include Drawing Room, London; David Roberts Art Foundation; London and Herald St., London; as well as at Peres Projects, Berlin.
2024
29.6 x 21cm
Graphite, ink, paint and sticker on paper
Athena Papadopoulos was born in Toronto and currently lives and works in the UK. She has exhibited extensively across Europe with solo exhibitions at MOSTYN, Wales; Kunsthalle Lissabon, Lisbon; CURA Basement, Rome; and Shoot the Lobster, NYC. Participation in group exhibitions has been numerous, most recently her works have been presented at spaces including the Institute of Contemporary Art (ICA), Los Angeles and Museo Madre, Naples. Past group exhibitions include Drawing Room, London; David Roberts Art Foundation; London and Herald St., London; as well as at Peres Projects, Berlin.
Kindly donated by
Athena Papadopoulos
Athena Papadopoulos
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By confirming your bid, you commit to buy this item if you are the winning bidder at the end of the auction and you agree to the terms of this auction.
SIGNED IN AS :
Lot 42
£ 3,400
70
NOT STARTED
Vanessa Raw - As You Left their Voices Behind
Vanessa Raw - As You Left their Voices Behind
Bidding starts on 27-07-2024 17:00
CURRENT PRICE:
(Reserve not met !)
LOT #:
BIDS:
£ 3,400
42
70
Highest bidder: Jay Jopling
YOUR BID:
£
CLOSED
Minimum bid is £3,420 (Bid increments are £20).
You are the highest bidder ! , but the reserve price has not been met.
You have been outbid! Bid again!
As You Left their Voices Behind
2024
21.1 x 29.7 cm
Gouache on paper
Vanessa Raw explores female identity and sexuality whilst turning the male gaze on its head. Using colour and gesture she transforms male-dominated pornographic imagery and combines with her own imagined and taken images, transforming the negative to that of something positive. As a woman painting women, she takes back the power.
Creating sensual and loving figures within peaceful surroundings it's as if she's metamorphisising her own negative experiences and memories to that of new beginnings. The landscapes in which the figures reside are experienced by Raw when she runs through them. Once a GB triathlete, being in her “body” is a large part of the work. The physicality of her gestures can be experienced through the flowing flora. She refers to both running and painting as moving meditation, a place where she feels at peace.
Vanessa has a BFA from Loughborough University (2004) and has recently graduated from Turps painting school. Last year she exhibited in London, Berlin, and Margate
2024
21.1 x 29.7 cm
Gouache on paper
Vanessa Raw explores female identity and sexuality whilst turning the male gaze on its head. Using colour and gesture she transforms male-dominated pornographic imagery and combines with her own imagined and taken images, transforming the negative to that of something positive. As a woman painting women, she takes back the power.
Creating sensual and loving figures within peaceful surroundings it's as if she's metamorphisising her own negative experiences and memories to that of new beginnings. The landscapes in which the figures reside are experienced by Raw when she runs through them. Once a GB triathlete, being in her “body” is a large part of the work. The physicality of her gestures can be experienced through the flowing flora. She refers to both running and painting as moving meditation, a place where she feels at peace.
Vanessa has a BFA from Loughborough University (2004) and has recently graduated from Turps painting school. Last year she exhibited in London, Berlin, and Margate
Kindly donated by
Vanessa Raw
Vanessa Raw
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SIGNED IN AS :
Lot 83
£ 95
2
NOT STARTED
Vincent Hawkins - Reaper Hit by Inter-Dimensional UFO, He Had it Coming
Vincent Hawkins - Reaper Hit by Inter-Dimensional UFO, He Had it Coming
Bidding starts on 27-07-2024 17:00
CURRENT PRICE:
(Reserve not met !)
LOT #:
BIDS:
£ 95
83
2
Highest bidder: Anonymous
YOUR BID:
£
CLOSED
Minimum bid is £105 (Bid increments are £10).
You are the highest bidder ! , but the reserve price has not been met.
You have been outbid! Bid again!
Reaper Hit by Inter-Dimensional UFO, He Had it Coming
2023
17 x 23cm
Watercolour on paper
Vincent Hawkins (b.1959, UK) lives and works London. He has exhibited extensively in Britain and internationally with solo shows in Chicago and Paris in recent years. Recent solo exhibitions include, 'Planet and Satellites', l'ahah, Paris, France, 2023, 'Art in The Chapels', 31st Edition, Chapel of St Tugdual-Pontivy, Brittany France, 2022, 'Like Landing A Comet', Sid Motion Gallery, London, UK, 2021, ‘Growing a Soul’, l'ahah Paris, France, 2019. Hawkins’ work has been included in group shows in the USA, Italy, France and the UK. Hawkins is participating in the 2023 edition of Sillon festival, Rhône-Alpes, France. He was shortlisted for the Jerwood Drawing Prize (2006), was a finalist in the John Moores Painting Prize (2012) and a Prize Winner in the 2006 John Moore’s 24. Hawkins also exhibited work in the Summer Exhibition at The Royal Academy of Arts, London in 2007 and 2008. Hawkins was included in the inaugural exhibition at Sid Motion Gallery in 2016, and had his first UK solo show at the gallery in May 2019. Hawkins was selected to exhibit at PaintLounge / Sluice in late 2018.
2023
17 x 23cm
Watercolour on paper
Vincent Hawkins (b.1959, UK) lives and works London. He has exhibited extensively in Britain and internationally with solo shows in Chicago and Paris in recent years. Recent solo exhibitions include, 'Planet and Satellites', l'ahah, Paris, France, 2023, 'Art in The Chapels', 31st Edition, Chapel of St Tugdual-Pontivy, Brittany France, 2022, 'Like Landing A Comet', Sid Motion Gallery, London, UK, 2021, ‘Growing a Soul’, l'ahah Paris, France, 2019. Hawkins’ work has been included in group shows in the USA, Italy, France and the UK. Hawkins is participating in the 2023 edition of Sillon festival, Rhône-Alpes, France. He was shortlisted for the Jerwood Drawing Prize (2006), was a finalist in the John Moores Painting Prize (2012) and a Prize Winner in the 2006 John Moore’s 24. Hawkins also exhibited work in the Summer Exhibition at The Royal Academy of Arts, London in 2007 and 2008. Hawkins was included in the inaugural exhibition at Sid Motion Gallery in 2016, and had his first UK solo show at the gallery in May 2019. Hawkins was selected to exhibit at PaintLounge / Sluice in late 2018.
Kindly donated by
Vincent Hawkins
Vincent Hawkins
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SIGNED IN AS :
Lot 66
£ 250
0
NOT STARTED
Gray Wielebinski - Untitled
Gray Wielebinski - Untitled
Bidding starts on 27-07-2024 17:00
CURRENT PRICE:
(Reserve not met !)
LOT #:
BIDS:
£ 250
66
0
Highest bidder:
YOUR BID:
£
CLOSED
Minimum bid is £270 (Bid increments are £20).
You are the highest bidder ! , but the reserve price has not been met.
You have been outbid! Bid again!
Untitled
29.7 x 42cm
Silk screen unique print
Gray Wielebinski lives and works in London, UK. Wielebinski’s expansive practice incorporates installation, video, drawing, performance, collage, sculpture, and more. He explores intersecting themes of power, nationhood, desire and memory. The process of collaging runs through his practice in many forms. Reconfiguring and transforming iconography and visual codes, his work interrogates dominant frameworks and belief systems and proposes alternatives. Continuously attentive to the fraught status of American mythology and landscape, his recent work has focused on surveillance, strategy, and secrecy, particularly as these intersect with questions of gender, sexuality, and the social.
Wielebinski received a BA from Pomona College, Claremont CA, in 2014, before completing an MFA at the Slade School of Fine Art, London, UK in 2018.
Wielebinski’s solo exhibitions include: ‘The Red Sun is High, The Blue Low,’ Institute of Contemporary Arts London, UK (2023); ‘Fratricide,’ Anat Ebgi, Los Angeles, CA (2023); ‘Love and Theft,’ 12.26 Gallery, Los Angeles, CA (2023); ‘Oil and Water,’ Hales Gallery, London, UK (2023); and Selfridges Art Block Commission, London, UK (2023).
Selected group exhibitions include: ‘Strong Winds Ahead,’ Francois Ghebaly Gallery, Los Angeles CA, 2023; ‘Motherboy,‘ co-curated with Stella Bottai, Gio Marconi Gallery, Milan, Italy (2023); and ‘Group Show‘ JUF Projects, Madrid, Spain (2023).
Wielebinski‘s work is in the collections of Los Angeles County Museum of Art CA; San Francisco Museum of Modern Art Library and Archives CA; and Benton Museum of Art, Claremont CA. His first book, ‘100 Baseball Cards,’ was published with Baron Books in 2022.
29.7 x 42cm
Silk screen unique print
Gray Wielebinski lives and works in London, UK. Wielebinski’s expansive practice incorporates installation, video, drawing, performance, collage, sculpture, and more. He explores intersecting themes of power, nationhood, desire and memory. The process of collaging runs through his practice in many forms. Reconfiguring and transforming iconography and visual codes, his work interrogates dominant frameworks and belief systems and proposes alternatives. Continuously attentive to the fraught status of American mythology and landscape, his recent work has focused on surveillance, strategy, and secrecy, particularly as these intersect with questions of gender, sexuality, and the social.
Wielebinski received a BA from Pomona College, Claremont CA, in 2014, before completing an MFA at the Slade School of Fine Art, London, UK in 2018.
Wielebinski’s solo exhibitions include: ‘The Red Sun is High, The Blue Low,’ Institute of Contemporary Arts London, UK (2023); ‘Fratricide,’ Anat Ebgi, Los Angeles, CA (2023); ‘Love and Theft,’ 12.26 Gallery, Los Angeles, CA (2023); ‘Oil and Water,’ Hales Gallery, London, UK (2023); and Selfridges Art Block Commission, London, UK (2023).
Selected group exhibitions include: ‘Strong Winds Ahead,’ Francois Ghebaly Gallery, Los Angeles CA, 2023; ‘Motherboy,‘ co-curated with Stella Bottai, Gio Marconi Gallery, Milan, Italy (2023); and ‘Group Show‘ JUF Projects, Madrid, Spain (2023).
Wielebinski‘s work is in the collections of Los Angeles County Museum of Art CA; San Francisco Museum of Modern Art Library and Archives CA; and Benton Museum of Art, Claremont CA. His first book, ‘100 Baseball Cards,’ was published with Baron Books in 2022.
Kindly donated by
Gray Wielebinski
Gray Wielebinski
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SIGNED IN AS :
Lot 116
£ 400
8
NOT STARTED
Karla Black - Untitled
Karla Black - Untitled
Bidding starts on 27-07-2024 17:00
CURRENT PRICE:
(Reserve not met !)
LOT #:
BIDS:
£ 400
116
8
Highest bidder: Tim Maggs
YOUR BID:
£
CLOSED
Minimum bid is £420 (Bid increments are £20).
You are the highest bidder ! , but the reserve price has not been met.
You have been outbid! Bid again!
Untitled
2024
A4
lipstick on printer paper
Karla Black is a Scottish artist who creates abstract, immersive sculptures that explore physical experience as a way of communicating and understanding the world around us. She was born 1972 in Alexandria, Dunbartonshire and studied Sculpture at The Glasgow School of Art from 1995 to 1999. Black gained an MPhil in Art in Organisational Contexts from 1999–2000 and an MFA in 2002–4.
She is interested in ideas of play and early childhood learning as well as the primitive, creative moment when art comes into being and draws on a range of artistic traditions from expressionist painting to land art, performance and formalism. Everyday matter such as soap, cotton wool and toothpaste are explored alongside traditional art materials including plaster, pigment and paint, expanding the limits of what sculpture can be. Her work operates in an area of uncertainty, existing in a place she refers to as, ‘almost painting, almost installation, almost performance art.’ (quoted in Kraczon, p.12).
Usually made in response to the space where they will be shown, her works have ranged from delicate cellophane, paper and polythene hanging pieces suspended with ribbon or tape to large-scale floor-based environments made from plaster, chalk powder and soil. Her sculptures are often full of contradictions; they command an entire gallery space yet hover on the brink of collapse, and combine a fascination in raw, physical materials with an interest in psychoanalysis and language.
Solo exhibitions have been staged at the Institute of Contemporary Art, Philadelphia (2013), the Gallery of Modern Art, Glasgow (2012), and the Migros Museum, Zurich (2009), among others. Her works are held within many prestigious collections including the Scottish National Gallery of Modern Art, The Hammer Museum, LA, and Tate. In 2011 she represented Scotland at the 54th Venice Biennale, and she was nominated for the Turner Prize in the same year. In 2014 she was included in ‘GENERATION: 25 Years of Contemporary Art in Scotland’. Black currently lives and works in Glasgow.
2024
A4
lipstick on printer paper
Karla Black is a Scottish artist who creates abstract, immersive sculptures that explore physical experience as a way of communicating and understanding the world around us. She was born 1972 in Alexandria, Dunbartonshire and studied Sculpture at The Glasgow School of Art from 1995 to 1999. Black gained an MPhil in Art in Organisational Contexts from 1999–2000 and an MFA in 2002–4.
She is interested in ideas of play and early childhood learning as well as the primitive, creative moment when art comes into being and draws on a range of artistic traditions from expressionist painting to land art, performance and formalism. Everyday matter such as soap, cotton wool and toothpaste are explored alongside traditional art materials including plaster, pigment and paint, expanding the limits of what sculpture can be. Her work operates in an area of uncertainty, existing in a place she refers to as, ‘almost painting, almost installation, almost performance art.’ (quoted in Kraczon, p.12).
Usually made in response to the space where they will be shown, her works have ranged from delicate cellophane, paper and polythene hanging pieces suspended with ribbon or tape to large-scale floor-based environments made from plaster, chalk powder and soil. Her sculptures are often full of contradictions; they command an entire gallery space yet hover on the brink of collapse, and combine a fascination in raw, physical materials with an interest in psychoanalysis and language.
Solo exhibitions have been staged at the Institute of Contemporary Art, Philadelphia (2013), the Gallery of Modern Art, Glasgow (2012), and the Migros Museum, Zurich (2009), among others. Her works are held within many prestigious collections including the Scottish National Gallery of Modern Art, The Hammer Museum, LA, and Tate. In 2011 she represented Scotland at the 54th Venice Biennale, and she was nominated for the Turner Prize in the same year. In 2014 she was included in ‘GENERATION: 25 Years of Contemporary Art in Scotland’. Black currently lives and works in Glasgow.
Kindly donated by
Karla Black
Karla Black
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SIGNED IN AS :
Lot 43
£ 860
17
NOT STARTED
Sophie Barber - Borlotti beans of Kent
Sophie Barber - Borlotti beans of Kent
Bidding starts on 27-07-2024 17:00
CURRENT PRICE:
(Reserve not met !)
LOT #:
BIDS:
£ 860
43
17
Highest bidder: David Moore
YOUR BID:
£
CLOSED
Minimum bid is £880 (Bid increments are £20).
You are the highest bidder ! , but the reserve price has not been met.
You have been outbid! Bid again!
Borlotti beans of Kent
2024
30 x 23.5 x 1 cm
Acrylic on ArtReview magazine
Sophie Barber (b. 1996, Hastings, UK) is a painter who draws directly from the world around her, reproducing natural and manmade fragments in an attempt to preserve and process their forms. Depicting tents, bird hides and word games on monumental block-colour canvases, Barber creates surreal, folk-like compositions that are less depictions of her native Sussex coast than distillations of the impression it leaves. ‘Her paintings do not seek to definitively record a singular object or place’, writes critic Philomena Epps of Barber’s recent paintings, ‘they are not about Burwash, Hastings, Bexhill, but rather they elicit a frame of reference or mode of seeing that sets a kind of scene’.
Barber works in the nearby town of Hastings. Upon graduating from University of Brighton at Sussex Coast College Hastings in 2017, she was awarded the CVAN South East Platform Graduate Award, which is run in partnership between Aspex, De La Warr Pavilion, MK Gallery, Modern Art Oxford and Turner Contemporary. Speaking of Barber’s work at the time, Paul Hobson, Director of Modern Art Oxford, noted: ‘We were all struck by the coherence of Sophie’s painting practice and her already confident and distinctive artistic voice’. In the years since, Barber has continued to refine this voice through numerous solo and group exhibitions – from Goldsmiths CCA, London, to La Maison de Rendez-vous, Brussels – developing an ambitious and dynamic painterly practice that playfully toys with the possibilities of scale, reference and materiality. ‘Her mode of production is spontaneous and unfettered’, writes Epps: ‘representations are edited, distilled, or shown in isolation, with any figuration tending to drift into the realm of the fictional’.
2024
30 x 23.5 x 1 cm
Acrylic on ArtReview magazine
Sophie Barber (b. 1996, Hastings, UK) is a painter who draws directly from the world around her, reproducing natural and manmade fragments in an attempt to preserve and process their forms. Depicting tents, bird hides and word games on monumental block-colour canvases, Barber creates surreal, folk-like compositions that are less depictions of her native Sussex coast than distillations of the impression it leaves. ‘Her paintings do not seek to definitively record a singular object or place’, writes critic Philomena Epps of Barber’s recent paintings, ‘they are not about Burwash, Hastings, Bexhill, but rather they elicit a frame of reference or mode of seeing that sets a kind of scene’.
Barber works in the nearby town of Hastings. Upon graduating from University of Brighton at Sussex Coast College Hastings in 2017, she was awarded the CVAN South East Platform Graduate Award, which is run in partnership between Aspex, De La Warr Pavilion, MK Gallery, Modern Art Oxford and Turner Contemporary. Speaking of Barber’s work at the time, Paul Hobson, Director of Modern Art Oxford, noted: ‘We were all struck by the coherence of Sophie’s painting practice and her already confident and distinctive artistic voice’. In the years since, Barber has continued to refine this voice through numerous solo and group exhibitions – from Goldsmiths CCA, London, to La Maison de Rendez-vous, Brussels – developing an ambitious and dynamic painterly practice that playfully toys with the possibilities of scale, reference and materiality. ‘Her mode of production is spontaneous and unfettered’, writes Epps: ‘representations are edited, distilled, or shown in isolation, with any figuration tending to drift into the realm of the fictional’.
Kindly donated by
Sophie Barber
Sophie Barber
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SIGNED IN AS :
Lot 33
£ 250
2
NOT STARTED
Rhys Coren - Always Have Somebody Chasing Somebody Else
Rhys Coren - Always Have Somebody Chasing Somebody Else
Bidding starts on 27-07-2024 17:00
CURRENT PRICE:
(Reserve not met !)
LOT #:
BIDS:
£ 250
33
2
Highest bidder: John Boxall
YOUR BID:
£
CLOSED
Minimum bid is £270 (Bid increments are £20).
You are the highest bidder ! , but the reserve price has not been met.
You have been outbid! Bid again!
Always Have Somebody Chasing Somebody Else
2024
14.8cm x 10.5cm
enamel on paper
Rhys Coren was born in Plymouth, UK, in 1983. Coren graduated from the University of West England, Bristol, in 2006 and completed a Post Graduate Diploma in Fine Art, at the Royal Academy Schools, London, in 2016.
Coren works across animation, writing, performance and painted marquetry. He explores rhythm, colour and texture in work that is characterised by cartoon-like clouds, grids of colour, shadows and the interplay of lines. Inspired by music, Coren credits the structures found in electronic dance music, jazz and disco as central to his work.
Coren was recently commissioned to create a nine metre long public artwork made from bespoke terrazzo, displayed behind Bond Street Crossrail station in London. In 2018, he was commissioned to create an animation as part of the Lumiere Festival, London. Entitled Love Motion, the animation was projected across the Royal Academy of Arts building and was accompanied by a bespoke soundtrack.
Coren’s solo exhibitions include Seventeen, London (2021, 2019, 2017); Frans Kasl Projects, Eindhoven (2021); Grimm Gallery, New York (2018); Galerie pcp, Paris (2016) and Jerwood Project Space, London (2014). Group exhibitions include Drawing Room, London (2021); University of Hertfordshire, Hatfield (2019); Bluecoat, Liverpool; Screen City Biennial, MS Sandnes Boat, Stavanger, Norway (2017); Seventeen, London; Royal Academy of Arts, London (2016); Slate Projects, London (2015) Site Gallery, Sheffield (2014); Test Space, Spike Island, Bristol; Design Museum, London (2013); FACT, Liverpool (2009) and Bloomberg New Contemporaries (2007). Coren has completed residencies in the UK, USA, and Italy.
Rhys Coren lives and works in London.
2024
14.8cm x 10.5cm
enamel on paper
Rhys Coren was born in Plymouth, UK, in 1983. Coren graduated from the University of West England, Bristol, in 2006 and completed a Post Graduate Diploma in Fine Art, at the Royal Academy Schools, London, in 2016.
Coren works across animation, writing, performance and painted marquetry. He explores rhythm, colour and texture in work that is characterised by cartoon-like clouds, grids of colour, shadows and the interplay of lines. Inspired by music, Coren credits the structures found in electronic dance music, jazz and disco as central to his work.
Coren was recently commissioned to create a nine metre long public artwork made from bespoke terrazzo, displayed behind Bond Street Crossrail station in London. In 2018, he was commissioned to create an animation as part of the Lumiere Festival, London. Entitled Love Motion, the animation was projected across the Royal Academy of Arts building and was accompanied by a bespoke soundtrack.
Coren’s solo exhibitions include Seventeen, London (2021, 2019, 2017); Frans Kasl Projects, Eindhoven (2021); Grimm Gallery, New York (2018); Galerie pcp, Paris (2016) and Jerwood Project Space, London (2014). Group exhibitions include Drawing Room, London (2021); University of Hertfordshire, Hatfield (2019); Bluecoat, Liverpool; Screen City Biennial, MS Sandnes Boat, Stavanger, Norway (2017); Seventeen, London; Royal Academy of Arts, London (2016); Slate Projects, London (2015) Site Gallery, Sheffield (2014); Test Space, Spike Island, Bristol; Design Museum, London (2013); FACT, Liverpool (2009) and Bloomberg New Contemporaries (2007). Coren has completed residencies in the UK, USA, and Italy.
Rhys Coren lives and works in London.
Kindly donated by
Rhys Coren
Rhys Coren
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SIGNED IN AS :
Lot 28
£ 340
5
NOT STARTED
Pio Abad - Untitled (Malakas)
Pio Abad - Untitled (Malakas)
Bidding starts on 27-07-2024 17:00
CURRENT PRICE:
(Reserve not met !)
LOT #:
BIDS:
£ 340
28
5
Highest bidder: Anonymous
YOUR BID:
£
CLOSED
Minimum bid is £360 (Bid increments are £20).
You are the highest bidder ! , but the reserve price has not been met.
You have been outbid! Bid again!
Untitled (Malakas)
2022
42 x 29.7 cm
Acrylic and screenprint on paper - unique
Pio Abad’s artistic practice is concerned with the personal and political entanglements of objects. His wide-ranging body of work, encompassing drawing, painting, textiles, installation and text, mines alternative or repressed historical events and offers counternarratives that draw out threads of complicity between incidents, ideologies and people. Deeply informed by unfolding events in the Philippines, where Abad was born and raised, his art emanates from a family narrative woven into the nation’s story. Abad’s parents were at the forefront of the anti-dictatorship struggle in the Philippines during the 1970’s and 80’s and it is the need to remember this history that has shaped the foundations of his work.
Abad’s solo exhibitions include Fear of Freedom Makes Us See Ghosts, Ateneo Art Gallery, Manila (2022); Kiss the Hand You Cannot Bite, Kadist, San Francisco (2019); Splendour, Oakville Galleries, Ontario (2019); Notes on Decomposition, Centre for Contemporary Arts, Glasgow (2016); 1975 – 2015, 4A Centre for Contemporary Asian Art, Sydney and Some Are Smarter Than Others, Gasworks, London (2014). Recent group exhibition include In Our Veins Flow Ink and Fire, 5th Kochi-Muziris Biennial, Kerala (2022); Is it morning for you yet?, The 58th Carnegie International, Pittsburgh (2022); Things Entangling, Museum of Contemporary Art, Tokyo (2020); Phantom Limb, Jameel Arts Centre, Dubai (2019); To Make Wrong/Right/Now, 2nd Honolulu Biennial, Hawaii (2019); Imagined Nations/ Modern Utopias, 12th Gwangju Biennial, Korea (2018). Forthcoming exhibitions include: Small World, 13th Taipei Biennial (2023) and a solo exhibition at the Ashmolean Museum, Oxford in February 2024.
Abad’s artworks are part of a number of important collections including Tate, UK; Carnegie Museum of Art, Pittsburgh; Hawai’i State Art Museum, Honolulu; Singapore Art Museum; Kadist, Paris/San Francisco and Art Jameel, Dubai.
He is also the curator of the estate of his aunt, the Filipino American artist Pacita Abad. He has recently co-curated monographic exhibitions on Pacita Abad at the Museum of Contemporary Art and Design Manila; Spike Island, Bristol and Jameel Arts Centre, Dubai. He also co-edited the publication Pacita Abad: A Million Things to Say in 2021.
2022
42 x 29.7 cm
Acrylic and screenprint on paper - unique
Pio Abad’s artistic practice is concerned with the personal and political entanglements of objects. His wide-ranging body of work, encompassing drawing, painting, textiles, installation and text, mines alternative or repressed historical events and offers counternarratives that draw out threads of complicity between incidents, ideologies and people. Deeply informed by unfolding events in the Philippines, where Abad was born and raised, his art emanates from a family narrative woven into the nation’s story. Abad’s parents were at the forefront of the anti-dictatorship struggle in the Philippines during the 1970’s and 80’s and it is the need to remember this history that has shaped the foundations of his work.
Abad’s solo exhibitions include Fear of Freedom Makes Us See Ghosts, Ateneo Art Gallery, Manila (2022); Kiss the Hand You Cannot Bite, Kadist, San Francisco (2019); Splendour, Oakville Galleries, Ontario (2019); Notes on Decomposition, Centre for Contemporary Arts, Glasgow (2016); 1975 – 2015, 4A Centre for Contemporary Asian Art, Sydney and Some Are Smarter Than Others, Gasworks, London (2014). Recent group exhibition include In Our Veins Flow Ink and Fire, 5th Kochi-Muziris Biennial, Kerala (2022); Is it morning for you yet?, The 58th Carnegie International, Pittsburgh (2022); Things Entangling, Museum of Contemporary Art, Tokyo (2020); Phantom Limb, Jameel Arts Centre, Dubai (2019); To Make Wrong/Right/Now, 2nd Honolulu Biennial, Hawaii (2019); Imagined Nations/ Modern Utopias, 12th Gwangju Biennial, Korea (2018). Forthcoming exhibitions include: Small World, 13th Taipei Biennial (2023) and a solo exhibition at the Ashmolean Museum, Oxford in February 2024.
Abad’s artworks are part of a number of important collections including Tate, UK; Carnegie Museum of Art, Pittsburgh; Hawai’i State Art Museum, Honolulu; Singapore Art Museum; Kadist, Paris/San Francisco and Art Jameel, Dubai.
He is also the curator of the estate of his aunt, the Filipino American artist Pacita Abad. He has recently co-curated monographic exhibitions on Pacita Abad at the Museum of Contemporary Art and Design Manila; Spike Island, Bristol and Jameel Arts Centre, Dubai. He also co-edited the publication Pacita Abad: A Million Things to Say in 2021.
Kindly donated by
Pio Abad
Pio Abad
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Lot 59
£ 290
8
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Jeremy Deller - Thank God For Immigrants
Jeremy Deller - Thank God For Immigrants
Bidding starts on 27-07-2024 17:00
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59
8
Highest bidder: Anonymous
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Thank God For Immigrants
2020
60 x 42cm
Print on paper, hand signed, artist edition
Jeremy Deller (born 30 March 1966) is an English conceptual, video and installation artist. Much of Deller's work is collaborative; it has a strong political aspect, in the subjects dealt with and also the devaluation of artistic ego through the involvement of other people in the creative process. He won the Turner Prize in 2004 and represented Great Britain at the Venice Biennale in 2013.
2020
60 x 42cm
Print on paper, hand signed, artist edition
Jeremy Deller (born 30 March 1966) is an English conceptual, video and installation artist. Much of Deller's work is collaborative; it has a strong political aspect, in the subjects dealt with and also the devaluation of artistic ego through the involvement of other people in the creative process. He won the Turner Prize in 2004 and represented Great Britain at the Venice Biennale in 2013.
Kindly donated by
Jeremy Deller
Jeremy Deller
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Lot 45
£ 270
1
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Shezad Dawood - Kelp Joy
Shezad Dawood - Kelp Joy
Bidding starts on 27-07-2024 17:00
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45
1
Highest bidder: Anonymous
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Kelp Joy
2024
29.7 x 21.1 cm
Pencil and watercolour on paper
Shezad Dawood is a multidisciplinary artist who interweaves stories, realities and symbolism to create richly layered artworks, spanning painting, textiles, sculpture, film and digital media. Fascinated by ecologies and architecture, his work takes a philosophical approach, asking questions and exploring alternative futures through what Dawood describes as ‘world-building'. His practice is animated by research, working with multiple audiences and communities to delve into narrative, history and embodiment.
Selected solo exhibitions and commissions include: Leviathan, Salisbury Cathedral, Salisbury (2023); Night in the Garden of Love, Inspired by & featuring Yusef Lateef, Aga Khan Museum, Toronto (2023; Night in the Garden of Love, Inspired by & featuring Yusef Lateef, WIELS, Brussels (2023); Integrations, Barakat Contemporary, Seoul (2023); HMS Alice Liddell, St Pancras Wires commission, London (2022); Hybrid Landscapes, Deutsche Bank Frieze Lounges (2022); Jhaveri Contemporary, Mumbai (2021); Visions of Paradise, commission for The White House, Becontree (2021); Concert From Bangladesh, commission for British Council Digital Collaboration Fund (2021); Timothy Taylor, London (2020–21); Kai Art Center, Tallinn (2020); New Art Exchange, Nottingham (2020); The Bluecoat Liverpool (2019); MOCA Toronto (2019); FriezeLIVE, London (2019); Kunstverein, Munich (2019); A Lost Future: Rubin Museum of Art, New York (2018); Fondazione Querini Stampalia, Venice (2017); Timothy Taylor, London (2016); Galerist, Istanbul (2016); Pioneer Works, Brooklyn (2015); Fig.2 at the ICA studio, London (2015); Parasol Unit, London (2014); Leeds Art Gallery and OCAT Xi’an, China (both 2014); Modern Art Oxford (2012).
2024
29.7 x 21.1 cm
Pencil and watercolour on paper
Shezad Dawood is a multidisciplinary artist who interweaves stories, realities and symbolism to create richly layered artworks, spanning painting, textiles, sculpture, film and digital media. Fascinated by ecologies and architecture, his work takes a philosophical approach, asking questions and exploring alternative futures through what Dawood describes as ‘world-building'. His practice is animated by research, working with multiple audiences and communities to delve into narrative, history and embodiment.
Selected solo exhibitions and commissions include: Leviathan, Salisbury Cathedral, Salisbury (2023); Night in the Garden of Love, Inspired by & featuring Yusef Lateef, Aga Khan Museum, Toronto (2023; Night in the Garden of Love, Inspired by & featuring Yusef Lateef, WIELS, Brussels (2023); Integrations, Barakat Contemporary, Seoul (2023); HMS Alice Liddell, St Pancras Wires commission, London (2022); Hybrid Landscapes, Deutsche Bank Frieze Lounges (2022); Jhaveri Contemporary, Mumbai (2021); Visions of Paradise, commission for The White House, Becontree (2021); Concert From Bangladesh, commission for British Council Digital Collaboration Fund (2021); Timothy Taylor, London (2020–21); Kai Art Center, Tallinn (2020); New Art Exchange, Nottingham (2020); The Bluecoat Liverpool (2019); MOCA Toronto (2019); FriezeLIVE, London (2019); Kunstverein, Munich (2019); A Lost Future: Rubin Museum of Art, New York (2018); Fondazione Querini Stampalia, Venice (2017); Timothy Taylor, London (2016); Galerist, Istanbul (2016); Pioneer Works, Brooklyn (2015); Fig.2 at the ICA studio, London (2015); Parasol Unit, London (2014); Leeds Art Gallery and OCAT Xi’an, China (both 2014); Modern Art Oxford (2012).
Kindly donated by
Shezad Dawood
Shezad Dawood
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Lot 126
£ 260
1
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Gaby Sahar - Untittled
Gaby Sahar - Untittled
Bidding starts on 27-07-2024 17:00
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126
1
Highest bidder: Cedric Whilby
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Untitled
2024
A5
C Type print
All funds raised from this sale will go to Watermelon Relief. A charity providing aid to displaced families in Gaza.
"Since the beginning of the war on Gaza and the subsequent closure of border crossings, families have struggled to obtain cooking gas, forcing them to use wood for cooking and food preparation. This situation has added significant hardship to their already challenging lives. In response, our team, in collaboration with the @wckitchen , has taken action to alleviate some of this burden.
We have distributed family stoves to two camps in central Gaza. These stoves are specially designed to facilitate cooking with wood, making meal preparation more manageable under these difficult conditions. Additionally, the stoves enhance safety by providing better control over open flames, reducing the risk of fire accidents."
Gaby Sahhar is a French-Palestinian artist working between London and Paris; their rejection of binaries is reflected in a multi-disciplinary practice that spans painting, video and installation. It is an ongoing concern of Sahhar to deconstruct representations of queerness within the public sphere, considering the impact of this representation on queer consciousness and communities. Sahhar aims to generate dialogue around migration, value systems and affordability within city cultures. Through speculative storytelling their work illustrates the various ways psychological and physical frameworks fragment Palestinian geopolitical borders and identity.
Gaby Sahhar; Whitechapel Gallery, London, 2023, MAC VAL, Paris, 2023; PAGE (NYC), New York, 2022; Sadie Coles HQ, London, 2022, SPACE Awards, 2021. BFI London Film festival, 2019, Forthcoming exhibitions include Arab World Institute, Paris, Magasins Généraux, Paris Spiaggia Libera Gallery, Paris
2024
A5
C Type print
All funds raised from this sale will go to Watermelon Relief. A charity providing aid to displaced families in Gaza.
"Since the beginning of the war on Gaza and the subsequent closure of border crossings, families have struggled to obtain cooking gas, forcing them to use wood for cooking and food preparation. This situation has added significant hardship to their already challenging lives. In response, our team, in collaboration with the @wckitchen , has taken action to alleviate some of this burden.
We have distributed family stoves to two camps in central Gaza. These stoves are specially designed to facilitate cooking with wood, making meal preparation more manageable under these difficult conditions. Additionally, the stoves enhance safety by providing better control over open flames, reducing the risk of fire accidents."
Gaby Sahhar is a French-Palestinian artist working between London and Paris; their rejection of binaries is reflected in a multi-disciplinary practice that spans painting, video and installation. It is an ongoing concern of Sahhar to deconstruct representations of queerness within the public sphere, considering the impact of this representation on queer consciousness and communities. Sahhar aims to generate dialogue around migration, value systems and affordability within city cultures. Through speculative storytelling their work illustrates the various ways psychological and physical frameworks fragment Palestinian geopolitical borders and identity.
Gaby Sahhar; Whitechapel Gallery, London, 2023, MAC VAL, Paris, 2023; PAGE (NYC), New York, 2022; Sadie Coles HQ, London, 2022, SPACE Awards, 2021. BFI London Film festival, 2019, Forthcoming exhibitions include Arab World Institute, Paris, Magasins Généraux, Paris Spiaggia Libera Gallery, Paris
Kindly donated by
Gaby Sahar
Gaby Sahar
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Lot 108
£ 270
1
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Patrick Goddard - What Is It Like To Be a Bat? We May Never Know!
Patrick Goddard - What Is It Like To Be a Bat? We May Never Know!
Bidding starts on 27-07-2024 17:00
CURRENT PRICE:
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LOT #:
BIDS:
£ 270
108
1
Highest bidder: Anonymous
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What Is It Like To Be a Bat? We May Never Know!
2024
34 x 25.5cm
Ink on paper
Patrick Goddard creates video, publications, drawing, performance and installation. His politically loaded and narrative based works undermine themselves with a self-defeating black comedy as they chart the artist’s fumbled attempts to create a personal and political integrity.
Goddard’s recent solo exhibitions include ‘Pedigree’, Seventeen, 2022; ‘Die Biester’, E-Werk, Freiburg, 2021; ‘Trip to Eclipse’, Matt’s Gallery, London 2020; ‘Go Professional’, Seventeen, 2017; ‘Looking for the Ocean Estate’ Almanac Projects, London, 2016, ‘Gone To Croatan’ at Outpost Gallery, Norwich, 2015; ‘Revolver II’ at Matt’s Gallery, London, 2014. He is also featured in the UK touring exhibition, British Art Show 9, 2021-22. Goddard completed an MFA at Goldsmiths University in 2011 and recently completed a doctorate at Oxford University, in Fine Art practice.
2024
34 x 25.5cm
Ink on paper
Patrick Goddard creates video, publications, drawing, performance and installation. His politically loaded and narrative based works undermine themselves with a self-defeating black comedy as they chart the artist’s fumbled attempts to create a personal and political integrity.
Goddard’s recent solo exhibitions include ‘Pedigree’, Seventeen, 2022; ‘Die Biester’, E-Werk, Freiburg, 2021; ‘Trip to Eclipse’, Matt’s Gallery, London 2020; ‘Go Professional’, Seventeen, 2017; ‘Looking for the Ocean Estate’ Almanac Projects, London, 2016, ‘Gone To Croatan’ at Outpost Gallery, Norwich, 2015; ‘Revolver II’ at Matt’s Gallery, London, 2014. He is also featured in the UK touring exhibition, British Art Show 9, 2021-22. Goddard completed an MFA at Goldsmiths University in 2011 and recently completed a doctorate at Oxford University, in Fine Art practice.
Kindly donated by
Patrick Goddard
Patrick Goddard
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Lot 39
£ 250
0
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Ted Rogers - Greef
Ted Rogers - Greef
Bidding starts on 27-07-2024 17:00
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BIDS:
£ 250
39
0
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Greef
2024
21 x 26 cm
Willow charcoal on Washi paper
Ted Rogers is a multidisciplinary artist working predominantly with movement in Film, TV, Music Videos, Stage and Gallery contexts.
2024
21 x 26 cm
Willow charcoal on Washi paper
Ted Rogers is a multidisciplinary artist working predominantly with movement in Film, TV, Music Videos, Stage and Gallery contexts.
Kindly donated by
Ted Rogers
Ted Rogers
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SIGNED IN AS :
Lot 57
£ 270
1
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Haroon Mirza - Solar Powered Audio Visual Stone Proposal
Haroon Mirza - Solar Powered Audio Visual Stone Proposal
Bidding starts on 27-07-2024 17:00
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BIDS:
£ 270
57
1
Highest bidder: Christian soro
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Solar Powered Audio Visual Stone Proposal
2024
A4
Haroon Mirza has won international acclaim for installations that test the interplay and friction between sound and light waves and electric current. He devises sculptures, performances and immersive installations, such as The National Apavillion of Then and Now (2011) – an anechoic chamber with a circle of light that grows brighter in response to increasing drone, and completely dark when there is silence, or the Dyson Sphere (2022) – an earthbound version of a hypothetical, off-world megastructure in which a sun-like central tungsten light powers a carapace of photovoltaic panels. An advocate of interference (in the sense of electro-acoustic or radio disruption), he creates situations that purposefully cross wires. He describes his role as a composer, manipulating electricity, a live, invisible and volatile phenomenon, to make it dance to a different tune and calling on instruments as varied as household electronics, vinyl and turntables, LEDs, furniture, video footage and existing artworks to behave differently. Processes are left exposed and sounds occupy space in an unruly way, testing codes of conduct and charging the atmosphere. Mirza asks us to reconsider the perceptual distinctions between noise, sound and music, and draws into question the categorisation of cultural forms. "All music is organised sound or organised noise," he says. "So as long as you’re organising acoustic material, it’s just the perception and the context that defines it as music or noise or sound or just a nuisance" (2013).
Haroon Mirza was born in 1977 in London where he lives and works. He has a BA in Painting from Winchester School of Art, an MA in Design Critical Practice and Theory from Goldsmiths College (2006) and an MA in Fine Art from Chelsea College of Art and Design (2007). Recent solo exhibitions have been held at Lisson Gallery, London (2023), max goelitz, Berlin (2023), Lisson Gallery, New York (2022), max goelitz, Munich, Germany (2022), Gnration, Braga, Portugal (2012), Browns Brook Street (2021), CCA Kitakyushu, Kitakyushu, Japan (2020); John Hansard Gallery, Southampton, UK (2019); Australian Centre for Contemporary Art, Melbourne, Australia (2019); Sifang Art Museum, Nanjing, China (2019); Ikon, Birmingham, UK (2018); Asian Art Museum, San Francisco, CA, USA (2018); Nikolaj Kunsthal, Copenhagen, Denmark (2018); Zabludowicz Collection, London, UK (2017); LiFE, Saint-Nazaire, France (2017); Contemporary Art Gallery, Vancouver, BC, Canada (2017); Summerhall, Edinburgh, UK (2016); Pivô, São Paulo, Brazil (2016); Nam June Paik Center, Seoul, South Korea (2015); Matadero, Madrid, Spain (2015); Museum Tinguely, Basel, Switzerland (2015); Museum Haus Konstruktiv, Zurich, Switzerland (2014); His work was included in the Islamic Arts Biennale, Jeddah, Saudi Arabia (2023), Beijing Biennial, Beijing, China (2022/2023), Noor Riyadh Festival (2022/2023), Lille3000 Triennale, Lille, France (2022), Lofoten International Art Festival, North Norwegian Art Centre, Svolvær, Norway (2022), Thailand Biennale, Ministry of culture, Korat, Thailand (2012), Liverpool Biennale, Liverpool, UK (2021), Dhaka Art Summit, Dhaka, Bangladesh (2020 & 2018), Whitstable Biennale, Canterbury, UK (2016), Sharjah Biennial11, Sharjah, UAE (2013), 7th Shenzhen Sculpture Biennale, China (2012) and the 54th Venice Biennale, Italy (2011), where he was awarded the Silver Lion. He was awarded the Northern Art Prize in 2011, the DAIWA Foundation Art Prize in 2012, the Zurich Art Prize in 2013, the Nam June Paik Art Center Prize in 2014, the Calder Art Prize in 2015 and the COLLIDE International Award in 2017 which has given place to a two-month residency at CERN, Switzerland in the course of 2018. In the spring this same year, Haroon Mirza unveiled Stone Circle, a large-scale outdoor sculpture commissioned by Ballroom Marfa, Texas, which will remain in the landscape for five years.
2024
A4
Haroon Mirza has won international acclaim for installations that test the interplay and friction between sound and light waves and electric current. He devises sculptures, performances and immersive installations, such as The National Apavillion of Then and Now (2011) – an anechoic chamber with a circle of light that grows brighter in response to increasing drone, and completely dark when there is silence, or the Dyson Sphere (2022) – an earthbound version of a hypothetical, off-world megastructure in which a sun-like central tungsten light powers a carapace of photovoltaic panels. An advocate of interference (in the sense of electro-acoustic or radio disruption), he creates situations that purposefully cross wires. He describes his role as a composer, manipulating electricity, a live, invisible and volatile phenomenon, to make it dance to a different tune and calling on instruments as varied as household electronics, vinyl and turntables, LEDs, furniture, video footage and existing artworks to behave differently. Processes are left exposed and sounds occupy space in an unruly way, testing codes of conduct and charging the atmosphere. Mirza asks us to reconsider the perceptual distinctions between noise, sound and music, and draws into question the categorisation of cultural forms. "All music is organised sound or organised noise," he says. "So as long as you’re organising acoustic material, it’s just the perception and the context that defines it as music or noise or sound or just a nuisance" (2013).
Haroon Mirza was born in 1977 in London where he lives and works. He has a BA in Painting from Winchester School of Art, an MA in Design Critical Practice and Theory from Goldsmiths College (2006) and an MA in Fine Art from Chelsea College of Art and Design (2007). Recent solo exhibitions have been held at Lisson Gallery, London (2023), max goelitz, Berlin (2023), Lisson Gallery, New York (2022), max goelitz, Munich, Germany (2022), Gnration, Braga, Portugal (2012), Browns Brook Street (2021), CCA Kitakyushu, Kitakyushu, Japan (2020); John Hansard Gallery, Southampton, UK (2019); Australian Centre for Contemporary Art, Melbourne, Australia (2019); Sifang Art Museum, Nanjing, China (2019); Ikon, Birmingham, UK (2018); Asian Art Museum, San Francisco, CA, USA (2018); Nikolaj Kunsthal, Copenhagen, Denmark (2018); Zabludowicz Collection, London, UK (2017); LiFE, Saint-Nazaire, France (2017); Contemporary Art Gallery, Vancouver, BC, Canada (2017); Summerhall, Edinburgh, UK (2016); Pivô, São Paulo, Brazil (2016); Nam June Paik Center, Seoul, South Korea (2015); Matadero, Madrid, Spain (2015); Museum Tinguely, Basel, Switzerland (2015); Museum Haus Konstruktiv, Zurich, Switzerland (2014); His work was included in the Islamic Arts Biennale, Jeddah, Saudi Arabia (2023), Beijing Biennial, Beijing, China (2022/2023), Noor Riyadh Festival (2022/2023), Lille3000 Triennale, Lille, France (2022), Lofoten International Art Festival, North Norwegian Art Centre, Svolvær, Norway (2022), Thailand Biennale, Ministry of culture, Korat, Thailand (2012), Liverpool Biennale, Liverpool, UK (2021), Dhaka Art Summit, Dhaka, Bangladesh (2020 & 2018), Whitstable Biennale, Canterbury, UK (2016), Sharjah Biennial11, Sharjah, UAE (2013), 7th Shenzhen Sculpture Biennale, China (2012) and the 54th Venice Biennale, Italy (2011), where he was awarded the Silver Lion. He was awarded the Northern Art Prize in 2011, the DAIWA Foundation Art Prize in 2012, the Zurich Art Prize in 2013, the Nam June Paik Art Center Prize in 2014, the Calder Art Prize in 2015 and the COLLIDE International Award in 2017 which has given place to a two-month residency at CERN, Switzerland in the course of 2018. In the spring this same year, Haroon Mirza unveiled Stone Circle, a large-scale outdoor sculpture commissioned by Ballroom Marfa, Texas, which will remain in the landscape for five years.
Kindly donated by
Haroon Mirza
Haroon Mirza
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Lot 90
£ 250
0
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Laurence Owen - FRAX
Laurence Owen - FRAX
Bidding starts on 27-07-2024 17:00
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£ 250
90
0
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FRAX
2020
36 x 36cm
Watercolour on paper
Laurence Owen (b. 1984, Gloucester, UK), his practice involves paintings and ceramics based in a language that has echoes of artifact and relic, he employs aspects of Folklore, Paganism and Mythology to investigate contemporary consumerism.
Owen’s paintings are swirls and gestures, vivid marks and brightly coloured symbols. He draws upon various source materials, literature, music and contemporary culture to create work that vibrates with life and positivity.
Owen has been awarded several solo exhibitions of his work dating back to 2009. His work has recently featured in exhibitions at the Whitechapel Gallery and at the Walker Art Gallery, Liverpool when selected for the John Moores Prize for Painting (2016).
Owen works and lives in London.
2020
36 x 36cm
Watercolour on paper
Laurence Owen (b. 1984, Gloucester, UK), his practice involves paintings and ceramics based in a language that has echoes of artifact and relic, he employs aspects of Folklore, Paganism and Mythology to investigate contemporary consumerism.
Owen’s paintings are swirls and gestures, vivid marks and brightly coloured symbols. He draws upon various source materials, literature, music and contemporary culture to create work that vibrates with life and positivity.
Owen has been awarded several solo exhibitions of his work dating back to 2009. His work has recently featured in exhibitions at the Whitechapel Gallery and at the Walker Art Gallery, Liverpool when selected for the John Moores Prize for Painting (2016).
Owen works and lives in London.
Kindly donated by
Laurence Owen
Laurence Owen
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Lot 68
£ 330
3
NOT STARTED
Bianca Raffaella - Mary
Bianca Raffaella - Mary
Bidding starts on 27-07-2024 17:00
CURRENT PRICE:
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LOT #:
BIDS:
£ 330
68
3
Highest bidder: Anonymous
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Mary
2024
15 x 21cm
As a visually impaired artist, Margate-based Bianca Raffaella (b 1992) works with essential lines and marks to describe her subjects, whether this is drawn on paper or outlined through drapes with fabrics. She uses a limited selection of lines and marks that convey contours, shadows and the little extracted detail and definition that she is able to see.
2024
15 x 21cm
As a visually impaired artist, Margate-based Bianca Raffaella (b 1992) works with essential lines and marks to describe her subjects, whether this is drawn on paper or outlined through drapes with fabrics. She uses a limited selection of lines and marks that convey contours, shadows and the little extracted detail and definition that she is able to see.
Kindly donated by
Bianca Raffaella
Bianca Raffaella
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Lot 9
£ 170
1
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Bryony Rose - Plan For Snowflake B
Bryony Rose - Plan For Snowflake B
Bidding starts on 27-07-2024 17:00
CURRENT PRICE:
(Reserve not met !)
LOT #:
BIDS:
£ 170
9
1
Highest bidder: Anonymous
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Plan For Snowflake B
2024
31 x 26.8 cm
Watercolour and pencil on paper.
Bryony Rose studied Painting + Printing at the Glasgow School of Art graduating in 2015 - where she received the W O Hutcheson Prize for Drawing. She is an associate artist of Open School East 2019.
Notable exhibitions include Night Car 2023 (Kiosk, Glasgow) Bathing Nervous Limbs 2021 (Arusha Gallery, Edinburgh) Glass Houses 2020 (McBeans Nursey, Lewes) The Reception Was Brilliant 2019 (Open School East, Margate) digging 2018 (Embassy Gallery, Edinburgh) Say What I am Called 2018 (Glasgow International).
2024
31 x 26.8 cm
Watercolour and pencil on paper.
Bryony Rose studied Painting + Printing at the Glasgow School of Art graduating in 2015 - where she received the W O Hutcheson Prize for Drawing. She is an associate artist of Open School East 2019.
Notable exhibitions include Night Car 2023 (Kiosk, Glasgow) Bathing Nervous Limbs 2021 (Arusha Gallery, Edinburgh) Glass Houses 2020 (McBeans Nursey, Lewes) The Reception Was Brilliant 2019 (Open School East, Margate) digging 2018 (Embassy Gallery, Edinburgh) Say What I am Called 2018 (Glasgow International).
Kindly donated by
BRYONY ROSE
BRYONY ROSE
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Lot 16
£ 310
3
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Hannah Perry - Who's Your Daddy?
Hannah Perry - Who's Your Daddy?
Bidding starts on 27-07-2024 17:00
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16
3
Highest bidder: Garth Gratrix
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Who's your Daddy?
2024
31 x 25cm
Silk screen in acrylic and spray paint on paper
Hannah Perry was born 1984 in North of England, UK. She lives and works in London, UK. She graduated from Goldsmiths College in 2009 and then Royal Academy of Arts 2014. Recent exhibitions include: solo show’ Baltic Gallery in Newcastle 2024, Julia Stoschek Foundation dusseldorf 2024, NTNT, chester contemporary, Duo show at Galerie Kandlhofer 2023, ‘Liquid Language’ Arsenal Toronto, 'A Smashed Window and an Empty Room' at the Kunstverein Hamburg, 'Gush', Somerset House, London and 'Rage Fluids', Kuenstlerhaus, Graz, Austria as well as an exhibition of Artist-in-Residence programme of the Ural Industrial Biennial of Contemporary Art, Russia. Her work has been shown at: Over the Influence, LA, Arsenal Contemporary, Montreal, ICA Off-Site, London, 'Private Settings: Art After the Internet', MOMA Warsaw, Poland, Royal Academy of Arts, London, and Stedelijk at Trouw, Stedelijk Museum, Amsterdam. Hannah Perry is represented by Contemporary Fine Arts (Berlin), Galerie Lisa Kandlhofer (Vienna) and Althuis Hofland Fine Arts (Amsterdam).
2024
31 x 25cm
Silk screen in acrylic and spray paint on paper
Hannah Perry was born 1984 in North of England, UK. She lives and works in London, UK. She graduated from Goldsmiths College in 2009 and then Royal Academy of Arts 2014. Recent exhibitions include: solo show’ Baltic Gallery in Newcastle 2024, Julia Stoschek Foundation dusseldorf 2024, NTNT, chester contemporary, Duo show at Galerie Kandlhofer 2023, ‘Liquid Language’ Arsenal Toronto, 'A Smashed Window and an Empty Room' at the Kunstverein Hamburg, 'Gush', Somerset House, London and 'Rage Fluids', Kuenstlerhaus, Graz, Austria as well as an exhibition of Artist-in-Residence programme of the Ural Industrial Biennial of Contemporary Art, Russia. Her work has been shown at: Over the Influence, LA, Arsenal Contemporary, Montreal, ICA Off-Site, London, 'Private Settings: Art After the Internet', MOMA Warsaw, Poland, Royal Academy of Arts, London, and Stedelijk at Trouw, Stedelijk Museum, Amsterdam. Hannah Perry is represented by Contemporary Fine Arts (Berlin), Galerie Lisa Kandlhofer (Vienna) and Althuis Hofland Fine Arts (Amsterdam).
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Hannah Perry
Hannah Perry
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Lot 70
£ 250
0
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Milly Peck - Downtrodden
Milly Peck - Downtrodden
Bidding starts on 27-07-2024 17:00
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70
0
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Downtrodden
2020
29.5 x 21cm
Coloured pencil on cartridge paper
Milly Peck (b. 1990, London, UK) lives and works in London, UK. She holds a BFA in Fine art from Ruskin School of Art, University of Oxford, Oxford, UK (2012) and an MA in Sculpture from The Royal College of Art (2016). Awards include: Jerwood Visual Arts Artist Bursary (2018); David Troostwyk/Matt's Gallery Studio Award (2016); Gilbert Bayes Charitable Trust Grant (2016); Villiers David Travel Award (2015); Peel Award (2011).
Peck has been exhibited internationally at galleries and institutions including: East Bristol Contemporary, Bristol, UK; Tintype Gallery, London, UK; Assembly Point, London, UK; Matt’s Gallery, London, UK; Jerwood Space, London, UK; g36, Glasgow, UK; Bluecoat, Liverpool, UK; BALTIC, Newcastle, UK; Thame-Side Studios Gallery, London, UK; VITRINE, Basel, CH; VITRINE Fitzrovia, London, UK; Annarumma Gallery, Naples, IT; Castlefield Gallery, Manchester, UK; The Royal Standard, Liverpool, UK; The Greenroom, Krakow, PL; Bloc Projects, Sheffield, UK; Contemporary Sculpture Fulmer, UK (2022 & 2023); Ruskin Gallery, Cambridge, UK; Kupfer, London, UK.
Residencies include: The Bridget Riley Fellowship at the British School at Rome, IT (2021); AA2A Artist in Residence, Wimbledon College of Art, London, UK (2013-2014); Artist in Residence, Surbiton High School, London, UK (2013).
Current/forthcoming exhibitions include the Drawing Biennial 2024, Drawing Room, London, UK.
2020
29.5 x 21cm
Coloured pencil on cartridge paper
Milly Peck (b. 1990, London, UK) lives and works in London, UK. She holds a BFA in Fine art from Ruskin School of Art, University of Oxford, Oxford, UK (2012) and an MA in Sculpture from The Royal College of Art (2016). Awards include: Jerwood Visual Arts Artist Bursary (2018); David Troostwyk/Matt's Gallery Studio Award (2016); Gilbert Bayes Charitable Trust Grant (2016); Villiers David Travel Award (2015); Peel Award (2011).
Peck has been exhibited internationally at galleries and institutions including: East Bristol Contemporary, Bristol, UK; Tintype Gallery, London, UK; Assembly Point, London, UK; Matt’s Gallery, London, UK; Jerwood Space, London, UK; g36, Glasgow, UK; Bluecoat, Liverpool, UK; BALTIC, Newcastle, UK; Thame-Side Studios Gallery, London, UK; VITRINE, Basel, CH; VITRINE Fitzrovia, London, UK; Annarumma Gallery, Naples, IT; Castlefield Gallery, Manchester, UK; The Royal Standard, Liverpool, UK; The Greenroom, Krakow, PL; Bloc Projects, Sheffield, UK; Contemporary Sculpture Fulmer, UK (2022 & 2023); Ruskin Gallery, Cambridge, UK; Kupfer, London, UK.
Residencies include: The Bridget Riley Fellowship at the British School at Rome, IT (2021); AA2A Artist in Residence, Wimbledon College of Art, London, UK (2013-2014); Artist in Residence, Surbiton High School, London, UK (2013).
Current/forthcoming exhibitions include the Drawing Biennial 2024, Drawing Room, London, UK.
Kindly donated by
Milly Peck
Milly Peck
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Lot 89
£ 310
3
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Zach Toppin - V Woolf
Zach Toppin - V Woolf
Bidding starts on 27-07-2024 17:00
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89
3
Highest bidder: Anonymous
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V Woolf
2023
21 x 29.7cm
Acrylic and oil on paper
Zach Toppin (b. 1987) is a London based multidisciplinary artist. Toppin's work is rich in narrative, symbolism and cultural reference, weaving together important stories about gender, sex, love and emotion. Working across painting, drawing and sculpture they archive and reimagine queer histories, in order to construct new pathways of understanding for the present. Explorations into identity fantasy are borrowed from these ancestors, as well as through dissecting the historic construction of masculinity. Desire and longing are actualised through the fetishization of items, possessions, signifiers, relics; and by investigating this collage of desire, we find a way to navigate the dichotomy of trans unease and euphoria, and how to arrive at strength and authenticity via the armour of dress and signifiers.
2023
21 x 29.7cm
Acrylic and oil on paper
Zach Toppin (b. 1987) is a London based multidisciplinary artist. Toppin's work is rich in narrative, symbolism and cultural reference, weaving together important stories about gender, sex, love and emotion. Working across painting, drawing and sculpture they archive and reimagine queer histories, in order to construct new pathways of understanding for the present. Explorations into identity fantasy are borrowed from these ancestors, as well as through dissecting the historic construction of masculinity. Desire and longing are actualised through the fetishization of items, possessions, signifiers, relics; and by investigating this collage of desire, we find a way to navigate the dichotomy of trans unease and euphoria, and how to arrive at strength and authenticity via the armour of dress and signifiers.
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Zach Toppin
Zach Toppin
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Lot 102
£ 270
1
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Haroun Hayward - Untitled
Haroun Hayward - Untitled
Bidding starts on 27-07-2024 17:00
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102
1
Highest bidder: Frank Krikhaar
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Untitled
2024
14.8 × 21cm
Watercolour, Graphite on Paper
Haroun Hayward lives and works in London. He received his MFA from Goldsmiths University and his BA (Fine Art, Painting) from Brighton University, following an exchange stay at the Nagoya University of Arts in Japan. Hayward was recently awarded an artists’ residency at Casa Balandra in Mallorca. His group exhibitions include Drawing Room Biennial, Drawing Room London, 2021 (upcoming), All the Days and Nights, Kristin Hjellegjerde Gallery, 2020, Interference, Rivington Rooms, 2019, Gadfly, indigo+madder, London, 2019, While Supplies Last, Mount Analogue, Seattle, USA, 2019, The Bigger Picture, curated by Bob and Roberta Smith, Mile End Pavillion, UK, 2017 and SHOT, Kristin Hjellegjerde Gallery, London, UK, 2013 amongst others. Solo exhibitions include Too Nice, Play It Twice, indigo+madder, 2021, and Dance Mania, Wellington Club, 2020. Hayward is currently an Associate Lecturer in the Fine Art Painting Department at Brighton University and a mentor at The New Art School, London.
2024
14.8 × 21cm
Watercolour, Graphite on Paper
Haroun Hayward lives and works in London. He received his MFA from Goldsmiths University and his BA (Fine Art, Painting) from Brighton University, following an exchange stay at the Nagoya University of Arts in Japan. Hayward was recently awarded an artists’ residency at Casa Balandra in Mallorca. His group exhibitions include Drawing Room Biennial, Drawing Room London, 2021 (upcoming), All the Days and Nights, Kristin Hjellegjerde Gallery, 2020, Interference, Rivington Rooms, 2019, Gadfly, indigo+madder, London, 2019, While Supplies Last, Mount Analogue, Seattle, USA, 2019, The Bigger Picture, curated by Bob and Roberta Smith, Mile End Pavillion, UK, 2017 and SHOT, Kristin Hjellegjerde Gallery, London, UK, 2013 amongst others. Solo exhibitions include Too Nice, Play It Twice, indigo+madder, 2021, and Dance Mania, Wellington Club, 2020. Hayward is currently an Associate Lecturer in the Fine Art Painting Department at Brighton University and a mentor at The New Art School, London.
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Haroun Hayward
Haroun Hayward
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Lot 24
£ 1,520
27
NOT STARTED
Natalia Gonzalez Martin - Teresa
Natalia Gonzalez Martin - Teresa
Bidding starts on 27-07-2024 17:00
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24
27
Highest bidder: Anonymous
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Teresa
2024
Pencil and wax crayons on paper
29.7 x 21 cm
Born in Spain, Natalia graduated from Fine Art Painting at City & Guilds of London Art School in 2017. Since then her work has been exhibited in several group exhibitions including Old Friends, New Friends, Collective Ending, London (2021), The Artist Oracle, White Crypt Gallery, London, (2021), Back To Back, The Artist Contemporary, London (2021), Frozen Time, Annarumma Gallery, Naples (2021), Always Winter, Brooke Benington Gallery, London (2020) and has participated in the AucArt Lab Residency, London (2019), Woolwich Contemporary Print Fair, London (2018) as well as being selected for YICCA 2018 Art Prize, Hernandez Art Gallery, Milan (2018).
2024
Pencil and wax crayons on paper
29.7 x 21 cm
Born in Spain, Natalia graduated from Fine Art Painting at City & Guilds of London Art School in 2017. Since then her work has been exhibited in several group exhibitions including Old Friends, New Friends, Collective Ending, London (2021), The Artist Oracle, White Crypt Gallery, London, (2021), Back To Back, The Artist Contemporary, London (2021), Frozen Time, Annarumma Gallery, Naples (2021), Always Winter, Brooke Benington Gallery, London (2020) and has participated in the AucArt Lab Residency, London (2019), Woolwich Contemporary Print Fair, London (2018) as well as being selected for YICCA 2018 Art Prize, Hernandez Art Gallery, Milan (2018).
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Natalia Gonzalez Martin
Natalia Gonzalez Martin
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Lot 78
£ 270
1
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Ann Churchill - Untitled
Ann Churchill - Untitled
Bidding starts on 27-07-2024 17:00
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78
1
Highest bidder: Victor Benady
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Untitled
2018
41.5 x 29
Watercolour and erasure on handmade paper (Double-sided)
ANN CHURCHILL (b. 1944, Oxford) is a self-taught maker whose output encompasses drawing, painting, knitting, batik and beading. Churchill views her practice as a meditative process that supports her own inner spiritual journey. Her work has been included in a Hayward Gallery Touring Exhibition: Not Without My Ghosts: The Artist As Medium, Drawing Room, London (2020); touring to: Grundy Art Gallery, Blackpool (2021), Glynn Vivian Art Gallery, Swansea (2022), Millennium Gallery, Sheffield (2022). Her solo exhibitions include Ann Churchill: Works on Paper: 1974–78 (online), Richard Saltoun Gallery, London (2019) and Ann Churchill, GRANDINE, London (2018), organised in collaboration with Gaia Fugazza.
2018
41.5 x 29
Watercolour and erasure on handmade paper (Double-sided)
ANN CHURCHILL (b. 1944, Oxford) is a self-taught maker whose output encompasses drawing, painting, knitting, batik and beading. Churchill views her practice as a meditative process that supports her own inner spiritual journey. Her work has been included in a Hayward Gallery Touring Exhibition: Not Without My Ghosts: The Artist As Medium, Drawing Room, London (2020); touring to: Grundy Art Gallery, Blackpool (2021), Glynn Vivian Art Gallery, Swansea (2022), Millennium Gallery, Sheffield (2022). Her solo exhibitions include Ann Churchill: Works on Paper: 1974–78 (online), Richard Saltoun Gallery, London (2019) and Ann Churchill, GRANDINE, London (2018), organised in collaboration with Gaia Fugazza.
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Ann Churchill
Ann Churchill
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Lot 85
£ 250
0
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Emii Alrai - Carthenons in the Haar
Emii Alrai - Carthenons in the Haar
Bidding starts on 27-07-2024 17:00
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£ 250
85
0
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Carthenons in the Haar
2024
31 x 12cm
Oil pastel on hand dyed paper
Emii Alrai is an artist and trained museum registrar whose work spans material investigation in relation to memory, critique of the western museological structure and the complexity of ruins. Working primarily in sculpture and installation, her work operates as large-scale realms built in relation to bodies of research which concern archaeology and the natural environments objects are excavated from. Weaving in oral histories, inherited nostalgia and the details of language to question the rigidity of Empire and the power of hierarchy to interpolate the static presence of history. Clay vessels, gypsum forms and steel armatures punctuate the labyrinth-like spaces Alrai creates, mimicking museum dioramas and romanticised visions of the past. Past solo exhibitions include Lithics at Quench Gallery, Margate (2024); A Core of Scar, The Hepworth Wakefield & iniva (2022); and Reverse Defence at Workplace Foundation in Newcastle (2022). Alrai is currently included in the group exhibition, An Axis of Abstraction: Art in Cornwall and Yorkshire – Then and Now at Leeds Art Gallery. Previous group exhibitions include Drawing Attention: Emerging Artists in Dialogue, a British Museum touring exhibition (2023-2024); life-bestowing cadaverous soooooooooooooo at CCA Glasgow (2024); A Permanent Departure for Nostalgia, A rehearsal on legacy with Zaha Hadid at the Contemporary Arts Centre, Cincinnati (2023); and Exploratory Drawings at Maximillian William, London (2022). Alrai’s work is held in public collections including the British Museum, London; Leeds Art Gallery, Leeds; the Arts Council Collection, London; the Government Art Collection, and The Hepworth Wakefield.
2024
31 x 12cm
Oil pastel on hand dyed paper
Emii Alrai is an artist and trained museum registrar whose work spans material investigation in relation to memory, critique of the western museological structure and the complexity of ruins. Working primarily in sculpture and installation, her work operates as large-scale realms built in relation to bodies of research which concern archaeology and the natural environments objects are excavated from. Weaving in oral histories, inherited nostalgia and the details of language to question the rigidity of Empire and the power of hierarchy to interpolate the static presence of history. Clay vessels, gypsum forms and steel armatures punctuate the labyrinth-like spaces Alrai creates, mimicking museum dioramas and romanticised visions of the past. Past solo exhibitions include Lithics at Quench Gallery, Margate (2024); A Core of Scar, The Hepworth Wakefield & iniva (2022); and Reverse Defence at Workplace Foundation in Newcastle (2022). Alrai is currently included in the group exhibition, An Axis of Abstraction: Art in Cornwall and Yorkshire – Then and Now at Leeds Art Gallery. Previous group exhibitions include Drawing Attention: Emerging Artists in Dialogue, a British Museum touring exhibition (2023-2024); life-bestowing cadaverous soooooooooooooo at CCA Glasgow (2024); A Permanent Departure for Nostalgia, A rehearsal on legacy with Zaha Hadid at the Contemporary Arts Centre, Cincinnati (2023); and Exploratory Drawings at Maximillian William, London (2022). Alrai’s work is held in public collections including the British Museum, London; Leeds Art Gallery, Leeds; the Arts Council Collection, London; the Government Art Collection, and The Hepworth Wakefield.
Kindly donated by
Emii Alrai
Emii Alrai
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Lot 123
£ 1,000
0
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Anya Gallaccio - Prestige II
Anya Gallaccio - Prestige II
Bidding starts on 27-07-2024 17:00
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123
0
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Prestige II
1992
15 x 74cm
Digital print on graph paper
Anya Gallaccio was born in Paisley, Scotland. She studied at Kingston Polytechnic, London, 1984 - 1985, and Goldsmiths College, University of London, 1985 - 1988. Early in her career she participated in two seminal London group exhibitions, Freeze in 1988 and the East Country Yard Show in 1990. Her first solo exhibition was at Karsten Schubert Ltd, London in 1991, since when she has shown extensively in Europe, the USA and Japan. She has participated in numerous important group exhibitions, including Brilliant! New Art from London at the Walker Arts Center, Minneapolis in 1995, The British Art Show 4, a national touring exhibition in 1995 - 1996, Material Culture: The Object in British Art of the 1980s and 1990s, the Hayward Gallery, London, 1997, and Real/Life: New British Art, which toured to five Japanese museums in 1998 - 1999. She undertook a residency on the Art Pace International Artists’ Programme, San Antonio, Texas in 1997, was awarded a Sargent Fellowship, British School at Rome in 1998, and was artist-in-residence at the Kanazawa Art Academy, Japan in 1999. In 2002 she was invited to undertake a commission for Tate Britain's Duveen Galleries, where she created an installation incorporating the monumental trunks of seven felled oak trees. A major survey of her work was mounted at the Ikon Gallery, Birmingham in 2003, and she has subsequently been short-listed for the Turner Prize at Tate Britain, London. She lives and works in London.
1992
15 x 74cm
Digital print on graph paper
Anya Gallaccio was born in Paisley, Scotland. She studied at Kingston Polytechnic, London, 1984 - 1985, and Goldsmiths College, University of London, 1985 - 1988. Early in her career she participated in two seminal London group exhibitions, Freeze in 1988 and the East Country Yard Show in 1990. Her first solo exhibition was at Karsten Schubert Ltd, London in 1991, since when she has shown extensively in Europe, the USA and Japan. She has participated in numerous important group exhibitions, including Brilliant! New Art from London at the Walker Arts Center, Minneapolis in 1995, The British Art Show 4, a national touring exhibition in 1995 - 1996, Material Culture: The Object in British Art of the 1980s and 1990s, the Hayward Gallery, London, 1997, and Real/Life: New British Art, which toured to five Japanese museums in 1998 - 1999. She undertook a residency on the Art Pace International Artists’ Programme, San Antonio, Texas in 1997, was awarded a Sargent Fellowship, British School at Rome in 1998, and was artist-in-residence at the Kanazawa Art Academy, Japan in 1999. In 2002 she was invited to undertake a commission for Tate Britain's Duveen Galleries, where she created an installation incorporating the monumental trunks of seven felled oak trees. A major survey of her work was mounted at the Ikon Gallery, Birmingham in 2003, and she has subsequently been short-listed for the Turner Prize at Tate Britain, London. She lives and works in London.
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Anya Gallaccio
Anya Gallaccio
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Lot 14
£ 700
13
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Emma Talbot - The Dog Rani, Comapnion Soul
Emma Talbot - The Dog Rani, Comapnion Soul
Bidding starts on 27-07-2024 17:00
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BIDS:
£ 700
14
13
Highest bidder: Kristine Tan
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The Dog Rani, Comapnion Soul
2024
40.4 x 32.6 cm
Watercolour and gouache on Khadi paper
Born in Stourbridge, Worcestershire in 1969, Emma Talbot received a BA in fine art in 1991 from the Birmingham Institute of Art and Design and an MA in painting from the Royal College of Art in 1995. In 1996, she was a Rome Scholar at the British School at Rome. She works primarily in animation, drawing, painting, and sculpture. Her work often articulates internal narratives through visual poems or associative reflections, based on her own experience and memories. Her practice considers complex issues such as ecopolitics and the natural world; feminist theory and storytelling; and questions regarding our relationships to communication, language, and technology.
In 2020 Talbot won the Max Mara Art Prize for Women with a project based on the painting Three Ages of Woman (1905) by Gustav Klimt. Her work has been exhibited at Arcadia Missa, New York; Beiqiu Museum, Nanjing; Collezione Maramotti, Reggio Emilia; Frieze Special Projects, London; KM21, the Hague; Lisson Gallery, London; Tate St. Ives; and Whitechapel Gallery, London, to name only a few. Her work is held in the Art Council Collection, UK; the British Council Collection; City of Birmingham Museum and Art Gallery; Guerlain, Paris; Saatchi Collection; and the University of the Arts London, among others. Talbot lives and works in London and Italy.
2024
40.4 x 32.6 cm
Watercolour and gouache on Khadi paper
Born in Stourbridge, Worcestershire in 1969, Emma Talbot received a BA in fine art in 1991 from the Birmingham Institute of Art and Design and an MA in painting from the Royal College of Art in 1995. In 1996, she was a Rome Scholar at the British School at Rome. She works primarily in animation, drawing, painting, and sculpture. Her work often articulates internal narratives through visual poems or associative reflections, based on her own experience and memories. Her practice considers complex issues such as ecopolitics and the natural world; feminist theory and storytelling; and questions regarding our relationships to communication, language, and technology.
In 2020 Talbot won the Max Mara Art Prize for Women with a project based on the painting Three Ages of Woman (1905) by Gustav Klimt. Her work has been exhibited at Arcadia Missa, New York; Beiqiu Museum, Nanjing; Collezione Maramotti, Reggio Emilia; Frieze Special Projects, London; KM21, the Hague; Lisson Gallery, London; Tate St. Ives; and Whitechapel Gallery, London, to name only a few. Her work is held in the Art Council Collection, UK; the British Council Collection; City of Birmingham Museum and Art Gallery; Guerlain, Paris; Saatchi Collection; and the University of the Arts London, among others. Talbot lives and works in London and Italy.
Kindly donated by
Emma Talbot
Emma Talbot
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Lot 113
£ 150
0
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Maisie Cousins - Volcano
Maisie Cousins - Volcano
Bidding starts on 27-07-2024 17:00
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£ 150
113
0
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Volcano
Screenprint on paper
Both provocative and sensual, her colourful still lifes celebrate the female body and challenge the mainstream misogynistic notions of perfect and clean female beauty. Maisie Cousins, born in 1992 in London, studied Fine Art Photography at Brighton University.
Screenprint on paper
Both provocative and sensual, her colourful still lifes celebrate the female body and challenge the mainstream misogynistic notions of perfect and clean female beauty. Maisie Cousins, born in 1992 in London, studied Fine Art Photography at Brighton University.
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Maisie Cousins
Maisie Cousins
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Lot 12
£ 700
16
NOT STARTED
Eileen Cooper - Shadows of Clouds 1
Eileen Cooper - Shadows of Clouds 1
Bidding starts on 27-07-2024 17:00
CURRENT PRICE:
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LOT #:
BIDS:
£ 700
12
16
Highest bidder: Anonymous
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Shadows of clouds 1
2022
19 x 28.5 cm
watercolour, charcoal and gouache
Eileen Cooper, born in 1953 in Glossop, England, is a prominent British artist known for her figurative paintings and prints. With subjects including intimate portraits, mythical figures, and scenes inspired by folklore and personal experiences, Cooper’s work reflects a fascination with the human form and its relationship to nature, exploring themes of identity, femininity, and the complexities of the inner world.
Cooper studied at Goldsmiths College and the Royal College of Art. Her career gained momentum in the 1980s, when she emerged as a key part of the resurgence of British figurative art. Cooper was elected a Royal Academician in 2001, and from 2011 to 2017, she held the significant position of Keeper of the Royal Academy, being the first woman to occupy this role in its 250-year history. Her work has been exhibited at major institutions, including the Royal Academy of Arts and the Victoria and Albert Museum.
2022
19 x 28.5 cm
watercolour, charcoal and gouache
Eileen Cooper, born in 1953 in Glossop, England, is a prominent British artist known for her figurative paintings and prints. With subjects including intimate portraits, mythical figures, and scenes inspired by folklore and personal experiences, Cooper’s work reflects a fascination with the human form and its relationship to nature, exploring themes of identity, femininity, and the complexities of the inner world.
Cooper studied at Goldsmiths College and the Royal College of Art. Her career gained momentum in the 1980s, when she emerged as a key part of the resurgence of British figurative art. Cooper was elected a Royal Academician in 2001, and from 2011 to 2017, she held the significant position of Keeper of the Royal Academy, being the first woman to occupy this role in its 250-year history. Her work has been exhibited at major institutions, including the Royal Academy of Arts and the Victoria and Albert Museum.
Kindly donated by
Eileen Cooper
Eileen Cooper
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Lot 104
£ 270
1
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Helen Teede - Brat
Helen Teede - Brat
Bidding starts on 27-07-2024 17:00
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104
1
Highest bidder: Anonymous
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Brat
2023
42 x 59cm
Gauche on paper
Born 1989 in Harare, Zimbabwe. Lives and works between Margate, UK and Harare, Zimbabwe.
Teede's recent move to the UK has re-articulated ongoing questions around belonging and accountability. Being Zimbabwean, she is keenly aware of the fraught historical connection between the two countries. Her work addresses decoloniality and ecology, using her physical context as a catalyst for bridging epistemic divides. Paint is a living medium and partner in this process, and she regards her paintings as active interlocutors. Drawaing from personal experiences as well as philosophical and poetic works,she delves into the mythologies and taboos that influence the ways we live in the wold, taking inspiration from the queer and unruly beings that huant society and remind it of its fragility. Her recent painting present such beings in a process of becoming that is both abject and hopeful.
2023
42 x 59cm
Gauche on paper
Born 1989 in Harare, Zimbabwe. Lives and works between Margate, UK and Harare, Zimbabwe.
Teede's recent move to the UK has re-articulated ongoing questions around belonging and accountability. Being Zimbabwean, she is keenly aware of the fraught historical connection between the two countries. Her work addresses decoloniality and ecology, using her physical context as a catalyst for bridging epistemic divides. Paint is a living medium and partner in this process, and she regards her paintings as active interlocutors. Drawaing from personal experiences as well as philosophical and poetic works,she delves into the mythologies and taboos that influence the ways we live in the wold, taking inspiration from the queer and unruly beings that huant society and remind it of its fragility. Her recent painting present such beings in a process of becoming that is both abject and hopeful.
Kindly donated by
Helen Teede
Helen Teede
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Lot 91
£ 400
9
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Studio Lenca - Leave To Remain exhibition poster
Studio Lenca - Leave To Remain exhibition poster
Bidding starts on 27-07-2024 17:00
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91
9
Highest bidder: Anonymous
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Leave To Remain exhibition poster
2024
50.5 x 70cm
Six Layer screenprint.
Part of a sold out edition of 150 w/Counter Editions
Jose Campos (aka Studio Lenca) is an artist that doesn’t belong anywhere apart from the world he creates.
Going by the name Studio Lenca. ‘Studio’ refers to a space for experimentation, a laboratory for praxis; ‘Lenca’ links the artist to the Mesoamerican indigenous people of eastern El Salvador.
The artist was forcibly displaced as a consequence of El Salvador’s violent civil war, one of the first wave of child migrants moving to the USA. Travelling illegally with his mother, the family lived as ‘illegal aliens’, cleaning houses with no fixed address.
Studio Lenca’s allusions to materiality and the depiction of regal figures seek to decentralise the collective idea of Salvadoran identity. Proud, courageous and visible. All the things that a young Studio Lenca couldn’t be. The subjects stare out from the canvas, holding our gaze. Sharply dressed in colourful outfits and hats, confidently taking up space.
The work playfully references a combination of biographical anecdotes, personal reflections and folkloric iconography. Visual cues are recalibrated to reclaim autonomy over a fragmented history. Studio Lenca creates through the lens of his own sense of belonging and joy to defy the narrative surrounding his community. His work offers an altogether different sensibility from the forced assimilation and secrecy caused by the US immigration system.
Creating by his own rules. The displaced narrative is reconfigured and the conversation is extended to enable investigation and redemption. Studio Lenca creates a world where we are empowered to tell our own stories.
2024
50.5 x 70cm
Six Layer screenprint.
Part of a sold out edition of 150 w/Counter Editions
Jose Campos (aka Studio Lenca) is an artist that doesn’t belong anywhere apart from the world he creates.
Going by the name Studio Lenca. ‘Studio’ refers to a space for experimentation, a laboratory for praxis; ‘Lenca’ links the artist to the Mesoamerican indigenous people of eastern El Salvador.
The artist was forcibly displaced as a consequence of El Salvador’s violent civil war, one of the first wave of child migrants moving to the USA. Travelling illegally with his mother, the family lived as ‘illegal aliens’, cleaning houses with no fixed address.
Studio Lenca’s allusions to materiality and the depiction of regal figures seek to decentralise the collective idea of Salvadoran identity. Proud, courageous and visible. All the things that a young Studio Lenca couldn’t be. The subjects stare out from the canvas, holding our gaze. Sharply dressed in colourful outfits and hats, confidently taking up space.
The work playfully references a combination of biographical anecdotes, personal reflections and folkloric iconography. Visual cues are recalibrated to reclaim autonomy over a fragmented history. Studio Lenca creates through the lens of his own sense of belonging and joy to defy the narrative surrounding his community. His work offers an altogether different sensibility from the forced assimilation and secrecy caused by the US immigration system.
Creating by his own rules. The displaced narrative is reconfigured and the conversation is extended to enable investigation and redemption. Studio Lenca creates a world where we are empowered to tell our own stories.
Kindly donated by
Studio Lenca
Studio Lenca
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Lot 125
£ 270
1
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Alexander Glass - Waiting Patiently
Alexander Glass - Waiting Patiently
Bidding starts on 27-07-2024 17:00
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£ 270
125
1
Highest bidder: Anonymous
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Waiting Patiently
2020
12.5 x 17.5cm
ALEXANDER GLASS IS A SCULPTOR AND INSTALLATION ARTIST, LIVING AND WORKING IN LONDON
Desire is physical; this is the notion that underpins my sculptural and installation practise. Through gloss surfaces and cinematically aspirational imagery, I aim to seduce audiences into the theatre of my work. The veneer of translucent resins and polished tiles serve to disguise more sinister aspects of my thematic intentions. Violence, narcissism and apathy are all hidden within the cold blue objects, representative of perfection and power. The work's frequently minimalist and pristine appearance presents a duality, between appeal and its instantaneous reduction through cracking surfaces or lingering bodily traces.
Often functioning as sets without performers, my works explore the complex relationship between masculinity and desire. Spaces such as locker-rooms, swimming pools and nightclubs are frequently exploited as familiar contexts whilst exploring their association with the sexualisation of the male body. Through my academic research I investigate the history of the masculine ideal; from the idolatry of the ancient greek to the modern obsession with the superhero and the impact the age of social media has had on the self-image. This research manifests in my installations through the presentation of the ubiquitous physical body that only appears disembodied or on the surface of a screen. The desire for the male figure and the fabricated image of masculinity is left for the viewer to contemplate within artificial environments of visual ambition. Through this, my practice offers a critical and melancholy lens on the vulnerability of the potent male image and the world of aspiration
2020
12.5 x 17.5cm
ALEXANDER GLASS IS A SCULPTOR AND INSTALLATION ARTIST, LIVING AND WORKING IN LONDON
Desire is physical; this is the notion that underpins my sculptural and installation practise. Through gloss surfaces and cinematically aspirational imagery, I aim to seduce audiences into the theatre of my work. The veneer of translucent resins and polished tiles serve to disguise more sinister aspects of my thematic intentions. Violence, narcissism and apathy are all hidden within the cold blue objects, representative of perfection and power. The work's frequently minimalist and pristine appearance presents a duality, between appeal and its instantaneous reduction through cracking surfaces or lingering bodily traces.
Often functioning as sets without performers, my works explore the complex relationship between masculinity and desire. Spaces such as locker-rooms, swimming pools and nightclubs are frequently exploited as familiar contexts whilst exploring their association with the sexualisation of the male body. Through my academic research I investigate the history of the masculine ideal; from the idolatry of the ancient greek to the modern obsession with the superhero and the impact the age of social media has had on the self-image. This research manifests in my installations through the presentation of the ubiquitous physical body that only appears disembodied or on the surface of a screen. The desire for the male figure and the fabricated image of masculinity is left for the viewer to contemplate within artificial environments of visual ambition. Through this, my practice offers a critical and melancholy lens on the vulnerability of the potent male image and the world of aspiration
Kindly donated by
Alexander Glass
Alexander Glass
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Lot 44
£ 290
2
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Rafaela De Ascanio - Early Daze
Rafaela De Ascanio - Early Daze
Bidding starts on 27-07-2024 17:00
CURRENT PRICE:
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BIDS:
£ 290
44
2
Highest bidder: Luke Pearson
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Early Daze
2017
42 x 29.7cm
Oil on paper.
Rafaela de Ascanio (1986 London) is an artist that works predominantly in painting and ceramic, based between London and Madrid. Her work explores themes of feminism and mysticism, with a recent focus on motherhood. Solo presentations include Berntson Bhattacharjee and Liliya Gallery, and duo shows at Tristan Hoare and Lamb. She has also exhibited with Cob Gallery, Arusha Gallery, 180 The Strand, Lychee One, Hauser and Wirth, and is currently showing at Niru Ratnam Gallery. In 2021 she won the Young Masters Focus on the Female Prize, and in 2022 was on The Wick Culture Spotlight as well as being shortlisted for the Mother Art Prize.
De Ascanio’s paintings and sculptures work in tandem, compiling layers of iconography and exchanging symbols to explore the female experience through differing processes. Her paintings have a tropical colour palette, attributed to her early years spent in the volcanic Canary Islands. She sculpts clay into anatomical forms that are glazed with flowing circular narratives and fired to create enduring stone bodies. De Ascanio portrays the female in defiant guises, empowering both her and the viewer. Images emerge from autobiographical events, fantastical symbols from sci-fi film and literature, esoteric pagan practices, and ‘fire and brimstone’ altarpieces. Disrupting the patriarchal narratives propagated throughout art history, she revisualises the female as the protagonist and leader, with sexual ownership, and psychological resilience.
2017
42 x 29.7cm
Oil on paper.
Rafaela de Ascanio (1986 London) is an artist that works predominantly in painting and ceramic, based between London and Madrid. Her work explores themes of feminism and mysticism, with a recent focus on motherhood. Solo presentations include Berntson Bhattacharjee and Liliya Gallery, and duo shows at Tristan Hoare and Lamb. She has also exhibited with Cob Gallery, Arusha Gallery, 180 The Strand, Lychee One, Hauser and Wirth, and is currently showing at Niru Ratnam Gallery. In 2021 she won the Young Masters Focus on the Female Prize, and in 2022 was on The Wick Culture Spotlight as well as being shortlisted for the Mother Art Prize.
De Ascanio’s paintings and sculptures work in tandem, compiling layers of iconography and exchanging symbols to explore the female experience through differing processes. Her paintings have a tropical colour palette, attributed to her early years spent in the volcanic Canary Islands. She sculpts clay into anatomical forms that are glazed with flowing circular narratives and fired to create enduring stone bodies. De Ascanio portrays the female in defiant guises, empowering both her and the viewer. Images emerge from autobiographical events, fantastical symbols from sci-fi film and literature, esoteric pagan practices, and ‘fire and brimstone’ altarpieces. Disrupting the patriarchal narratives propagated throughout art history, she revisualises the female as the protagonist and leader, with sexual ownership, and psychological resilience.
Kindly donated by
Rafaela De Ascanio
Rafaela De Ascanio
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Lot 32
£ 250
2
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Rhys Coren - Always Have Somebody Chasing Somebody Else
Rhys Coren - Always Have Somebody Chasing Somebody Else
Bidding starts on 27-07-2024 17:00
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£ 250
32
2
Highest bidder: russell herron
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Always Have Somebody Chasing Somebody Else
2024
14.8cm x 10.5cm
enamel on paper
Rhys Coren was born in Plymouth, UK, in 1983. Coren graduated from the University of West England, Bristol, in 2006 and completed a Post Graduate Diploma in Fine Art, at the Royal Academy Schools, London, in 2016.
Coren works across animation, writing, performance and painted marquetry. He explores rhythm, colour and texture in work that is characterised by cartoon-like clouds, grids of colour, shadows and the interplay of lines. Inspired by music, Coren credits the structures found in electronic dance music, jazz and disco as central to his work.
Coren was recently commissioned to create a nine metre long public artwork made from bespoke terrazzo, displayed behind Bond Street Crossrail station in London. In 2018, he was commissioned to create an animation as part of the Lumiere Festival, London. Entitled Love Motion, the animation was projected across the Royal Academy of Arts building and was accompanied by a bespoke soundtrack.
Coren’s solo exhibitions include Seventeen, London (2021, 2019, 2017); Frans Kasl Projects, Eindhoven (2021); Grimm Gallery, New York (2018); Galerie pcp, Paris (2016) and Jerwood Project Space, London (2014). Group exhibitions include Drawing Room, London (2021); University of Hertfordshire, Hatfield (2019); Bluecoat, Liverpool; Screen City Biennial, MS Sandnes Boat, Stavanger, Norway (2017); Seventeen, London; Royal Academy of Arts, London (2016); Slate Projects, London (2015) Site Gallery, Sheffield (2014); Test Space, Spike Island, Bristol; Design Museum, London (2013); FACT, Liverpool (2009) and Bloomberg New Contemporaries (2007). Coren has completed residencies in the UK, USA, and Italy.
Rhys Coren lives and works in London.
2024
14.8cm x 10.5cm
enamel on paper
Rhys Coren was born in Plymouth, UK, in 1983. Coren graduated from the University of West England, Bristol, in 2006 and completed a Post Graduate Diploma in Fine Art, at the Royal Academy Schools, London, in 2016.
Coren works across animation, writing, performance and painted marquetry. He explores rhythm, colour and texture in work that is characterised by cartoon-like clouds, grids of colour, shadows and the interplay of lines. Inspired by music, Coren credits the structures found in electronic dance music, jazz and disco as central to his work.
Coren was recently commissioned to create a nine metre long public artwork made from bespoke terrazzo, displayed behind Bond Street Crossrail station in London. In 2018, he was commissioned to create an animation as part of the Lumiere Festival, London. Entitled Love Motion, the animation was projected across the Royal Academy of Arts building and was accompanied by a bespoke soundtrack.
Coren’s solo exhibitions include Seventeen, London (2021, 2019, 2017); Frans Kasl Projects, Eindhoven (2021); Grimm Gallery, New York (2018); Galerie pcp, Paris (2016) and Jerwood Project Space, London (2014). Group exhibitions include Drawing Room, London (2021); University of Hertfordshire, Hatfield (2019); Bluecoat, Liverpool; Screen City Biennial, MS Sandnes Boat, Stavanger, Norway (2017); Seventeen, London; Royal Academy of Arts, London (2016); Slate Projects, London (2015) Site Gallery, Sheffield (2014); Test Space, Spike Island, Bristol; Design Museum, London (2013); FACT, Liverpool (2009) and Bloomberg New Contemporaries (2007). Coren has completed residencies in the UK, USA, and Italy.
Rhys Coren lives and works in London.
Kindly donated by
Rhys Coren
Rhys Coren
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Lot 30
£ 250
0
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Rosie Reed - Ugh (Toothpaste on jumper)
Rosie Reed - Ugh (Toothpaste on jumper)
Bidding starts on 27-07-2024 17:00
CURRENT PRICE:
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LOT #:
BIDS:
£ 250
30
0
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Ugh (Toothpaste on jumper)
2020
26 x 38.5
Pencil, toothpaste on paper - framed
Rosie graduated with a BA from The Ruskin School of Art in 2013 and an MA in Sculpture from the Royal College of Art in 2017. Recent exhibitions include 'What the Water Gave Me', a solo show at Quench Gallery, ‘Touch-A-Touch-A-Touch-Me’, a group show at Bernston Bhattacharjee and ‘(Dis)embodied Burdens', a group show at Cooke Latham Gallery.
My making process is physical and all encompassing, focused on my interaction with the materials I am using and the build up of layers. As a conceptual starting point, I am interested in everyday events that might be considered baffling; water as an unexplained substance, the mechanics of pregnancy or the metamorphosis of motherhood. I am interested in how material moments extend out of the power and limitations of language and representational imagery.
Text and writing, such as collages of old notebooks, become layers of my work and I experiment with the presence of the body, from literal suggestions to material imprints, imagery or personal belongings. I aim to create considered surfaces that disclose narrative, revealing tiers of time and movement. The cyclical use and reincarnation of material is important to me, I grind down and recycle elements of past installations to use as aggregate that makes up details of future work; rubbled remnants move through my practice as it evolves.
2020
26 x 38.5
Pencil, toothpaste on paper - framed
Rosie graduated with a BA from The Ruskin School of Art in 2013 and an MA in Sculpture from the Royal College of Art in 2017. Recent exhibitions include 'What the Water Gave Me', a solo show at Quench Gallery, ‘Touch-A-Touch-A-Touch-Me’, a group show at Bernston Bhattacharjee and ‘(Dis)embodied Burdens', a group show at Cooke Latham Gallery.
My making process is physical and all encompassing, focused on my interaction with the materials I am using and the build up of layers. As a conceptual starting point, I am interested in everyday events that might be considered baffling; water as an unexplained substance, the mechanics of pregnancy or the metamorphosis of motherhood. I am interested in how material moments extend out of the power and limitations of language and representational imagery.
Text and writing, such as collages of old notebooks, become layers of my work and I experiment with the presence of the body, from literal suggestions to material imprints, imagery or personal belongings. I aim to create considered surfaces that disclose narrative, revealing tiers of time and movement. The cyclical use and reincarnation of material is important to me, I grind down and recycle elements of past installations to use as aggregate that makes up details of future work; rubbled remnants move through my practice as it evolves.
Kindly donated by
Rosie Reed
Rosie Reed
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Lot 120
£ 1,285
32
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Laure Prouvost - Oui Grow Multiple
Laure Prouvost - Oui Grow Multiple
Bidding starts on 27-07-2024 17:00
CURRENT PRICE:
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£ 1,285
120
32
Highest bidder: Victor Benady
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Oui Grow Multiple
2024
Oil on printed paper.
The drawing is part of the Oui Grow editions, the drawing is unique.
Plant pot not included
Language – in its broadest sense – permeates the video, sound, installation and performance work of Laure Prouvost. Known for her immersive and mixed-media installations that combine film and installation in humorous and idiosyncratic ways, Prouvost’s work addresses miscommunication and ideas becoming lost in translation. Playing with language as a tool for the imagination, Prouvost is interested in confounding linear narratives and expected associations among words, images and meaning. She combines existing and imagined personal memories with artistic and literary references to create complex film installations that muddy the distinction between fiction and reality. At once seductive and jarring, her approach to filmmaking employs layered storytelling, quick edits, montage and wordplay and is composed of a rich, tactile assortment of images, sounds, spoken and written phrases. The videos are often shown within immersive environments which comprise found objects, sculptures, painting and drawings, signs, furniture and architectural assemblages, that are rendered complicit within the overarching narrative of the installation.
Laure Prouvost was born in Lille, France (1978) and is currently based in Brussels. She received her BFA from Central St Martins, London in 2002 and studied towards her MFA at Goldsmiths College, London. She also took part in the LUX Associate Programme. Prouvost won the MaxMara Art Prize for Women in 2011 and was the recipient of the Turner Prize in 2013.
Recent solo exhibitions include: 'Oui Move in You', ACCA Melbourne, Australia (2024); 'In the Mist of it All, Above Front Tears', De Pont Museum, Tilburg, Netherlands (2024); 'Above Front Tears Nest in South', Moody Center for the Arts, Houston, USA (2023); 'Oma-je', Remai Modern, Saskatoon, Canada (2023); ‘Ohmmm age Oma je ohomma mama’, Kunsthalle Wien, Wien, Austria (2023); ‘Above Front Tears Oui Float’ at the Nasjonalmuseet, Oslo, Norway (2022); ‘Laure Prouvost: Theatergarden and A Be(a)stiary of the Anthropocene’, Longlati Foundation, Shanghai, China (2022); ‘Deep Travel Ink’, Atelier Hermès, Seoul, South Korea (2022); ‘The Long Waited, Weighted, Gathering’, Manchester Jewish Museum, Manchester, UK; ‘Our elastic arm hold in tight through the claouds’ at Kunsthal Charlottenborg, Copenhagen, Denmark (2021); ‘Re-dit-en-un-in-learning CENTER’ at Lisson Gallery London (2020); ‘Melting into one another ho hot chaud it heating dip’, Kunsthalle Lissabon, Lisbon, Portugal (2020); ‘Deep See Blue Surrounding You / Vois Ce Bleu Profond Te Fondre’, Les Abattoirs, Toulouse, France, LAM - Lille métropole, Villeneuve d’Ascq, France (2020), and Bonnefanten Museum, Maastricht, Netherlands (2021); ‘AM-BIG-YOU-US LEGSICON’, M HKA - Museum of Contemporary Art Antwerp, Belgium (2019); Palais de Tokyo, Paris, France (2018); BASS Museum, Miami, FL, USA (2018); ‘They Are Waiting for You’, Performance for stage at the McGuire Theatre, Minneapolis, MN, USA (2018); SALT Galata, Istanbul, Turkey (2017); Kunstmuseum Luzern, Switzerland (2016); Pirelli HangarBicocca, Milan, Italy (2016); Museum Für Moderne Kunst Frankfurt Am Main, Frankfurt, Germany (2016); Red Brick Art Museum, Beijing, China (2016); Haus Der Kunst, Munich, Germany (2015); New Museum, New York, NY, USA (2014); Laboratorio Arte Alameda, Mexico City, Mexico (2014); Max Mara Art Prize for Women, Whitechapel Gallery, London, UK and Collezione Maramotti, Reggio Emilia, Italy (2013); ‘Laure Prouvost / Adam Chodzko’ as part of ‘Schwitters in Britain’, Tate Britain, London, UK (2013); The Hepworth Wakefield, Wakefield, UK (2012); and Flat Time House, London, UK. Prouvost represented France at the 58th International Art Biennial Venice, May-November 2019 and was included in ‘NIRIN,’ the 22nd Biennale of Sydney (2020). June 2019 saw the artist’s first public commission in the UK through Transport for London’s Art on the Underground.
2024
Oil on printed paper.
The drawing is part of the Oui Grow editions, the drawing is unique.
Plant pot not included
Language – in its broadest sense – permeates the video, sound, installation and performance work of Laure Prouvost. Known for her immersive and mixed-media installations that combine film and installation in humorous and idiosyncratic ways, Prouvost’s work addresses miscommunication and ideas becoming lost in translation. Playing with language as a tool for the imagination, Prouvost is interested in confounding linear narratives and expected associations among words, images and meaning. She combines existing and imagined personal memories with artistic and literary references to create complex film installations that muddy the distinction between fiction and reality. At once seductive and jarring, her approach to filmmaking employs layered storytelling, quick edits, montage and wordplay and is composed of a rich, tactile assortment of images, sounds, spoken and written phrases. The videos are often shown within immersive environments which comprise found objects, sculptures, painting and drawings, signs, furniture and architectural assemblages, that are rendered complicit within the overarching narrative of the installation.
Laure Prouvost was born in Lille, France (1978) and is currently based in Brussels. She received her BFA from Central St Martins, London in 2002 and studied towards her MFA at Goldsmiths College, London. She also took part in the LUX Associate Programme. Prouvost won the MaxMara Art Prize for Women in 2011 and was the recipient of the Turner Prize in 2013.
Recent solo exhibitions include: 'Oui Move in You', ACCA Melbourne, Australia (2024); 'In the Mist of it All, Above Front Tears', De Pont Museum, Tilburg, Netherlands (2024); 'Above Front Tears Nest in South', Moody Center for the Arts, Houston, USA (2023); 'Oma-je', Remai Modern, Saskatoon, Canada (2023); ‘Ohmmm age Oma je ohomma mama’, Kunsthalle Wien, Wien, Austria (2023); ‘Above Front Tears Oui Float’ at the Nasjonalmuseet, Oslo, Norway (2022); ‘Laure Prouvost: Theatergarden and A Be(a)stiary of the Anthropocene’, Longlati Foundation, Shanghai, China (2022); ‘Deep Travel Ink’, Atelier Hermès, Seoul, South Korea (2022); ‘The Long Waited, Weighted, Gathering’, Manchester Jewish Museum, Manchester, UK; ‘Our elastic arm hold in tight through the claouds’ at Kunsthal Charlottenborg, Copenhagen, Denmark (2021); ‘Re-dit-en-un-in-learning CENTER’ at Lisson Gallery London (2020); ‘Melting into one another ho hot chaud it heating dip’, Kunsthalle Lissabon, Lisbon, Portugal (2020); ‘Deep See Blue Surrounding You / Vois Ce Bleu Profond Te Fondre’, Les Abattoirs, Toulouse, France, LAM - Lille métropole, Villeneuve d’Ascq, France (2020), and Bonnefanten Museum, Maastricht, Netherlands (2021); ‘AM-BIG-YOU-US LEGSICON’, M HKA - Museum of Contemporary Art Antwerp, Belgium (2019); Palais de Tokyo, Paris, France (2018); BASS Museum, Miami, FL, USA (2018); ‘They Are Waiting for You’, Performance for stage at the McGuire Theatre, Minneapolis, MN, USA (2018); SALT Galata, Istanbul, Turkey (2017); Kunstmuseum Luzern, Switzerland (2016); Pirelli HangarBicocca, Milan, Italy (2016); Museum Für Moderne Kunst Frankfurt Am Main, Frankfurt, Germany (2016); Red Brick Art Museum, Beijing, China (2016); Haus Der Kunst, Munich, Germany (2015); New Museum, New York, NY, USA (2014); Laboratorio Arte Alameda, Mexico City, Mexico (2014); Max Mara Art Prize for Women, Whitechapel Gallery, London, UK and Collezione Maramotti, Reggio Emilia, Italy (2013); ‘Laure Prouvost / Adam Chodzko’ as part of ‘Schwitters in Britain’, Tate Britain, London, UK (2013); The Hepworth Wakefield, Wakefield, UK (2012); and Flat Time House, London, UK. Prouvost represented France at the 58th International Art Biennial Venice, May-November 2019 and was included in ‘NIRIN,’ the 22nd Biennale of Sydney (2020). June 2019 saw the artist’s first public commission in the UK through Transport for London’s Art on the Underground.
Kindly donated by
Laure Prouvost
Laure Prouvost
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Lot 15
£ 270
1
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Giles Round - AIDEN SHAWS PENIS
Giles Round - AIDEN SHAWS PENIS
Bidding starts on 27-07-2024 17:00
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15
1
Highest bidder: Victor Benady
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AIDEN SHAW'S PENIS
2021/2024
31 x 23cm
Giles Round (b. 1976, London) lives and works in London and St Leonards-on-Sea. Round is an artist that works across disciplines – including art, design and architecture. Works often take the form of long-term open-ended projects in which exhibitions themselves become the medium. For example Round’s ongoing work, ‘The Art Direction of the Noguchi Museum’ (2018–) is an enquiry into the role an artist might play as an embedded part of institutional and design teams, but also of society’s infrastructures and organisations at large. In 2011 Round co-founded The Grantchester Pottery [TGP] - a collaborative design studio structured loosely on the Roger Fry’s Omega Workshops Ltd with the intention to ‘substitute, wherever possible the directly expressive quality of the artist’s handling for the deadness of mechanical reproduction’. Centred around ceramics and painting, TGP can be understood as an artists’s collective, a dysfunctional business and as a conceptual artwork in itself.
2021/2024
31 x 23cm
Giles Round (b. 1976, London) lives and works in London and St Leonards-on-Sea. Round is an artist that works across disciplines – including art, design and architecture. Works often take the form of long-term open-ended projects in which exhibitions themselves become the medium. For example Round’s ongoing work, ‘The Art Direction of the Noguchi Museum’ (2018–) is an enquiry into the role an artist might play as an embedded part of institutional and design teams, but also of society’s infrastructures and organisations at large. In 2011 Round co-founded The Grantchester Pottery [TGP] - a collaborative design studio structured loosely on the Roger Fry’s Omega Workshops Ltd with the intention to ‘substitute, wherever possible the directly expressive quality of the artist’s handling for the deadness of mechanical reproduction’. Centred around ceramics and painting, TGP can be understood as an artists’s collective, a dysfunctional business and as a conceptual artwork in itself.
Kindly donated by
Giles Round
Giles Round
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Lot 21
£ 270
1
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Julie Verhoeven - Dirty Dessert
Julie Verhoeven - Dirty Dessert
Bidding starts on 27-07-2024 17:00
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21
1
Highest bidder: Callam Warrington
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DIRTY DESSERT
2022
38 x 29.7 cm
pen , ink, paint , pastel , pencil and plastic on paper
Julie Verhoeven (b.1969, UK) graduated with a BTEC fashion diploma from Kent Institute of Art & Design in 1987. Upon graduation she entered the fashion world , initially working as an illustrator and subsequently a designer and fashion lecturer. Verhoeven has collaborated with many brands including, Chloe, M.A.C, Marc Jacobs, Mulberry, Versace, and Louis Vuitton and headed her own short lived fashion label , Gibo from 2002-2004. Not so recent solo shows and performances include, ‘ The Toilet Attendant ‘ at Frieze Projects, London, ‘Whiskers between my legs’ at ICA, London, and ‘Man enough to be a woman‘ at MU, Eindhoven. In 2011 , the prints and drawings archive of the V&A museum acquired over 100 of Verhoeven’s drawings.
2022
38 x 29.7 cm
pen , ink, paint , pastel , pencil and plastic on paper
Julie Verhoeven (b.1969, UK) graduated with a BTEC fashion diploma from Kent Institute of Art & Design in 1987. Upon graduation she entered the fashion world , initially working as an illustrator and subsequently a designer and fashion lecturer. Verhoeven has collaborated with many brands including, Chloe, M.A.C, Marc Jacobs, Mulberry, Versace, and Louis Vuitton and headed her own short lived fashion label , Gibo from 2002-2004. Not so recent solo shows and performances include, ‘ The Toilet Attendant ‘ at Frieze Projects, London, ‘Whiskers between my legs’ at ICA, London, and ‘Man enough to be a woman‘ at MU, Eindhoven. In 2011 , the prints and drawings archive of the V&A museum acquired over 100 of Verhoeven’s drawings.
Kindly donated by
Julie Verhoeven
Julie Verhoeven
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Lot 124
£ 310
3
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Alexander Glass - I'll Still Iron Your Shirts
Alexander Glass - I'll Still Iron Your Shirts
Bidding starts on 27-07-2024 17:00
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£ 310
124
3
Highest bidder: Peter Miller
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I'll Still Iron Your Shirts
2020
12.5 x 17.5cm
ALEXANDER GLASS IS A SCULPTOR AND INSTALLATION ARTIST, LIVING AND WORKING IN LONDON
Desire is physical; this is the notion that underpins my sculptural and installation practise. Through gloss surfaces and cinematically aspirational imagery, I aim to seduce audiences into the theatre of my work. The veneer of translucent resins and polished tiles serve to disguise more sinister aspects of my thematic intentions. Violence, narcissism and apathy are all hidden within the cold blue objects, representative of perfection and power. The work's frequently minimalist and pristine appearance presents a duality, between appeal and its instantaneous reduction through cracking surfaces or lingering bodily traces.
Often functioning as sets without performers, my works explore the complex relationship between masculinity and desire. Spaces such as locker-rooms, swimming pools and nightclubs are frequently exploited as familiar contexts whilst exploring their association with the sexualisation of the male body. Through my academic research I investigate the history of the masculine ideal; from the idolatry of the ancient greek to the modern obsession with the superhero and the impact the age of social media has had on the self-image. This research manifests in my installations through the presentation of the ubiquitous physical body that only appears disembodied or on the surface of a screen. The desire for the male figure and the fabricated image of masculinity is left for the viewer to contemplate within artificial environments of visual ambition. Through this, my practice offers a critical and melancholy lens on the vulnerability of the potent male image and the world of aspiration
2020
12.5 x 17.5cm
ALEXANDER GLASS IS A SCULPTOR AND INSTALLATION ARTIST, LIVING AND WORKING IN LONDON
Desire is physical; this is the notion that underpins my sculptural and installation practise. Through gloss surfaces and cinematically aspirational imagery, I aim to seduce audiences into the theatre of my work. The veneer of translucent resins and polished tiles serve to disguise more sinister aspects of my thematic intentions. Violence, narcissism and apathy are all hidden within the cold blue objects, representative of perfection and power. The work's frequently minimalist and pristine appearance presents a duality, between appeal and its instantaneous reduction through cracking surfaces or lingering bodily traces.
Often functioning as sets without performers, my works explore the complex relationship between masculinity and desire. Spaces such as locker-rooms, swimming pools and nightclubs are frequently exploited as familiar contexts whilst exploring their association with the sexualisation of the male body. Through my academic research I investigate the history of the masculine ideal; from the idolatry of the ancient greek to the modern obsession with the superhero and the impact the age of social media has had on the self-image. This research manifests in my installations through the presentation of the ubiquitous physical body that only appears disembodied or on the surface of a screen. The desire for the male figure and the fabricated image of masculinity is left for the viewer to contemplate within artificial environments of visual ambition. Through this, my practice offers a critical and melancholy lens on the vulnerability of the potent male image and the world of aspiration
Kindly donated by
Alexander Glass
Alexander Glass
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Lot 110
£ 370
6
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Paloma Proudfoot - Pin
Paloma Proudfoot - Pin
Bidding starts on 27-07-2024 17:00
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110
6
Highest bidder: Anonymous
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Pin
2024
21 x 29.7 x 15 cm
Glazed ceramic, metal, paper
Proudfoot’s work often evokes an uneasy paradox between the human body and its artificial double, exploring the gendered history of fields such as medical anatomical models, shop window mannequins and tailoring. Informed by her background in clothes making, Proudfoot’s artistic process mirrors flat pattern-cutting, initially working with paper templates before realising the work in glazed ceramic, glass, metal and textiles.
Juxtaposing the idiosyncrasies of these craft techniques with the hard-edged rhythms of factory production and intricate biomorphic forms, Proudfoot’s work produces an uncanny realisation of the limits and vulnerabilities of the human body. Seeking to articulate amorphous feelings of shame, grief and strength, she delves into the metaphorical and narrative potential of materials.
In 2022, Paloma Proudfoot’s commissioned work ‘Grief is recognized as a friend,’ was featured in Bold Tendencies in London, UK. Proudfoot’s solo exhibitions include: ‘The Three Living and The Three Dead,’ Soy Capitan Gallery, Berlin, Germany (2023); Solo booth with Soy Capitan Gallery, Artissima Art Fair, Turin, Italy (2023); and ‘The Memory Theatre,’ Bosse and Baum Gallery, London, UK (2022). Selected group exhibitions include: ‘Contested bodies,’ Stanley and Audrey Burton Gallery, University of Leeds, UK (2023); ‘Unruly Bodies,’ Goldsmiths Centre for Contemporary Art, London, UK (2023); ‘In Watte und Nadeln—Konturen von Trauer (Contours of Grief),’ Galerie im Koernerpark, Berlin (2023); Group booth with Soy Capitan Gallery, Art Duesseldorf, Germany (2023); and ‘Preconscious Landscape,’ Ainaliyn Space at Exposed Art Projects, London, UK (2023).
Proudfoot holds an MFA from Royal College of Art, London (2017). She has an upcoming solo exhibition at The Lowry Museum in Manchester, UK later this year.
2024
21 x 29.7 x 15 cm
Glazed ceramic, metal, paper
Proudfoot’s work often evokes an uneasy paradox between the human body and its artificial double, exploring the gendered history of fields such as medical anatomical models, shop window mannequins and tailoring. Informed by her background in clothes making, Proudfoot’s artistic process mirrors flat pattern-cutting, initially working with paper templates before realising the work in glazed ceramic, glass, metal and textiles.
Juxtaposing the idiosyncrasies of these craft techniques with the hard-edged rhythms of factory production and intricate biomorphic forms, Proudfoot’s work produces an uncanny realisation of the limits and vulnerabilities of the human body. Seeking to articulate amorphous feelings of shame, grief and strength, she delves into the metaphorical and narrative potential of materials.
In 2022, Paloma Proudfoot’s commissioned work ‘Grief is recognized as a friend,’ was featured in Bold Tendencies in London, UK. Proudfoot’s solo exhibitions include: ‘The Three Living and The Three Dead,’ Soy Capitan Gallery, Berlin, Germany (2023); Solo booth with Soy Capitan Gallery, Artissima Art Fair, Turin, Italy (2023); and ‘The Memory Theatre,’ Bosse and Baum Gallery, London, UK (2022). Selected group exhibitions include: ‘Contested bodies,’ Stanley and Audrey Burton Gallery, University of Leeds, UK (2023); ‘Unruly Bodies,’ Goldsmiths Centre for Contemporary Art, London, UK (2023); ‘In Watte und Nadeln—Konturen von Trauer (Contours of Grief),’ Galerie im Koernerpark, Berlin (2023); Group booth with Soy Capitan Gallery, Art Duesseldorf, Germany (2023); and ‘Preconscious Landscape,’ Ainaliyn Space at Exposed Art Projects, London, UK (2023).
Proudfoot holds an MFA from Royal College of Art, London (2017). She has an upcoming solo exhibition at The Lowry Museum in Manchester, UK later this year.
Kindly donated by
Paloma Proudfoot
Paloma Proudfoot
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Lot 86
£ 300
2
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Brogan Bertie - Sum Parts
Brogan Bertie - Sum Parts
Bidding starts on 27-07-2024 17:00
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86
2
Highest bidder: Brian Brennan
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Sum Parts
2024
A4
Oil pastel on card
Brogan is a painter and artist based in Margate.
2024
A4
Oil pastel on card
Brogan is a painter and artist based in Margate.
Kindly donated by
Brogan Bertie
Brogan Bertie
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Lot 87
£ 240
5
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Andrew Curtis - Leap into the Void
Andrew Curtis - Leap into the Void
Bidding starts on 27-07-2024 17:00
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£ 240
87
5
Highest bidder: Valerie Woods
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Leap into the Void
2024
21 x 29.7cm
Acrylic on paper
Andrew Curtis (B.1979) graduated from the Royal College of Art (MA Printmaking) in 2009.
Since then he has exhibited with PayneShurvell (London), Nicola Scaglione (Bergamo) and alongside Niall Monro as International Lawns with Domobaal (London).
From 2019-2022 he and his family operated PenthouseMargate, an exhibition space in their Cliftonville home.
He is also director of Counter Print Studio, Margate, social media director for mocathanet and will exhibit at cafe_ch_ti (Margate) 2024.
2024
21 x 29.7cm
Acrylic on paper
Andrew Curtis (B.1979) graduated from the Royal College of Art (MA Printmaking) in 2009.
Since then he has exhibited with PayneShurvell (London), Nicola Scaglione (Bergamo) and alongside Niall Monro as International Lawns with Domobaal (London).
From 2019-2022 he and his family operated PenthouseMargate, an exhibition space in their Cliftonville home.
He is also director of Counter Print Studio, Margate, social media director for mocathanet and will exhibit at cafe_ch_ti (Margate) 2024.
Kindly donated by
Andrew Curtis
Andrew Curtis
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Lot 4
£ 6,250
133
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Caroline Walker - Study For Imaginative Play
Caroline Walker - Study For Imaginative Play
Bidding starts on 27-07-2024 17:00
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4
133
Highest bidder: Anonymous Anonymous
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"Study for Imaginative play"
2023
29.7 x 21.2 cm
Pencil on paper
Caroline Walker’s paintings reveal the diverse social, cultural and economic experiences of women living in contemporary society.
Caroline Walker was born in 1982 in Dunfermline, Scotland, where she now lives and works.
Drawing on her own photographic source material, Walker provides a unique window into the everyday lives of women. Blurring the boundary between objectivity and lived experience, the artist highlights often overlooked jobs performed by women and the psychologically charged spaces they inhabit.
Walker explains: “The subject of my paintings in its broadest sense is women’s experience, whether that is the imagined interior life of a glimpsed shop worker, a closely observed portrayal of my mother working in the family home, or women I’ve had the privilege of spending time with, in their place of work. From the anonymous to the highly personal, what links all these subjects is an investigation of an experience which is specifically female.”
Previously encompassing locations such as Los Angeles, Palm Springs and the UK, Walker’s scenes hint at the complexity of her subjects’ lives whilst completely avoiding narrative resolution. Often exploring the notion of ‘women’s work’, the artist captures specific spaces such as pharmacies, tailors, beauty salons, laboratories, bathhouses and modernist apartments.
Notable solo and two-person institutional exhibitions include those at Nottingham Castle, England (2022); Fitzrovia Chapel, London, England (2022); University College London Hospital Arts, Street Gallery, London, England (2022); K11, Shanghai, China (2022); KM21, The Hague, The Netherlands (2021); Midlands Art Centre, Birmingham, England (2021); Art Exchange, University of Essex, Colchester, England (2018); Kettle’s Yard, Cambridge, England (2018) and Pitzhanger Manor Gallery, London, England (2013).
Walker featured in the Hayward Gallery UK touring exhibition ‘British Art Show 9’ (2021). Other notable group shows include those at Pallant House Gallery, Chichester, England (2024); Hepworth Wakefield, West Yorkshire, England (2024); British Museum, London, England (2024); Whitworth Art Gallery, Manchester, England (2023); Pond Society, Shanghai, China (2023); Fitzwilliam Museum, Cambridge, England (2023); Foundling Museum, London, England (2023); Sainsbury Centre for Visual Arts, Norwich, England (2022); Vestfossen Kunstlaboratorium, Norway (2022); National Museum Wales, Cardiff, Wales (2021); Southbank Centre, London, England (2020); Walker Art Gallery, Liverpool, England (2015) and Royal Botanic Gardens, Edinburgh, Scotland (2012).
Walker obtained an MA in painting from Royal College of Art, London in 2009 and a BA (Hons) from Glasgow School of Art in 2004. Walker is also represented by GRIMM, Amsterdam / New York / London and Ingleby Gallery, Edinburgh.
Her work can be found in numerous international collections including Aïshti Foundation, Beirut, Lebanon; Arts Council Collection, UK; De Ying Foundation, South Korea; Government Art Collection, UK; HE Art Museum, Foshan, China; Institute of Contemporary Art, Miami, Florida, USA; Kistefos Museum, Jevnaker, Norway; Kunstmuseum Den Haag, The Hague, The Netherlands; Longlati Foundation, Shanghai, China; Pond Society, Shanghai, China; Museum of Fine Arts, Houston, Texas, USA; Museum Voorlinden, Wassenaar, The Netherlands; National Museum Wales, UK; Sifang Art Museum, Nanjing, China and Yale University, New Haven, Connecticut, USA.
2023
29.7 x 21.2 cm
Pencil on paper
Caroline Walker’s paintings reveal the diverse social, cultural and economic experiences of women living in contemporary society.
Caroline Walker was born in 1982 in Dunfermline, Scotland, where she now lives and works.
Drawing on her own photographic source material, Walker provides a unique window into the everyday lives of women. Blurring the boundary between objectivity and lived experience, the artist highlights often overlooked jobs performed by women and the psychologically charged spaces they inhabit.
Walker explains: “The subject of my paintings in its broadest sense is women’s experience, whether that is the imagined interior life of a glimpsed shop worker, a closely observed portrayal of my mother working in the family home, or women I’ve had the privilege of spending time with, in their place of work. From the anonymous to the highly personal, what links all these subjects is an investigation of an experience which is specifically female.”
Previously encompassing locations such as Los Angeles, Palm Springs and the UK, Walker’s scenes hint at the complexity of her subjects’ lives whilst completely avoiding narrative resolution. Often exploring the notion of ‘women’s work’, the artist captures specific spaces such as pharmacies, tailors, beauty salons, laboratories, bathhouses and modernist apartments.
Notable solo and two-person institutional exhibitions include those at Nottingham Castle, England (2022); Fitzrovia Chapel, London, England (2022); University College London Hospital Arts, Street Gallery, London, England (2022); K11, Shanghai, China (2022); KM21, The Hague, The Netherlands (2021); Midlands Art Centre, Birmingham, England (2021); Art Exchange, University of Essex, Colchester, England (2018); Kettle’s Yard, Cambridge, England (2018) and Pitzhanger Manor Gallery, London, England (2013).
Walker featured in the Hayward Gallery UK touring exhibition ‘British Art Show 9’ (2021). Other notable group shows include those at Pallant House Gallery, Chichester, England (2024); Hepworth Wakefield, West Yorkshire, England (2024); British Museum, London, England (2024); Whitworth Art Gallery, Manchester, England (2023); Pond Society, Shanghai, China (2023); Fitzwilliam Museum, Cambridge, England (2023); Foundling Museum, London, England (2023); Sainsbury Centre for Visual Arts, Norwich, England (2022); Vestfossen Kunstlaboratorium, Norway (2022); National Museum Wales, Cardiff, Wales (2021); Southbank Centre, London, England (2020); Walker Art Gallery, Liverpool, England (2015) and Royal Botanic Gardens, Edinburgh, Scotland (2012).
Walker obtained an MA in painting from Royal College of Art, London in 2009 and a BA (Hons) from Glasgow School of Art in 2004. Walker is also represented by GRIMM, Amsterdam / New York / London and Ingleby Gallery, Edinburgh.
Her work can be found in numerous international collections including Aïshti Foundation, Beirut, Lebanon; Arts Council Collection, UK; De Ying Foundation, South Korea; Government Art Collection, UK; HE Art Museum, Foshan, China; Institute of Contemporary Art, Miami, Florida, USA; Kistefos Museum, Jevnaker, Norway; Kunstmuseum Den Haag, The Hague, The Netherlands; Longlati Foundation, Shanghai, China; Pond Society, Shanghai, China; Museum of Fine Arts, Houston, Texas, USA; Museum Voorlinden, Wassenaar, The Netherlands; National Museum Wales, UK; Sifang Art Museum, Nanjing, China and Yale University, New Haven, Connecticut, USA.
Kindly donated by
Caroline Walker
Caroline Walker
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Lot 96
£ 135
8
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Dominic Watson - When I’m drunk I dance Like my Dad
Dominic Watson - When I’m drunk I dance Like my Dad
Bidding starts on 27-07-2024 17:00
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BIDS:
£ 135
96
8
Highest bidder: Anonymous
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When I’m drunk I dance Like my Dad
2019
A4
Giclée Print
Dominic Watson makes life size figurative sculptures that are equally absurd and grotesque. He works with a combination of paper mâché and handmade clay. Through these materials he explores the visceral qualities of the human body. Watson’s work is often satirical employing humour as a tool to explore the feeling of existing in contemporary Britain.
Dominic Watson lives and works in London. Recent solo and duo exhibitions include“Goody-Goody” Lumpsome, St Chads, London, UK (2023); Death By The Sea, Quench Gallery, Margate, UK (2021); The Steak Eaters, Proudick, London, UK (2019); Stunning Contemporary, Syracuse University, New York, US (2016). Group exhibitions include Testament, Goldsmiths CCA, London, UK (2022); Balls, OOF Gallery, London , UK (2022); Plymouth Contemporary,KARST, Plymouth, UK (2017); CURRENT: Contemporary Art from Scotland in Shanghai, Duolun Museum, Shanghai, China (2016); Pandiculate! The Joy of Stretching, The Koppel Project, London, UK (2016); London Open, Whitechapel Gallery, London, (2015); Wearing Potentiality, Paradise Row, London, UK (2014); New Contemporaries, Spike Island, Bristol, UK (2013); New Contemporaries, ICA London, UK (2013).
2019
A4
Giclée Print
Dominic Watson makes life size figurative sculptures that are equally absurd and grotesque. He works with a combination of paper mâché and handmade clay. Through these materials he explores the visceral qualities of the human body. Watson’s work is often satirical employing humour as a tool to explore the feeling of existing in contemporary Britain.
Dominic Watson lives and works in London. Recent solo and duo exhibitions include“Goody-Goody” Lumpsome, St Chads, London, UK (2023); Death By The Sea, Quench Gallery, Margate, UK (2021); The Steak Eaters, Proudick, London, UK (2019); Stunning Contemporary, Syracuse University, New York, US (2016). Group exhibitions include Testament, Goldsmiths CCA, London, UK (2022); Balls, OOF Gallery, London , UK (2022); Plymouth Contemporary,KARST, Plymouth, UK (2017); CURRENT: Contemporary Art from Scotland in Shanghai, Duolun Museum, Shanghai, China (2016); Pandiculate! The Joy of Stretching, The Koppel Project, London, UK (2016); London Open, Whitechapel Gallery, London, (2015); Wearing Potentiality, Paradise Row, London, UK (2014); New Contemporaries, Spike Island, Bristol, UK (2013); New Contemporaries, ICA London, UK (2013).
Kindly donated by
Dominic Watson
Dominic Watson
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Lot 5
£ 1,160
24
NOT STARTED
Rana Begum - WP639
Rana Begum - WP639
Bidding starts on 27-07-2024 17:00
CURRENT PRICE:
(Reserve not met !)
LOT #:
BIDS:
£ 1,160
5
24
Highest bidder: Anonymous
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WP639
2024
29.5 x 21 cm
Spray paint on card
The work of London-based artist Rana Begum distils spatial and visual experience into ordered form. Through her refined language of Minimalist abstraction, Begum blurs the boundaries between sculpture, painting and architecture. Her visual language draws from the urban landscape as well as geometric patterns from traditional Islamic art and architecture. Light is fundamental to her process. Begum’s works absorb and reflect varied densities of light to produce an experience for the viewer that is both temporal and sensorial.
Born in Bangladesh in 1977, Rana Begum lives and works in London. In 1999, Begum graduated with a BA in Fine Art from Chelsea College of Art and Design and, in 2002, gained an MFA in Painting from Slade School of Fine Art.
2024
29.5 x 21 cm
Spray paint on card
The work of London-based artist Rana Begum distils spatial and visual experience into ordered form. Through her refined language of Minimalist abstraction, Begum blurs the boundaries between sculpture, painting and architecture. Her visual language draws from the urban landscape as well as geometric patterns from traditional Islamic art and architecture. Light is fundamental to her process. Begum’s works absorb and reflect varied densities of light to produce an experience for the viewer that is both temporal and sensorial.
Born in Bangladesh in 1977, Rana Begum lives and works in London. In 1999, Begum graduated with a BA in Fine Art from Chelsea College of Art and Design and, in 2002, gained an MFA in Painting from Slade School of Fine Art.
Kindly donated by
Rana Begum
Rana Begum
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SIGNED IN AS :
Lot 31
£ 230
2
NOT STARTED
Rhys Coren - Always Have Somebody Chasing Somebody Else
Rhys Coren - Always Have Somebody Chasing Somebody Else
Bidding starts on 27-07-2024 17:00
CURRENT PRICE:
(Reserve not met !)
LOT #:
BIDS:
£ 230
31
2
Highest bidder: Anonymous
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Always Have Somebody Chasing Somebody Else
2024
14.8cm x 10.5cm
enamel on paper
Rhys Coren was born in Plymouth, UK, in 1983. Coren graduated from the University of West England, Bristol, in 2006 and completed a Post Graduate Diploma in Fine Art, at the Royal Academy Schools, London, in 2016.
Coren works across animation, writing, performance and painted marquetry. He explores rhythm, colour and texture in work that is characterised by cartoon-like clouds, grids of colour, shadows and the interplay of lines. Inspired by music, Coren credits the structures found in electronic dance music, jazz and disco as central to his work.
Coren was recently commissioned to create a nine metre long public artwork made from bespoke terrazzo, displayed behind Bond Street Crossrail station in London. In 2018, he was commissioned to create an animation as part of the Lumiere Festival, London. Entitled Love Motion, the animation was projected across the Royal Academy of Arts building and was accompanied by a bespoke soundtrack.
Coren’s solo exhibitions include Seventeen, London (2021, 2019, 2017); Frans Kasl Projects, Eindhoven (2021); Grimm Gallery, New York (2018); Galerie pcp, Paris (2016) and Jerwood Project Space, London (2014). Group exhibitions include Drawing Room, London (2021); University of Hertfordshire, Hatfield (2019); Bluecoat, Liverpool; Screen City Biennial, MS Sandnes Boat, Stavanger, Norway (2017); Seventeen, London; Royal Academy of Arts, London (2016); Slate Projects, London (2015) Site Gallery, Sheffield (2014); Test Space, Spike Island, Bristol; Design Museum, London (2013); FACT, Liverpool (2009) and Bloomberg New Contemporaries (2007). Coren has completed residencies in the UK, USA, and Italy.
Rhys Coren lives and works in London.
2024
14.8cm x 10.5cm
enamel on paper
Rhys Coren was born in Plymouth, UK, in 1983. Coren graduated from the University of West England, Bristol, in 2006 and completed a Post Graduate Diploma in Fine Art, at the Royal Academy Schools, London, in 2016.
Coren works across animation, writing, performance and painted marquetry. He explores rhythm, colour and texture in work that is characterised by cartoon-like clouds, grids of colour, shadows and the interplay of lines. Inspired by music, Coren credits the structures found in electronic dance music, jazz and disco as central to his work.
Coren was recently commissioned to create a nine metre long public artwork made from bespoke terrazzo, displayed behind Bond Street Crossrail station in London. In 2018, he was commissioned to create an animation as part of the Lumiere Festival, London. Entitled Love Motion, the animation was projected across the Royal Academy of Arts building and was accompanied by a bespoke soundtrack.
Coren’s solo exhibitions include Seventeen, London (2021, 2019, 2017); Frans Kasl Projects, Eindhoven (2021); Grimm Gallery, New York (2018); Galerie pcp, Paris (2016) and Jerwood Project Space, London (2014). Group exhibitions include Drawing Room, London (2021); University of Hertfordshire, Hatfield (2019); Bluecoat, Liverpool; Screen City Biennial, MS Sandnes Boat, Stavanger, Norway (2017); Seventeen, London; Royal Academy of Arts, London (2016); Slate Projects, London (2015) Site Gallery, Sheffield (2014); Test Space, Spike Island, Bristol; Design Museum, London (2013); FACT, Liverpool (2009) and Bloomberg New Contemporaries (2007). Coren has completed residencies in the UK, USA, and Italy.
Rhys Coren lives and works in London.
Kindly donated by
Rhys Coren
Rhys Coren
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SIGNED IN AS :
Lot 1
£ 1,020
34
NOT STARTED
Lindsey Mendick - Daddy Issues
Lindsey Mendick - Daddy Issues
Bidding starts on 27-07-2024 17:00
CURRENT PRICE:
(Reserve not met !)
LOT #:
BIDS:
£ 1,020
1
34
Highest bidder: Valerie Woods
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£
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Daddy Issues
2024
42 x 29.7 cm
watercolour and pencil on paper
Lindsey Mendick (b.1987) works primarily with ceramics, embedding her sculptures within installations that include stained glass, film, furniture, large stage sets and performance. She received a BA from Sheffield Hallam University and an MA in Sculpture from the Royal College of Art, London. Her autobiographical work offers a form of catharsis, encouraging the viewer to explore their own personal history through the revisionist lens of the artist. She was the recipient of the Henry Moore Foundation Artist Award in 2020, the Alexandra Reinhardt memorial award in 2018 and was also selected for Jerwood Survey in 2019 and the Future Generations Art Prize in 2020. Mendick has participated in solo and group exhibitions at Jupiter Artland, Yorkshire Sculpture Park, Hayward Gallery, Carl Freedman Gallery, Somerset House, Jeffrey Deitch, Cooke Latham, Hannah Barry Gallery, among others. With her partner, the artist Guy Oliver, Mendick initiated Quench Gallery in Margate to provide vital support for early career artists through exhibitions and mentoring.
2024
42 x 29.7 cm
watercolour and pencil on paper
Lindsey Mendick (b.1987) works primarily with ceramics, embedding her sculptures within installations that include stained glass, film, furniture, large stage sets and performance. She received a BA from Sheffield Hallam University and an MA in Sculpture from the Royal College of Art, London. Her autobiographical work offers a form of catharsis, encouraging the viewer to explore their own personal history through the revisionist lens of the artist. She was the recipient of the Henry Moore Foundation Artist Award in 2020, the Alexandra Reinhardt memorial award in 2018 and was also selected for Jerwood Survey in 2019 and the Future Generations Art Prize in 2020. Mendick has participated in solo and group exhibitions at Jupiter Artland, Yorkshire Sculpture Park, Hayward Gallery, Carl Freedman Gallery, Somerset House, Jeffrey Deitch, Cooke Latham, Hannah Barry Gallery, among others. With her partner, the artist Guy Oliver, Mendick initiated Quench Gallery in Margate to provide vital support for early career artists through exhibitions and mentoring.
Kindly donated by
Lindsey Mendick
Lindsey Mendick
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SIGNED IN AS :
Lot 48
£ 500
10
NOT STARTED
John Smith - PLASTICINE FLAG
John Smith - PLASTICINE FLAG
Bidding starts on 27-07-2024 17:00
CURRENT PRICE:
(Reserve not met !)
LOT #:
BIDS:
£ 500
48
10
Highest bidder: Ann Binlot
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PLASTICINE FLAG
2024
32 x 40 cm
Digital print on Hahnemuhle Photo Rag
All funds raised from this sale will go to Watermelon Relief. A charity providing aid to displaced families in Gaza.
"Since the beginning of the war on Gaza and the subsequent closure of border crossings, families have struggled to obtain cooking gas, forcing them to use wood for cooking and food preparation. This situation has added significant hardship to their already challenging lives. In response, our team, in collaboration with the @wckitchen , has taken action to alleviate some of this burden.
We have distributed family stoves to two camps in central Gaza. These stoves are specially designed to facilitate cooking with wood, making meal preparation more manageable under these difficult conditions. Additionally, the stoves enhance safety by providing better control over open flames, reducing the risk of fire accidents."
John Smith was born in Walthamstow, London in 1952 and lives and works in London. Smith studied at North-East London Polytechnic and the Royal College of Art, after which he became an active member of the London Filmmakers Co-op. Inspired in his formative years by conceptual art and structural film, but also fascinated by the immersive power of narrative and the spoken word, he has developed an extensive body of work that subverts perceived boundaries between documentary and fiction, representation and abstraction. Often rooted in everyday life, his meticulously crafted films playfully explore and expose the language of cinema.
Since 1972 Smith has made over sixty film, video and installation works that have been shown in galleries and independent cinemas around the world with major prizes at many international film festivals. He received a Paul Hamlyn Foundation Award for Artists in 2011 and in 2013 he was the winner of Film London’s Jarman Award. His solo exhibitions include Kunstmuseum Magdeburg, Germany (2022); Cornubian Arts & Science Trust, Cornwall, UK (2020); Wolverhampton Art Gallery, UK (2016); Vita Kuben, Umea, Sweden (2015); Centre d’Art Contemporain de Noisy-le-Sec, Paris, France (2015); Museum of Contemporary Art, Leipzig, Germany (2015); Museu Nacional de Arte Contemporanea, Lisbon, Portugal (2013); Kestnergesellschaft, Hanover, Germany (2012); Walker Art Center, Minneapolis, USA (2011) and Ikon Gallery, Birmingham, UK (2006). Smith’s work is included in numerous public collections including Tate, Arts Council, MoMA New York, FRAC Île de France, Kunstmuseum Magdeburg and Muzeum Sztuki, Lodz.
2024
32 x 40 cm
Digital print on Hahnemuhle Photo Rag
All funds raised from this sale will go to Watermelon Relief. A charity providing aid to displaced families in Gaza.
"Since the beginning of the war on Gaza and the subsequent closure of border crossings, families have struggled to obtain cooking gas, forcing them to use wood for cooking and food preparation. This situation has added significant hardship to their already challenging lives. In response, our team, in collaboration with the @wckitchen , has taken action to alleviate some of this burden.
We have distributed family stoves to two camps in central Gaza. These stoves are specially designed to facilitate cooking with wood, making meal preparation more manageable under these difficult conditions. Additionally, the stoves enhance safety by providing better control over open flames, reducing the risk of fire accidents."
John Smith was born in Walthamstow, London in 1952 and lives and works in London. Smith studied at North-East London Polytechnic and the Royal College of Art, after which he became an active member of the London Filmmakers Co-op. Inspired in his formative years by conceptual art and structural film, but also fascinated by the immersive power of narrative and the spoken word, he has developed an extensive body of work that subverts perceived boundaries between documentary and fiction, representation and abstraction. Often rooted in everyday life, his meticulously crafted films playfully explore and expose the language of cinema.
Since 1972 Smith has made over sixty film, video and installation works that have been shown in galleries and independent cinemas around the world with major prizes at many international film festivals. He received a Paul Hamlyn Foundation Award for Artists in 2011 and in 2013 he was the winner of Film London’s Jarman Award. His solo exhibitions include Kunstmuseum Magdeburg, Germany (2022); Cornubian Arts & Science Trust, Cornwall, UK (2020); Wolverhampton Art Gallery, UK (2016); Vita Kuben, Umea, Sweden (2015); Centre d’Art Contemporain de Noisy-le-Sec, Paris, France (2015); Museum of Contemporary Art, Leipzig, Germany (2015); Museu Nacional de Arte Contemporanea, Lisbon, Portugal (2013); Kestnergesellschaft, Hanover, Germany (2012); Walker Art Center, Minneapolis, USA (2011) and Ikon Gallery, Birmingham, UK (2006). Smith’s work is included in numerous public collections including Tate, Arts Council, MoMA New York, FRAC Île de France, Kunstmuseum Magdeburg and Muzeum Sztuki, Lodz.
Kindly donated by
John Smith
John Smith
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SIGNED IN AS :
Lot 118
£ 270
1
NOT STARTED
Karla Black - Untitled
Karla Black - Untitled
Bidding starts on 27-07-2024 17:00
CURRENT PRICE:
(Reserve not met !)
LOT #:
BIDS:
£ 270
118
1
Highest bidder: Tim Maggs
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£
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Untitled
2024
A4
lipstick on printer paper
Karla Black is a Scottish artist who creates abstract, immersive sculptures that explore physical experience as a way of communicating and understanding the world around us. She was born 1972 in Alexandria, Dunbartonshire and studied Sculpture at The Glasgow School of Art from 1995 to 1999. Black gained an MPhil in Art in Organisational Contexts from 1999–2000 and an MFA in 2002–4.
She is interested in ideas of play and early childhood learning as well as the primitive, creative moment when art comes into being and draws on a range of artistic traditions from expressionist painting to land art, performance and formalism. Everyday matter such as soap, cotton wool and toothpaste are explored alongside traditional art materials including plaster, pigment and paint, expanding the limits of what sculpture can be. Her work operates in an area of uncertainty, existing in a place she refers to as, ‘almost painting, almost installation, almost performance art.’ (quoted in Kraczon, p.12).
Usually made in response to the space where they will be shown, her works have ranged from delicate cellophane, paper and polythene hanging pieces suspended with ribbon or tape to large-scale floor-based environments made from plaster, chalk powder and soil. Her sculptures are often full of contradictions; they command an entire gallery space yet hover on the brink of collapse, and combine a fascination in raw, physical materials with an interest in psychoanalysis and language.
Solo exhibitions have been staged at the Institute of Contemporary Art, Philadelphia (2013), the Gallery of Modern Art, Glasgow (2012), and the Migros Museum, Zurich (2009), among others. Her works are held within many prestigious collections including the Scottish National Gallery of Modern Art, The Hammer Museum, LA, and Tate. In 2011 she represented Scotland at the 54th Venice Biennale, and she was nominated for the Turner Prize in the same year. In 2014 she was included in ‘GENERATION: 25 Years of Contemporary Art in Scotland’. Black currently lives and works in Glasgow.
2024
A4
lipstick on printer paper
Karla Black is a Scottish artist who creates abstract, immersive sculptures that explore physical experience as a way of communicating and understanding the world around us. She was born 1972 in Alexandria, Dunbartonshire and studied Sculpture at The Glasgow School of Art from 1995 to 1999. Black gained an MPhil in Art in Organisational Contexts from 1999–2000 and an MFA in 2002–4.
She is interested in ideas of play and early childhood learning as well as the primitive, creative moment when art comes into being and draws on a range of artistic traditions from expressionist painting to land art, performance and formalism. Everyday matter such as soap, cotton wool and toothpaste are explored alongside traditional art materials including plaster, pigment and paint, expanding the limits of what sculpture can be. Her work operates in an area of uncertainty, existing in a place she refers to as, ‘almost painting, almost installation, almost performance art.’ (quoted in Kraczon, p.12).
Usually made in response to the space where they will be shown, her works have ranged from delicate cellophane, paper and polythene hanging pieces suspended with ribbon or tape to large-scale floor-based environments made from plaster, chalk powder and soil. Her sculptures are often full of contradictions; they command an entire gallery space yet hover on the brink of collapse, and combine a fascination in raw, physical materials with an interest in psychoanalysis and language.
Solo exhibitions have been staged at the Institute of Contemporary Art, Philadelphia (2013), the Gallery of Modern Art, Glasgow (2012), and the Migros Museum, Zurich (2009), among others. Her works are held within many prestigious collections including the Scottish National Gallery of Modern Art, The Hammer Museum, LA, and Tate. In 2011 she represented Scotland at the 54th Venice Biennale, and she was nominated for the Turner Prize in the same year. In 2014 she was included in ‘GENERATION: 25 Years of Contemporary Art in Scotland’. Black currently lives and works in Glasgow.
Kindly donated by
Karla Black
Karla Black
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SIGNED IN AS :
Lot 75
£ 145
1
NOT STARTED
James Metsoja - Noses
James Metsoja - Noses
Bidding starts on 27-07-2024 17:00
CURRENT PRICE:
(Reserve not met !)
LOT #:
BIDS:
£ 145
75
1
Highest bidder: Tim Maggs
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£
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Noses
2023
A4
James Metsoja, b. 1984, graduated with a BA in Fine Art from Norwich School Of Art in 2007 and an MA in painting from the Royal College of Art in 2015 and was the recipient of the Constance Fairness Foundation Scholarship.
Solo exhibitions include Being in a Swamp, University of Hertfordshire Galleries, Museum of St. Albans and It’s Only Still Life at Outpost Gallery, Norwich. Group shows include ING Discerning Eye, Mall Galleries, selected by Ansel Krut; Provisions, Outpost Studios, Norwich; Life Was Meant To Be Awesome, Charlton Gallery, London; Griffin Art Prize, Shortlisted Artist Show, Griffin Gallery, London; Eastern Pavilions, Bethnal Green Library, London; Marmite Prize for Painting IV, touring exhibition; O Painters! My Painters!, Art Exchange, University of Essex, curated by Kaavous Clayton; Members’ Show, Outpost Gallery, Norwich, selected by Peter Suchin.
James Metsoja is also an associate artist at the Sainsbury Centre for Visual Arts and an art teacher at a secondary school in Norwich.
2023
A4
James Metsoja, b. 1984, graduated with a BA in Fine Art from Norwich School Of Art in 2007 and an MA in painting from the Royal College of Art in 2015 and was the recipient of the Constance Fairness Foundation Scholarship.
Solo exhibitions include Being in a Swamp, University of Hertfordshire Galleries, Museum of St. Albans and It’s Only Still Life at Outpost Gallery, Norwich. Group shows include ING Discerning Eye, Mall Galleries, selected by Ansel Krut; Provisions, Outpost Studios, Norwich; Life Was Meant To Be Awesome, Charlton Gallery, London; Griffin Art Prize, Shortlisted Artist Show, Griffin Gallery, London; Eastern Pavilions, Bethnal Green Library, London; Marmite Prize for Painting IV, touring exhibition; O Painters! My Painters!, Art Exchange, University of Essex, curated by Kaavous Clayton; Members’ Show, Outpost Gallery, Norwich, selected by Peter Suchin.
James Metsoja is also an associate artist at the Sainsbury Centre for Visual Arts and an art teacher at a secondary school in Norwich.
Kindly donated by
James Metsoja
James Metsoja
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SIGNED IN AS :
Lot 112
£ 550
9
NOT STARTED
Joline Kwakkenbos - Birth of the Painter
Joline Kwakkenbos - Birth of the Painter
Bidding starts on 27-07-2024 17:00
CURRENT PRICE:
(Reserve not met !)
LOT #:
BIDS:
£ 550
112
9
Highest bidder: Natasha Hull
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£
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Birth of the Painter
2023
28 x 36cm
Acrylic on painter
My work is about the plurality of my own identity, and how I relate to the world around me. I mainly paint self-portraits, which deal with my childhood, my queer identity and being a 'woman'. My work is therefore autobiographical, but also touches on elements of fiction in the search for that own identity. My portraits constantly balance between characters and myself, touching on personal issues of sexuality, identity and memories. Subjects I deal with include myself as a young woman, free and spiritual, seductive, historical, traumatised, powerful, as a painter, as a lesbian woman, and as a human being.
Over the years, I have created and collected a special collection of garments that represent the different characters of my portraits . They are thematically linked by cultural references and explorations within the experience of being a woman. I experiment with the shape of these garments but also with the visibility of the naked body. In doing so, I try to question traditional notions of 'being a woman' - and what this means to me.
I, Joline Kwakkenbos (b. 1997, Hilversum, Netherlands) grew up in a small dutch village. In my childhood, the need to express myself in drawing and painting was already present. In 2019, I obtained my bachelor's degree in Fashion Design. Through the diversity of subjects I received during my studies in Fashion Design, I discovered that my visual language could also find form through painting. Something I started exploring more after my studies.
2023
28 x 36cm
Acrylic on painter
My work is about the plurality of my own identity, and how I relate to the world around me. I mainly paint self-portraits, which deal with my childhood, my queer identity and being a 'woman'. My work is therefore autobiographical, but also touches on elements of fiction in the search for that own identity. My portraits constantly balance between characters and myself, touching on personal issues of sexuality, identity and memories. Subjects I deal with include myself as a young woman, free and spiritual, seductive, historical, traumatised, powerful, as a painter, as a lesbian woman, and as a human being.
Over the years, I have created and collected a special collection of garments that represent the different characters of my portraits . They are thematically linked by cultural references and explorations within the experience of being a woman. I experiment with the shape of these garments but also with the visibility of the naked body. In doing so, I try to question traditional notions of 'being a woman' - and what this means to me.
I, Joline Kwakkenbos (b. 1997, Hilversum, Netherlands) grew up in a small dutch village. In my childhood, the need to express myself in drawing and painting was already present. In 2019, I obtained my bachelor's degree in Fashion Design. Through the diversity of subjects I received during my studies in Fashion Design, I discovered that my visual language could also find form through painting. Something I started exploring more after my studies.
Kindly donated by
Joline Kwakkenbos
Joline Kwakkenbos
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SIGNED IN AS :
Lot 95
£ 270
1
NOT STARTED
Saelia Aparicio - Frisky Stomp
Saelia Aparicio - Frisky Stomp
Bidding starts on 27-07-2024 17:00
CURRENT PRICE:
(Reserve not met !)
LOT #:
BIDS:
£ 270
95
1
Highest bidder: Jennifer Bellamy
YOUR BID:
£
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Frisky Stomp
2023
29.7 x 21cm
Ink on paper
Saelia Aparicio (1982, Valladolid, Spain)lives on a secret island in London,
They completed an MA in Sculpture at the Royal College of Art in 2015. Their work dwells on ideas of
extended ethics: How we are intrinsically related with our immediate surroundings, from the bacteria
living in our skins and everything we touch, to the particles we breathe, what we eat, how we clean.
They are interested in the idea of the hybrid as an intersectional being that can live in different realms
at the same time, maybe not belonging fully to any of them. In their work, instead of categorizing everything through language, they bridge between oxymorons, offering us a window to a world inhabited by joyful monsters, obsolete gods, invasive species and beautiful debris. Recent and future projects include: Communion at Bold Tendencies, London , Still in Wonderland at Cylinder Seoul and "a joyful parasite" at the Baltic, Newcastle.
Past shows nclude: Paraíso extraño, MUSAC, Leon, Spain and A sentient space FUMI, London (both 2022), ‘Prótesis para
invertebrados’, La Casa Encendida, Madrid, Spain (2019). Some of the awards Aparicio has won
have been The Henry Moore Foundation Artist Award (2023), Jerwood Survey II, Generaciones 2019 and Bloomberg New Contemporaries 2016.
Saelia was the artist invited to do the program for Open School East in 2022-23 and has led workshops such as “El que come y canta, encanta” in 2023 at CA2M, with the children’s residence of Mostoles.
2023
29.7 x 21cm
Ink on paper
Saelia Aparicio (1982, Valladolid, Spain)lives on a secret island in London,
They completed an MA in Sculpture at the Royal College of Art in 2015. Their work dwells on ideas of
extended ethics: How we are intrinsically related with our immediate surroundings, from the bacteria
living in our skins and everything we touch, to the particles we breathe, what we eat, how we clean.
They are interested in the idea of the hybrid as an intersectional being that can live in different realms
at the same time, maybe not belonging fully to any of them. In their work, instead of categorizing everything through language, they bridge between oxymorons, offering us a window to a world inhabited by joyful monsters, obsolete gods, invasive species and beautiful debris. Recent and future projects include: Communion at Bold Tendencies, London , Still in Wonderland at Cylinder Seoul and "a joyful parasite" at the Baltic, Newcastle.
Past shows nclude: Paraíso extraño, MUSAC, Leon, Spain and A sentient space FUMI, London (both 2022), ‘Prótesis para
invertebrados’, La Casa Encendida, Madrid, Spain (2019). Some of the awards Aparicio has won
have been The Henry Moore Foundation Artist Award (2023), Jerwood Survey II, Generaciones 2019 and Bloomberg New Contemporaries 2016.
Saelia was the artist invited to do the program for Open School East in 2022-23 and has led workshops such as “El que come y canta, encanta” in 2023 at CA2M, with the children’s residence of Mostoles.
Kindly donated by
Saelia Aparicio
Saelia Aparicio
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SIGNED IN AS :
Lot 55
£ 700
20
NOT STARTED
Sophie Von Hellermann - Lindsey
Sophie Von Hellermann - Lindsey
Bidding starts on 27-07-2024 17:00
CURRENT PRICE:
(Reserve not met !)
LOT #:
BIDS:
£ 700
55
20
Highest bidder: Jo Gabriele Sheppard
YOUR BID:
£
CLOSED
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Lindsey
2024
21 x 29.7 cm
Watercolour on paper
Sophie von Hellermann (b. 1975, Munich) lives and works in London and Margate, UK.
Sophie von Hellermann’s paintings recall the look of fables, legends, and traditional stories that are imbued with the workings of her subconscious rather than the content of existing images. Her romantic, pastel-washed canvases are often installed to suggest complex narrative threads. Von Hellermann applies pure pigment directly onto unprimed canvas, her use of broad-brushed washes imbues a sense of weightlessness to her pictures. Von Hellermann’s paintings draw upon current affairs as often and as fluidly as they borrow from the imagery of classical mythology and literature to create expansive imaginary places. In subject matter and style, von Hellermann tests imagination against reality.
Sophie von Hellermann (b. 1975, Munich) received her BFA from Kunstakademie, Düsseldorf and an MFA from Royal College of Art, London. Selected solo exhibitions include:Out of Time, Pilar Corrias, London (2022); Schloss Freienwalde, Bad Freienwalde, Germany (2022, commission); A Midsummer Night's Dream, Pilar Corrias, London (2020); Judgement Day, Chisenhale Gallery, London; and Neuer Aachener Kunstverein, Aachen (2006). Selected group exhibitions include: Let The Sunshine In, Pilar Corrias, London, UK (2023); Sirens: Sophie von Hellermann and Anne Ryan, Turner Contemporary, Kent, UK (commission) (2021);Mixing It Up: Painting Today, Hayward Gallery, London, UK (2021); With a Capital P: Selections by Six Painters, Elmhurst Art Museum, Berlin (2019); Jahresgaben 2016, Bonner Kunstverein, Bonn (2016); Empathy and Abstraction: Modernist Women in Germany, Kunsthalle Bielefeld (2015); I Cheer a Dead Man’s Sweetheart, De La Warr Pavilion, Bexhill on Sea (2014); In the disappearing mist, the gift of whispers, Focal Point Gallery, Southend (2012); Watercolour, Tate Britain, London (2011); Sophie von Hellermann and Josh Smith, le Consortium, Dijon (2009), Dear Painter, paint me…, Pompidou Centre, Paris (2002), and Trouble Spot Painting, Museum van Hedendaagse Kunst Antwerpen, Antwerp (1999).
2024
21 x 29.7 cm
Watercolour on paper
Sophie von Hellermann (b. 1975, Munich) lives and works in London and Margate, UK.
Sophie von Hellermann’s paintings recall the look of fables, legends, and traditional stories that are imbued with the workings of her subconscious rather than the content of existing images. Her romantic, pastel-washed canvases are often installed to suggest complex narrative threads. Von Hellermann applies pure pigment directly onto unprimed canvas, her use of broad-brushed washes imbues a sense of weightlessness to her pictures. Von Hellermann’s paintings draw upon current affairs as often and as fluidly as they borrow from the imagery of classical mythology and literature to create expansive imaginary places. In subject matter and style, von Hellermann tests imagination against reality.
Sophie von Hellermann (b. 1975, Munich) received her BFA from Kunstakademie, Düsseldorf and an MFA from Royal College of Art, London. Selected solo exhibitions include:Out of Time, Pilar Corrias, London (2022); Schloss Freienwalde, Bad Freienwalde, Germany (2022, commission); A Midsummer Night's Dream, Pilar Corrias, London (2020); Judgement Day, Chisenhale Gallery, London; and Neuer Aachener Kunstverein, Aachen (2006). Selected group exhibitions include: Let The Sunshine In, Pilar Corrias, London, UK (2023); Sirens: Sophie von Hellermann and Anne Ryan, Turner Contemporary, Kent, UK (commission) (2021);Mixing It Up: Painting Today, Hayward Gallery, London, UK (2021); With a Capital P: Selections by Six Painters, Elmhurst Art Museum, Berlin (2019); Jahresgaben 2016, Bonner Kunstverein, Bonn (2016); Empathy and Abstraction: Modernist Women in Germany, Kunsthalle Bielefeld (2015); I Cheer a Dead Man’s Sweetheart, De La Warr Pavilion, Bexhill on Sea (2014); In the disappearing mist, the gift of whispers, Focal Point Gallery, Southend (2012); Watercolour, Tate Britain, London (2011); Sophie von Hellermann and Josh Smith, le Consortium, Dijon (2009), Dear Painter, paint me…, Pompidou Centre, Paris (2002), and Trouble Spot Painting, Museum van Hedendaagse Kunst Antwerpen, Antwerp (1999).
Kindly donated by
Sophie Von Hellermann
Sophie Von Hellermann
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Lot 105
£ 370
7
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Jack Jubb - I’ve thought about it and
Jack Jubb - I’ve thought about it and
Bidding starts on 27-07-2024 17:00
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105
7
Highest bidder: Victor Benady
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I’ve thought about it and
2024
21 x 29.7cm
Watercolour on paper
Jack Jubb (b. 1993, United Kingdom) is an artist living and working in London. Jubb creates ghostly airbrushed paintings deriving from a bricolage of digital images spanning e-commerce, social media, and cinema amongst other sources. Through these processes of mechanically mediated painting and digital research, Jubb examines notions of the Poor Image and how hierarchies within the resolution, or fidelity of images relate to essential questions of truth and untruth surrounding memory; whether experienced via gauzy nostalgia, fantasy, or the haunted sites of trauma.
Jack completed his BA from Goldsmiths School of Art.
Selected group shows include Earthlings, The Residence Gallery (London), Halcyon on and on, Franz Kaka (Toronto), Being Here, Kupfer Project (London), Gnosis Show, Daisy’s Room (London) and The Future Isn’t What It Used To Be, Moarain House (London)
Solo show: Feeling Sentimental, D-J Berlin (Berlin).
2024
21 x 29.7cm
Watercolour on paper
Jack Jubb (b. 1993, United Kingdom) is an artist living and working in London. Jubb creates ghostly airbrushed paintings deriving from a bricolage of digital images spanning e-commerce, social media, and cinema amongst other sources. Through these processes of mechanically mediated painting and digital research, Jubb examines notions of the Poor Image and how hierarchies within the resolution, or fidelity of images relate to essential questions of truth and untruth surrounding memory; whether experienced via gauzy nostalgia, fantasy, or the haunted sites of trauma.
Jack completed his BA from Goldsmiths School of Art.
Selected group shows include Earthlings, The Residence Gallery (London), Halcyon on and on, Franz Kaka (Toronto), Being Here, Kupfer Project (London), Gnosis Show, Daisy’s Room (London) and The Future Isn’t What It Used To Be, Moarain House (London)
Solo show: Feeling Sentimental, D-J Berlin (Berlin).
Kindly donated by
Jack Jubb
Jack Jubb
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Lot 11
£ 310
3
NOT STARTED
David Remfry - Springsong
David Remfry - Springsong
Bidding starts on 27-07-2024 17:00
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11
3
Highest bidder: Jay Jopling
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Springsong
2020
53 x 44 cm
Etching on Paper
David Remfry is a contemporary British born painter. He is perhaps best known for his large-scale watercolours, often of people dancing, his landscapes of New York and his portraits of residents and friends painted and drawn during his twenty years living and working at the Hotel Chelsea, New York City. He has also curated several exhibitions and was recently a Professor of Drawing at the Royal Academy Schools.
He lives and works in London.
2020
53 x 44 cm
Etching on Paper
David Remfry is a contemporary British born painter. He is perhaps best known for his large-scale watercolours, often of people dancing, his landscapes of New York and his portraits of residents and friends painted and drawn during his twenty years living and working at the Hotel Chelsea, New York City. He has also curated several exhibitions and was recently a Professor of Drawing at the Royal Academy Schools.
He lives and works in London.
Kindly donated by
David Remfry
David Remfry
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Lot 121
£ 170
1
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Twinkle Troughton - Denial Gardens
Twinkle Troughton - Denial Gardens
Bidding starts on 27-07-2024 17:00
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121
1
Highest bidder: Nic Rose
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Denial Gardens
Oil on paper
21x15 cm
Oil on paper
21x15 cm
Kindly donated by
Twinkle Troughton
Twinkle Troughton
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Lot 117
£ 350
6
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Karla Black - Untitled
Karla Black - Untitled
Bidding starts on 27-07-2024 17:00
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117
6
Highest bidder: Anonymous
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Untitled
2024
A4
lipstick on printer paper
Karla Black is a Scottish artist who creates abstract, immersive sculptures that explore physical experience as a way of communicating and understanding the world around us. She was born 1972 in Alexandria, Dunbartonshire and studied Sculpture at The Glasgow School of Art from 1995 to 1999. Black gained an MPhil in Art in Organisational Contexts from 1999–2000 and an MFA in 2002–4.
She is interested in ideas of play and early childhood learning as well as the primitive, creative moment when art comes into being and draws on a range of artistic traditions from expressionist painting to land art, performance and formalism. Everyday matter such as soap, cotton wool and toothpaste are explored alongside traditional art materials including plaster, pigment and paint, expanding the limits of what sculpture can be. Her work operates in an area of uncertainty, existing in a place she refers to as, ‘almost painting, almost installation, almost performance art.’ (quoted in Kraczon, p.12).
Usually made in response to the space where they will be shown, her works have ranged from delicate cellophane, paper and polythene hanging pieces suspended with ribbon or tape to large-scale floor-based environments made from plaster, chalk powder and soil. Her sculptures are often full of contradictions; they command an entire gallery space yet hover on the brink of collapse, and combine a fascination in raw, physical materials with an interest in psychoanalysis and language.
Solo exhibitions have been staged at the Institute of Contemporary Art, Philadelphia (2013), the Gallery of Modern Art, Glasgow (2012), and the Migros Museum, Zurich (2009), among others. Her works are held within many prestigious collections including the Scottish National Gallery of Modern Art, The Hammer Museum, LA, and Tate. In 2011 she represented Scotland at the 54th Venice Biennale, and she was nominated for the Turner Prize in the same year. In 2014 she was included in ‘GENERATION: 25 Years of Contemporary Art in Scotland’. Black currently lives and works in Glasgow.
2024
A4
lipstick on printer paper
Karla Black is a Scottish artist who creates abstract, immersive sculptures that explore physical experience as a way of communicating and understanding the world around us. She was born 1972 in Alexandria, Dunbartonshire and studied Sculpture at The Glasgow School of Art from 1995 to 1999. Black gained an MPhil in Art in Organisational Contexts from 1999–2000 and an MFA in 2002–4.
She is interested in ideas of play and early childhood learning as well as the primitive, creative moment when art comes into being and draws on a range of artistic traditions from expressionist painting to land art, performance and formalism. Everyday matter such as soap, cotton wool and toothpaste are explored alongside traditional art materials including plaster, pigment and paint, expanding the limits of what sculpture can be. Her work operates in an area of uncertainty, existing in a place she refers to as, ‘almost painting, almost installation, almost performance art.’ (quoted in Kraczon, p.12).
Usually made in response to the space where they will be shown, her works have ranged from delicate cellophane, paper and polythene hanging pieces suspended with ribbon or tape to large-scale floor-based environments made from plaster, chalk powder and soil. Her sculptures are often full of contradictions; they command an entire gallery space yet hover on the brink of collapse, and combine a fascination in raw, physical materials with an interest in psychoanalysis and language.
Solo exhibitions have been staged at the Institute of Contemporary Art, Philadelphia (2013), the Gallery of Modern Art, Glasgow (2012), and the Migros Museum, Zurich (2009), among others. Her works are held within many prestigious collections including the Scottish National Gallery of Modern Art, The Hammer Museum, LA, and Tate. In 2011 she represented Scotland at the 54th Venice Biennale, and she was nominated for the Turner Prize in the same year. In 2014 she was included in ‘GENERATION: 25 Years of Contemporary Art in Scotland’. Black currently lives and works in Glasgow.
Kindly donated by
Karla Black
Karla Black
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Lot 103
£ 550
1
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Rachel Maclean - UFO
Rachel Maclean - UFO
Bidding starts on 27-07-2024 17:00
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BIDS:
£ 550
103
1
Highest bidder: Anonymous
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UFO
2023
21 x 27.9cm
Digital print on archival paper, Edition 61/100
Rachel Maclean (b. 1987, Edinburgh, Scotland) creates video and installations that operate deep in rendered space and at the vanguard of modern life. In an unmistakeable saccharine palette, Maclean’s characters and settings refract and anticipate contemporary culture, whipping from the cutting to the cute, reflecting both the latent neurosis and bracing potential of life as a digital native.
Rachel Maclean lives and works in Glasgow.
2023
21 x 27.9cm
Digital print on archival paper, Edition 61/100
Rachel Maclean (b. 1987, Edinburgh, Scotland) creates video and installations that operate deep in rendered space and at the vanguard of modern life. In an unmistakeable saccharine palette, Maclean’s characters and settings refract and anticipate contemporary culture, whipping from the cutting to the cute, reflecting both the latent neurosis and bracing potential of life as a digital native.
Rachel Maclean lives and works in Glasgow.
Kindly donated by
Rachel Maclean
Rachel Maclean
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SIGNED IN AS :
Lot 100
£ 290
2
NOT STARTED
Rae-Yen Song - ah kong --wind--
Rae-Yen Song - ah kong --wind--
Bidding starts on 27-07-2024 17:00
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100
2
Highest bidder: Michael Kalirai
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ah kong --wind--
2024
17.8 x 15.7cm
Pen and ink on papa’s paper
2024
17.8 x 15.7cm
Pen and ink on papa’s paper
Kindly donated by
Rae-Yen Song
Rae-Yen Song
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Lot 65
£ 430
10
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Layla Andrews - I Talk To Your Photograph
Layla Andrews - I Talk To Your Photograph
Bidding starts on 27-07-2024 17:00
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£ 430
65
10
Highest bidder: Anonymous
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I Talk To Your Photograph
2024
28.5 x 31cm
Acrylic on paper
Layla Andrews (b.1997) is an artist who has spent the majority of her career working between south London and Brighton.
She’s best known for her figurative paintings that draw inspiration from a combination of the natural world, familial narratives, and miscellaneous second-hand objects. Her artworks often feature a diverse cast of recurring characters, ranging from human figures to crocodiles and crustaceans.
Central to Layla’s practice is storytelling; celebrating simple joys, the complexities of identity and the juxtaposition of unlikely pairs. Whilst deeply personal, she hopes the ambiguous nature of her work welcomes interpretation and therefore accessibility to the viewer.
She was formerly the artist in residence of Brixton Village where she unveiled two large-scale sculptures and curated an exhibition for International Women's Day.
In 2016 her work caught the attention of former President Obama, who praised Layla's work and encouraged her to further her art career. In 2022 she was named as one of The Evening Standards ‘22 London women changing the world’.
Layla draws upon her own mixed-race heritage and working-class upbringing, shaped within a matriarchal household, to inform and enrich her practice. Her work is grounded in the belief that art, in whatever form it may take, should be inclusive and accessible to all
2024
28.5 x 31cm
Acrylic on paper
Layla Andrews (b.1997) is an artist who has spent the majority of her career working between south London and Brighton.
She’s best known for her figurative paintings that draw inspiration from a combination of the natural world, familial narratives, and miscellaneous second-hand objects. Her artworks often feature a diverse cast of recurring characters, ranging from human figures to crocodiles and crustaceans.
Central to Layla’s practice is storytelling; celebrating simple joys, the complexities of identity and the juxtaposition of unlikely pairs. Whilst deeply personal, she hopes the ambiguous nature of her work welcomes interpretation and therefore accessibility to the viewer.
She was formerly the artist in residence of Brixton Village where she unveiled two large-scale sculptures and curated an exhibition for International Women's Day.
In 2016 her work caught the attention of former President Obama, who praised Layla's work and encouraged her to further her art career. In 2022 she was named as one of The Evening Standards ‘22 London women changing the world’.
Layla draws upon her own mixed-race heritage and working-class upbringing, shaped within a matriarchal household, to inform and enrich her practice. Her work is grounded in the belief that art, in whatever form it may take, should be inclusive and accessible to all
Kindly donated by
Layla Andrews
Layla Andrews
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Lot 3
£ 1,500
0
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Ryan Gander - Embrace Your Mistakes
Ryan Gander - Embrace Your Mistakes
Bidding starts on 27-07-2024 17:00
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£ 1,500
3
0
Highest bidder:
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Embrace Your Mistakes
2019
59.4 x 42cm
Calligraphy ink, 130gsm cartridge paper - framed.
Ryan Gander RA OBE (born 1976, Chester, UK) lives and works in Suffolk and London. He studied at Manchester Metropolitan University, UK; the Rijksakademie van Beeldende Kunsten, Amsterdam, Netherlands; and the Jan van Eyck Akademie, Maastricht, Netherlands. The artist has been a Professor of Visual Art at the University of Huddersfield and holds an honorary Doctor of the Arts at the Manchester Metropolitan University and the University of Suffolk. In 2017 he was awarded an OBE for services to contemporary art. In 2019 he was awarded the Hodder Fellowship at Princeton University. In 2022, he was made RA for the category of Sculpture.
Recent solo shows have been held at Ishikawa Cultural Foundation, Okayama, Japan (2023); Annet Gelink, Amsterdam, The Netherlands (2023); Tokyo Opera City Art Gallery, Tokyo, Japan (2022); East Gallery at NUA, Norwich, UK (2022); Space K, Seoul, South Korea (2021); Lisson Gallery, New York, USA (2020); Kunsthalle Bern, Switzerland (2019); Lisson Gallery, Shanghai, China (2019), Esther Schipper, Berlin, Germany (2019), 21st Biennale of Sydney, Australia (2018), TARO NASU, Tokyo, Japan (2018); gb Agency, Paris, France (2018); Dazaifu Shrine, Fukuoka, Japan (2017); Remai Modern, Saskatoon, Canada (2017); The Contemporary Austin, TX, USA (2017); the National Museum of Art Osaka, Osaka, Japan (2017); Hyundai Gallery, Seoul, South Korea (2017); Museum Dhondt-Dhaenens, Deurle, Belgium (2016); Aspen Art Museum, Aspen, CO, USA (2016); Contemporary Art Gallery, Vancouver, Canada (2015); Australian Centre for Contemporary Art, Melbourne, Australia (2015); Singapore Tyler Print Institute, Singapore, Singapore (2015); and Manchester Art Gallery, Manchester, UK (2014). Major projects include Liverpool Biennale, UK; Sydney Biennale, Sydney, Australia; British Art Show 8, Leeds, UK; Performa 15, New York, NY, USA; Panorama, High Line, New York, USA; Imagineering, Okayama Castle, Okayama, Japan; 'The artists have the keys', 2 Willow Road, London, UK; Unlimited, Art Basel, Basel, Switzerland; Parcours, Art Basel, Basel, Switzerland; Esperluette, Palais de Tokyo, Paris, France; dOCUMENTA (13), Kassel, Germany; 'Locked Room Scenario', commissioned by Artangel, London, UK; ILLUMInations at the 54th International Art Exhibition of the Venice Biennale, Venice, Italy; 'Intervals' at Solomon R. Guggenheim Museum, New York, NY, USA; and 'The Happy Prince', Public Art Fund, Doris C. Freedman Plaza, Central Park, New York, NY, USA.
2019
59.4 x 42cm
Calligraphy ink, 130gsm cartridge paper - framed.
Ryan Gander RA OBE (born 1976, Chester, UK) lives and works in Suffolk and London. He studied at Manchester Metropolitan University, UK; the Rijksakademie van Beeldende Kunsten, Amsterdam, Netherlands; and the Jan van Eyck Akademie, Maastricht, Netherlands. The artist has been a Professor of Visual Art at the University of Huddersfield and holds an honorary Doctor of the Arts at the Manchester Metropolitan University and the University of Suffolk. In 2017 he was awarded an OBE for services to contemporary art. In 2019 he was awarded the Hodder Fellowship at Princeton University. In 2022, he was made RA for the category of Sculpture.
Recent solo shows have been held at Ishikawa Cultural Foundation, Okayama, Japan (2023); Annet Gelink, Amsterdam, The Netherlands (2023); Tokyo Opera City Art Gallery, Tokyo, Japan (2022); East Gallery at NUA, Norwich, UK (2022); Space K, Seoul, South Korea (2021); Lisson Gallery, New York, USA (2020); Kunsthalle Bern, Switzerland (2019); Lisson Gallery, Shanghai, China (2019), Esther Schipper, Berlin, Germany (2019), 21st Biennale of Sydney, Australia (2018), TARO NASU, Tokyo, Japan (2018); gb Agency, Paris, France (2018); Dazaifu Shrine, Fukuoka, Japan (2017); Remai Modern, Saskatoon, Canada (2017); The Contemporary Austin, TX, USA (2017); the National Museum of Art Osaka, Osaka, Japan (2017); Hyundai Gallery, Seoul, South Korea (2017); Museum Dhondt-Dhaenens, Deurle, Belgium (2016); Aspen Art Museum, Aspen, CO, USA (2016); Contemporary Art Gallery, Vancouver, Canada (2015); Australian Centre for Contemporary Art, Melbourne, Australia (2015); Singapore Tyler Print Institute, Singapore, Singapore (2015); and Manchester Art Gallery, Manchester, UK (2014). Major projects include Liverpool Biennale, UK; Sydney Biennale, Sydney, Australia; British Art Show 8, Leeds, UK; Performa 15, New York, NY, USA; Panorama, High Line, New York, USA; Imagineering, Okayama Castle, Okayama, Japan; 'The artists have the keys', 2 Willow Road, London, UK; Unlimited, Art Basel, Basel, Switzerland; Parcours, Art Basel, Basel, Switzerland; Esperluette, Palais de Tokyo, Paris, France; dOCUMENTA (13), Kassel, Germany; 'Locked Room Scenario', commissioned by Artangel, London, UK; ILLUMInations at the 54th International Art Exhibition of the Venice Biennale, Venice, Italy; 'Intervals' at Solomon R. Guggenheim Museum, New York, NY, USA; and 'The Happy Prince', Public Art Fund, Doris C. Freedman Plaza, Central Park, New York, NY, USA.
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Lot 122
£ 390
6
NOT STARTED
Mia Wilkinson - SWIMMERS
Mia Wilkinson - SWIMMERS
Bidding starts on 27-07-2024 17:00
CURRENT PRICE:
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BIDS:
£ 390
122
6
Highest bidder: Matthew Sperling
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SWIMMERS
2023
Size A3
Medium Cartridge paper and ink
Mia Wilkinson is a London based artist, whose oil paintings are visceral explorations of certain sexualized female forms. The sensual indulgence with which she approaches the paint is reflective of her subject; female body builders and squashers wrestle on the canvas in an orgy of drips and loaded excess paint. The humorous and light hearted intention with which she approaches her work is not lost, as complex issues of sex and gender are confronted by her brush.
‘Accidental properties created by applying wet on wet, prove just as important to my work; dripping from the nipples and nails and mouth and feet, that go in and out of the women enable a feeling of sensuality sprinkled with disgust’
Handling the paint in a fast paced vigour, Wilkinson’s paintings have found their own loopy language in which it describes the figures with intense immediacy, whilst still embracing the particularities of the female flesh. Exuding a confidence within the paint she plays with the sculptural solidity of their bodies against flat backgrounds, referencing the images of which she originally collated to use as a source material. The work is unapologetic, and intense, yet doesn’t become the expected angst ridden expressionism, rather comedic as the figures are increasingly morphing out of themselves and are hilariously exposed as bizarre avatars. Confined within unsettling narratives and displaying an obvious absurd aggression and transgression, provides a powerful yet witty statement about the way identity is performed within a media culture.
2023
Size A3
Medium Cartridge paper and ink
Mia Wilkinson is a London based artist, whose oil paintings are visceral explorations of certain sexualized female forms. The sensual indulgence with which she approaches the paint is reflective of her subject; female body builders and squashers wrestle on the canvas in an orgy of drips and loaded excess paint. The humorous and light hearted intention with which she approaches her work is not lost, as complex issues of sex and gender are confronted by her brush.
‘Accidental properties created by applying wet on wet, prove just as important to my work; dripping from the nipples and nails and mouth and feet, that go in and out of the women enable a feeling of sensuality sprinkled with disgust’
Handling the paint in a fast paced vigour, Wilkinson’s paintings have found their own loopy language in which it describes the figures with intense immediacy, whilst still embracing the particularities of the female flesh. Exuding a confidence within the paint she plays with the sculptural solidity of their bodies against flat backgrounds, referencing the images of which she originally collated to use as a source material. The work is unapologetic, and intense, yet doesn’t become the expected angst ridden expressionism, rather comedic as the figures are increasingly morphing out of themselves and are hilariously exposed as bizarre avatars. Confined within unsettling narratives and displaying an obvious absurd aggression and transgression, provides a powerful yet witty statement about the way identity is performed within a media culture.
Kindly donated by
Mia Wilkinson
Mia Wilkinson
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SIGNED IN AS :
Lot 47
£ 931
19
NOT STARTED
Delaine Le Bas - 130724
Delaine Le Bas - 130724
Bidding starts on 27-07-2024 17:00
CURRENT PRICE:
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BIDS:
£ 931
47
19
Highest bidder: Anonymous Anonymous
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130724
2024
29.7 x 21.1 cm
Pen on paper.
Born in Worthing 1965.
Disrupted education between the age of five to sixteen. Listening to Poly Styrene in 1978 dressing in vintage and handmade clothes.1980 goes to local art school. 1984 The house of Le Bas is created.
1985 Damian James Le Bas joins. 1986 to 1988 - Saint Martins School of Art London - art, clubbing, fashion and keeps travelling as a Lifeist** and Performalist*** in and across the UK and Europe, South Korea, Zimbabwe. Canada and Rajasthan. Works included in Venice Biennale, Prague Biennale, Gwangju Biennale and other art institutions internationally. It all continues...
Its where you come in... Delaine Le Bas, 2022
*Istory - Carolee Schneeman (1939 - 2019)
**Lifeist - Linda Montano (1942)
***Performalist - Hannah Wilke (1940 -1993)
With many thanks to Sands Murray-Wassink (1974).
2024
29.7 x 21.1 cm
Pen on paper.
Born in Worthing 1965.
Disrupted education between the age of five to sixteen. Listening to Poly Styrene in 1978 dressing in vintage and handmade clothes.1980 goes to local art school. 1984 The house of Le Bas is created.
1985 Damian James Le Bas joins. 1986 to 1988 - Saint Martins School of Art London - art, clubbing, fashion and keeps travelling as a Lifeist** and Performalist*** in and across the UK and Europe, South Korea, Zimbabwe. Canada and Rajasthan. Works included in Venice Biennale, Prague Biennale, Gwangju Biennale and other art institutions internationally. It all continues...
Its where you come in... Delaine Le Bas, 2022
*Istory - Carolee Schneeman (1939 - 2019)
**Lifeist - Linda Montano (1942)
***Performalist - Hannah Wilke (1940 -1993)
With many thanks to Sands Murray-Wassink (1974).
Kindly donated by
Delaine Le Bas
Delaine Le Bas
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SIGNED IN AS :
Lot 13
£ 850
15
NOT STARTED
Emma Cousin - Quench
Emma Cousin - Quench
Bidding starts on 27-07-2024 17:00
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13
15
Highest bidder: Frederick Shaw
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Quench
2024
35 x 23 cm
Pen and pencil on paper.
Emma Cousin makes paintings and drawings that often start with a piece of word-play or colloquial phrase. This then is used as the title of a work that expands on that piece of fragmentary text that is often allusive or playful, for works that feature figures engaged in what might look like private games, relationships or forms of communication with each other. Her works respond to the way language is structured and its limitations.
Cousin has said “The ideas around social systems - how bodies hold each other up, fit together, support or destabilise each other has been a concern for some years. The struggle to find equilibrium physically and psychologically as well as a play with sensorial opposite - pleasure/pain, love/violence, disgust/attraction. The symmetry of the paintings’ design encapsulates that struggle for sure…” (interview with Hettie Judah, 2022)
The figures in Cousin’s works often form a circuit of some sort, as if they might become a machine that collectively articulates a system. Cousin uses the bodies of the figures she depicts to explore ideas around communication and non-communication to question our relationship to each other and also to think about the ways bodies operate in space. That space might be interpreted as a post-human space, where alteration and augmentation allow the subject to create new versions of ourselves in order to communicate with each other. Cousin has stated: “I’m curious about our expectations of our bodies and judgements of other bodies. I’m testing their limits and interested in putting the bodies at risk. They exist in a liminal space which is a place of discomfort, an edge of a boundary.” (Interview, Elephant magazine, June 2018)
Cousin (b. Yorkshire, 1986) has recently exhibited at Xiao Museum, Suzhou, China (2022); Centre for Contemporary Arts, Vesthoffen Kunstlaboratorium, Norway (2022); Goldsmiths, London (2020); Castlefield Gallery (2020); Jerwood Arts (2019); Milton Keynes Art Centre (2019).
2024
35 x 23 cm
Pen and pencil on paper.
Emma Cousin makes paintings and drawings that often start with a piece of word-play or colloquial phrase. This then is used as the title of a work that expands on that piece of fragmentary text that is often allusive or playful, for works that feature figures engaged in what might look like private games, relationships or forms of communication with each other. Her works respond to the way language is structured and its limitations.
Cousin has said “The ideas around social systems - how bodies hold each other up, fit together, support or destabilise each other has been a concern for some years. The struggle to find equilibrium physically and psychologically as well as a play with sensorial opposite - pleasure/pain, love/violence, disgust/attraction. The symmetry of the paintings’ design encapsulates that struggle for sure…” (interview with Hettie Judah, 2022)
The figures in Cousin’s works often form a circuit of some sort, as if they might become a machine that collectively articulates a system. Cousin uses the bodies of the figures she depicts to explore ideas around communication and non-communication to question our relationship to each other and also to think about the ways bodies operate in space. That space might be interpreted as a post-human space, where alteration and augmentation allow the subject to create new versions of ourselves in order to communicate with each other. Cousin has stated: “I’m curious about our expectations of our bodies and judgements of other bodies. I’m testing their limits and interested in putting the bodies at risk. They exist in a liminal space which is a place of discomfort, an edge of a boundary.” (Interview, Elephant magazine, June 2018)
Cousin (b. Yorkshire, 1986) has recently exhibited at Xiao Museum, Suzhou, China (2022); Centre for Contemporary Arts, Vesthoffen Kunstlaboratorium, Norway (2022); Goldsmiths, London (2020); Castlefield Gallery (2020); Jerwood Arts (2019); Milton Keynes Art Centre (2019).
Kindly donated by
Emma Cousin
Emma Cousin
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Lot 73
£ 250
0
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Lo Lo No - Harpie
Lo Lo No - Harpie
Bidding starts on 27-07-2024 17:00
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73
0
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Harpie
2023
41.4 x 34cm
Graphite on paper
Lo Lo was born as Alex Noble in London (1981) and studied fashion design at the London College of Fashion before going on to work for Selfridges and showcasing collections at London Fashion Week whilst designing for Lady Gaga, Alison Goldfrapp, Florence and the Machine and many other stars and mega brands.
Their work as a set and concept artist saw them work for MTV, Bjork, Glastonbury, Edinburgh festival, Rolls Royce, Louis Vuitton, Yayoi Kusama and Kasabian with directors Tom Hingston studio and Warren Dupreez and Nick Thornton Jones.
In 2013 they launched the ethical design EMG Initiative, turning designer waste into high end unique products to raise money for charitable causes addressing fast fashions environmental and humanitarian negative impacts, this lead them to collaborate with Traid, designing their Traidremade collections and being commissioned by the London College of Fashion, Fashion Space gallery to produce a film called ‘Who Are The Savs’, and go onto stock EMG at Selfridges along with a promotional window.
In 2017 they moved from London to Margate where they first turned the camera on themselves and gained a new focus and muse for film, costume design and subject.
In 2021 they graduated a Masters in Fine Art at ESACHaR and The Margate School which was a step change into academic research and theory, curation and arts festival production for Margate Pride and partaking and producing arts residencies. Consulting with arts organisations on diversity and inclusion and holding two trustee positions between 2022 and 2024 at AiRM and Future Foundry.
Their diverse practice has seen their work presented internationally, curating and exhibiting at UK galleries including Turner Contemporary.
They were a featured portrait artist in the BBC’s television series Extraordinary Portraits in 2022 and continue to push their work into new territories as drag performer and musician Pretzel Cage and hosting a monthly radio show for Margate Radio.
2023
41.4 x 34cm
Graphite on paper
Lo Lo was born as Alex Noble in London (1981) and studied fashion design at the London College of Fashion before going on to work for Selfridges and showcasing collections at London Fashion Week whilst designing for Lady Gaga, Alison Goldfrapp, Florence and the Machine and many other stars and mega brands.
Their work as a set and concept artist saw them work for MTV, Bjork, Glastonbury, Edinburgh festival, Rolls Royce, Louis Vuitton, Yayoi Kusama and Kasabian with directors Tom Hingston studio and Warren Dupreez and Nick Thornton Jones.
In 2013 they launched the ethical design EMG Initiative, turning designer waste into high end unique products to raise money for charitable causes addressing fast fashions environmental and humanitarian negative impacts, this lead them to collaborate with Traid, designing their Traidremade collections and being commissioned by the London College of Fashion, Fashion Space gallery to produce a film called ‘Who Are The Savs’, and go onto stock EMG at Selfridges along with a promotional window.
In 2017 they moved from London to Margate where they first turned the camera on themselves and gained a new focus and muse for film, costume design and subject.
In 2021 they graduated a Masters in Fine Art at ESACHaR and The Margate School which was a step change into academic research and theory, curation and arts festival production for Margate Pride and partaking and producing arts residencies. Consulting with arts organisations on diversity and inclusion and holding two trustee positions between 2022 and 2024 at AiRM and Future Foundry.
Their diverse practice has seen their work presented internationally, curating and exhibiting at UK galleries including Turner Contemporary.
They were a featured portrait artist in the BBC’s television series Extraordinary Portraits in 2022 and continue to push their work into new territories as drag performer and musician Pretzel Cage and hosting a monthly radio show for Margate Radio.
Kindly donated by
Lo Lo No
Lo Lo No
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SIGNED IN AS :
Lot 7
£ 1,500
37
NOT STARTED
Anna Freeman Bentley - Private Party
Anna Freeman Bentley - Private Party
Bidding starts on 27-07-2024 17:00
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7
37
Highest bidder: Mauro Piccirillo
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Private Party
22.1 x 16 cm
Oil on paper
Anna Freeman Bentley is a contemporary British painter known for her vibrant depictions of interior spaces. Her thick, opaque brushwork and interest in depicting reflective surfaces conjures Manet’s famous work, A Bar at the Folies-Bergère (1882). Freeman Bentley’s use of mirrors and doorframes in her work allude to the hidden meanings underneath the surface of these lavishly painted settings. “That idea of longing and dislocation in space, in a location, is why mirrors become really powerful in architecture; because of the difference between what is real and what is reflected,” she said. “And if you paint them without giving any hierarchy to the reflected or to the physical surface, then it becomes hard to read and I really enjoy that.” Born in 1982 in London, United Kingdom, the artist then moved to Thailand, where she spent most of her childhood before returning to London as a teenager. She received her BA from Chelsea College of Art and Design in London, and then an MA in painting at the Royal College of Art. Freeman Bentley has recently opened solo shows with MASSIMODECARLO Piece Unique in Paris and Monica de Cardenas in Zuoz, Switzerland. She will have a solo show with Anat Ebgi in Los Angeles in late October 2024. Her work is part of the Museum X collection in Beijing; the Ahmanson Collection, California; Tia Collection, Santa Fe and Hotel Crillon, Paris as well as numerous private collections worldwide. The artist lives and works in London, United Kingdom.
22.1 x 16 cm
Oil on paper
Anna Freeman Bentley is a contemporary British painter known for her vibrant depictions of interior spaces. Her thick, opaque brushwork and interest in depicting reflective surfaces conjures Manet’s famous work, A Bar at the Folies-Bergère (1882). Freeman Bentley’s use of mirrors and doorframes in her work allude to the hidden meanings underneath the surface of these lavishly painted settings. “That idea of longing and dislocation in space, in a location, is why mirrors become really powerful in architecture; because of the difference between what is real and what is reflected,” she said. “And if you paint them without giving any hierarchy to the reflected or to the physical surface, then it becomes hard to read and I really enjoy that.” Born in 1982 in London, United Kingdom, the artist then moved to Thailand, where she spent most of her childhood before returning to London as a teenager. She received her BA from Chelsea College of Art and Design in London, and then an MA in painting at the Royal College of Art. Freeman Bentley has recently opened solo shows with MASSIMODECARLO Piece Unique in Paris and Monica de Cardenas in Zuoz, Switzerland. She will have a solo show with Anat Ebgi in Los Angeles in late October 2024. Her work is part of the Museum X collection in Beijing; the Ahmanson Collection, California; Tia Collection, Santa Fe and Hotel Crillon, Paris as well as numerous private collections worldwide. The artist lives and works in London, United Kingdom.
Kindly donated by
Anna Freeman Bentley
Anna Freeman Bentley
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SIGNED IN AS :
Lot 27
£ 630
22
NOT STARTED
Olivia Sterling - Emotional Eating
Olivia Sterling - Emotional Eating
Bidding starts on 27-07-2024 17:00
CURRENT PRICE:
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LOT #:
BIDS:
£ 630
27
22
Highest bidder: John Stokoe
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Emotional Eating
31 x 22.7 cm
Pen, acrylic ans wax crayon on water colour paper.
Olivia Sterling (b. 1996) is a painting and installation artist from Peterborough, living currently in London where she received her MA in Painting at the Royal College of Art. In 2023, Sterling exhibited at Art Basel with Meyer Riegger.
Olivia parallels modes of othering through painting cropped domestic scenes. These scenes focus on blackness, whiteness and racism’s small indignities and acts of violence through slapstick. Paintings are often populated with letters and lines, indicating the nearest colour to draw attention to the inanity of the language of race. Often, a white hand will be accompanied by ‘p’, for pink or peach, in contrast to the supposedly superior, pure white, which takes the form of a sticky, liquid ooze. The paintings are often set in the bathroom, kitchen or playground, private or public areas - any place where racism’s macroaggressions and microaggressions might occur. These locations also suggest a variety of transformations, from raw to cooked, dirty to clean, cool to burnt. She believes this aligns with moments of othering and certain observed social phenomena like blackfishing or new forms of the exotic. In reaction to growing up in a countryside town in England, the paintings often encapsulate Britishness by containing specific icons of the British experience ranging from Victoria sponge cakes, milk bottles, double cream, pink panther biscuits to girl guide imagery and plug sockets. Through the use of these objects she wishes to bind her experience as a black woman to living in Britain and to tether the paintings to a specific time and place.
Recent solo exhibitions include; 'Dinner with a Show' at Meyer Riegger in Berlin (2022); 'Manslaughter' at Guts Gallery in London (2022); 'Yowl' at Nevven in Gothenburg (2022). Recent group exhibitions include; 'Touch-A-Touch-A-Touch-A-Touch Me' at Berntson Bhattacharjee in London (2023); 'Rage Comics' at Huxley Parlour in London (2023); 'Out Here' at Steve Turner Gallery in Los Angeles (2023); 'Saints and Sinners' at Guts Gallery in London (2023); 'The Object Stares Back' at Tube Culture Hall in Milan (2023).
31 x 22.7 cm
Pen, acrylic ans wax crayon on water colour paper.
Olivia Sterling (b. 1996) is a painting and installation artist from Peterborough, living currently in London where she received her MA in Painting at the Royal College of Art. In 2023, Sterling exhibited at Art Basel with Meyer Riegger.
Olivia parallels modes of othering through painting cropped domestic scenes. These scenes focus on blackness, whiteness and racism’s small indignities and acts of violence through slapstick. Paintings are often populated with letters and lines, indicating the nearest colour to draw attention to the inanity of the language of race. Often, a white hand will be accompanied by ‘p’, for pink or peach, in contrast to the supposedly superior, pure white, which takes the form of a sticky, liquid ooze. The paintings are often set in the bathroom, kitchen or playground, private or public areas - any place where racism’s macroaggressions and microaggressions might occur. These locations also suggest a variety of transformations, from raw to cooked, dirty to clean, cool to burnt. She believes this aligns with moments of othering and certain observed social phenomena like blackfishing or new forms of the exotic. In reaction to growing up in a countryside town in England, the paintings often encapsulate Britishness by containing specific icons of the British experience ranging from Victoria sponge cakes, milk bottles, double cream, pink panther biscuits to girl guide imagery and plug sockets. Through the use of these objects she wishes to bind her experience as a black woman to living in Britain and to tether the paintings to a specific time and place.
Recent solo exhibitions include; 'Dinner with a Show' at Meyer Riegger in Berlin (2022); 'Manslaughter' at Guts Gallery in London (2022); 'Yowl' at Nevven in Gothenburg (2022). Recent group exhibitions include; 'Touch-A-Touch-A-Touch-A-Touch Me' at Berntson Bhattacharjee in London (2023); 'Rage Comics' at Huxley Parlour in London (2023); 'Out Here' at Steve Turner Gallery in Los Angeles (2023); 'Saints and Sinners' at Guts Gallery in London (2023); 'The Object Stares Back' at Tube Culture Hall in Milan (2023).
Kindly donated by
Olivia Sterling
Olivia Sterling
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SIGNED IN AS :
Lot 34
£ 125
0
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Samuel Vilanova - Failed Belonging
Samuel Vilanova - Failed Belonging
Bidding starts on 27-07-2024 17:00
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£ 125
34
0
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Failed Belonging
2023
29.6 x 21.1 cm
Ink on paper.
Samuel Vilanova is a Portuguese artist based in Margate, working across sculptures and paintings that usually exist as part of installations. His work develops from moods and scenes of a British everyday life, mixed with idyllic memories of a past in Portugal. Resulting in a familiar but also magical and foggy visual world, through which Vilanova explores alternative versions of the mundane and searches for an understanding of our condition.
He has recently had solo exhibitions at Outpost Gallery, Norwich (2022) and Quench Gallery, Margate (2021) and graduated from UCA Canterbury (BA Fine Art) in 2020.
2023
29.6 x 21.1 cm
Ink on paper.
Samuel Vilanova is a Portuguese artist based in Margate, working across sculptures and paintings that usually exist as part of installations. His work develops from moods and scenes of a British everyday life, mixed with idyllic memories of a past in Portugal. Resulting in a familiar but also magical and foggy visual world, through which Vilanova explores alternative versions of the mundane and searches for an understanding of our condition.
He has recently had solo exhibitions at Outpost Gallery, Norwich (2022) and Quench Gallery, Margate (2021) and graduated from UCA Canterbury (BA Fine Art) in 2020.
Kindly donated by
Samuel Vilanova
Samuel Vilanova
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SIGNED IN AS :
Lot 51
£ 310
3
NOT STARTED
Andy Holden - The way to love anything is to realise it may be lost
Andy Holden - The way to love anything is to realise it may be lost
Bidding starts on 27-07-2024 17:00
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BIDS:
£ 310
51
3
Highest bidder: Victor Benady
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The way to love anything is to realise it may be lost
2023
23 x 15.5cm
Collage on book plate
Andy Holden lives and works in Bedfordshire, UK
Works can be found in the permanent collections of Tate Gallery, Leeds Art Gallery, Bristol Museum, Arts Council Collection and Zabludowicz Collection in the UK and various collections in Europe.
2023
23 x 15.5cm
Collage on book plate
Andy Holden lives and works in Bedfordshire, UK
Works can be found in the permanent collections of Tate Gallery, Leeds Art Gallery, Bristol Museum, Arts Council Collection and Zabludowicz Collection in the UK and various collections in Europe.
Kindly donated by
Andy Holden
Andy Holden
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SIGNED IN AS :
Lot 115
£ 330
4
NOT STARTED
Karla Black - Untitled
Karla Black - Untitled
Bidding starts on 27-07-2024 17:00
CURRENT PRICE:
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LOT #:
BIDS:
£ 330
115
4
Highest bidder: Tim Maggs
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Untitled
2024
A4
lipstick on printer paper
Karla Black is a Scottish artist who creates abstract, immersive sculptures that explore physical experience as a way of communicating and understanding the world around us. She was born 1972 in Alexandria, Dunbartonshire and studied Sculpture at The Glasgow School of Art from 1995 to 1999. Black gained an MPhil in Art in Organisational Contexts from 1999–2000 and an MFA in 2002–4.
She is interested in ideas of play and early childhood learning as well as the primitive, creative moment when art comes into being and draws on a range of artistic traditions from expressionist painting to land art, performance and formalism. Everyday matter such as soap, cotton wool and toothpaste are explored alongside traditional art materials including plaster, pigment and paint, expanding the limits of what sculpture can be. Her work operates in an area of uncertainty, existing in a place she refers to as, ‘almost painting, almost installation, almost performance art.’ (quoted in Kraczon, p.12).
Usually made in response to the space where they will be shown, her works have ranged from delicate cellophane, paper and polythene hanging pieces suspended with ribbon or tape to large-scale floor-based environments made from plaster, chalk powder and soil. Her sculptures are often full of contradictions; they command an entire gallery space yet hover on the brink of collapse, and combine a fascination in raw, physical materials with an interest in psychoanalysis and language.
Solo exhibitions have been staged at the Institute of Contemporary Art, Philadelphia (2013), the Gallery of Modern Art, Glasgow (2012), and the Migros Museum, Zurich (2009), among others. Her works are held within many prestigious collections including the Scottish National Gallery of Modern Art, The Hammer Museum, LA, and Tate. In 2011 she represented Scotland at the 54th Venice Biennale, and she was nominated for the Turner Prize in the same year. In 2014 she was included in ‘GENERATION: 25 Years of Contemporary Art in Scotland’. Black currently lives and works in Glasgow.
2024
A4
lipstick on printer paper
Karla Black is a Scottish artist who creates abstract, immersive sculptures that explore physical experience as a way of communicating and understanding the world around us. She was born 1972 in Alexandria, Dunbartonshire and studied Sculpture at The Glasgow School of Art from 1995 to 1999. Black gained an MPhil in Art in Organisational Contexts from 1999–2000 and an MFA in 2002–4.
She is interested in ideas of play and early childhood learning as well as the primitive, creative moment when art comes into being and draws on a range of artistic traditions from expressionist painting to land art, performance and formalism. Everyday matter such as soap, cotton wool and toothpaste are explored alongside traditional art materials including plaster, pigment and paint, expanding the limits of what sculpture can be. Her work operates in an area of uncertainty, existing in a place she refers to as, ‘almost painting, almost installation, almost performance art.’ (quoted in Kraczon, p.12).
Usually made in response to the space where they will be shown, her works have ranged from delicate cellophane, paper and polythene hanging pieces suspended with ribbon or tape to large-scale floor-based environments made from plaster, chalk powder and soil. Her sculptures are often full of contradictions; they command an entire gallery space yet hover on the brink of collapse, and combine a fascination in raw, physical materials with an interest in psychoanalysis and language.
Solo exhibitions have been staged at the Institute of Contemporary Art, Philadelphia (2013), the Gallery of Modern Art, Glasgow (2012), and the Migros Museum, Zurich (2009), among others. Her works are held within many prestigious collections including the Scottish National Gallery of Modern Art, The Hammer Museum, LA, and Tate. In 2011 she represented Scotland at the 54th Venice Biennale, and she was nominated for the Turner Prize in the same year. In 2014 she was included in ‘GENERATION: 25 Years of Contemporary Art in Scotland’. Black currently lives and works in Glasgow.
Kindly donated by
Karla Black
Karla Black
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SIGNED IN AS :
Lot 49
£ 400
4
NOT STARTED
Marianna Simnett - Pigeon and Soap
Marianna Simnett - Pigeon and Soap
Bidding starts on 27-07-2024 17:00
CURRENT PRICE:
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LOT #:
BIDS:
£ 400
49
4
Highest bidder: Victor Benady
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Pigeon and Soap
2024
30cm x 24cm
Watercolour on paper
Marianna Simnett is an artist and musician living and working in Berlin. Simnett uses vivid and visceral means to explore the body as a site of transformation. In psychologically charged works that challenge both herself and the viewer, Simnett imagines radical new worlds filled with untamed thoughts, strange tales and desires.
In 2022, Simnett presented new works at the 59th Venice Biennale: The Milk of Dreams, Castello di Rivoli, Turin, and Société, Berlin. Simnett has exhibited in numerous prestigious institutions, including Julia Stoschek Collection, Berlin (2021); the Institute of Modern Art, Brisbane (2020); Kunsthalle Zürich (2019); the Frans Hals Museum, Haarlem (2019); Copenhagen Contemporary (2018); the New Museum, New York (2018); and the Museum für Moderne Kunst, Frankfurt (2018).
2024
30cm x 24cm
Watercolour on paper
Marianna Simnett is an artist and musician living and working in Berlin. Simnett uses vivid and visceral means to explore the body as a site of transformation. In psychologically charged works that challenge both herself and the viewer, Simnett imagines radical new worlds filled with untamed thoughts, strange tales and desires.
In 2022, Simnett presented new works at the 59th Venice Biennale: The Milk of Dreams, Castello di Rivoli, Turin, and Société, Berlin. Simnett has exhibited in numerous prestigious institutions, including Julia Stoschek Collection, Berlin (2021); the Institute of Modern Art, Brisbane (2020); Kunsthalle Zürich (2019); the Frans Hals Museum, Haarlem (2019); Copenhagen Contemporary (2018); the New Museum, New York (2018); and the Museum für Moderne Kunst, Frankfurt (2018).
Kindly donated by
Marianna Simnett
Marianna Simnett
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SIGNED IN AS :
Lot 26
£ 270
1
NOT STARTED
Olivia Bax - Join & Void II
Olivia Bax - Join & Void II
Bidding starts on 27-07-2024 17:00
CURRENT PRICE:
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BIDS:
£ 270
26
1
Highest bidder: Jennifer Bellamy
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Join & Void II
2023
29.7 x 21cm
Oil pastel on paper
Olivia Bax (b. 1988, Singapore) lives and works in London. She studied BA Fine Art at Byam Shaw School of Art, London (2007-2010) and MFA Sculpture at Slade School of Fine Art, London (2014-2016). Recent solo exhibitions include: Home Range, Holtermann, London (2022); Spill, L21, Mallorca (2022); Off Grid, Mark Tanner Sculpture Award Exhibition, Standpoint Gallery London (2020) toured to Cross Lane Projects, Kendal (2020/21) and Tremenheere Sculpture Gardens (2021); pah-d'bah, HS Projects, London (2021) and Chute, Ribot Gallery, Milan (2019/20). Prizes include: The Mark Tanner Sculpture Award (2019/20); Kenneth Armitage Young Sculptor Prize (2016), Additional Award, Exeter Contemporary Open, Exeter Phoenix (2017) and Public Choice Winner, UK/Raine, Saatchi Gallery, London (2015). Bax’s work was acquired by the 2020-21 UK Arts Council Collection
2023
29.7 x 21cm
Oil pastel on paper
Olivia Bax (b. 1988, Singapore) lives and works in London. She studied BA Fine Art at Byam Shaw School of Art, London (2007-2010) and MFA Sculpture at Slade School of Fine Art, London (2014-2016). Recent solo exhibitions include: Home Range, Holtermann, London (2022); Spill, L21, Mallorca (2022); Off Grid, Mark Tanner Sculpture Award Exhibition, Standpoint Gallery London (2020) toured to Cross Lane Projects, Kendal (2020/21) and Tremenheere Sculpture Gardens (2021); pah-d'bah, HS Projects, London (2021) and Chute, Ribot Gallery, Milan (2019/20). Prizes include: The Mark Tanner Sculpture Award (2019/20); Kenneth Armitage Young Sculptor Prize (2016), Additional Award, Exeter Contemporary Open, Exeter Phoenix (2017) and Public Choice Winner, UK/Raine, Saatchi Gallery, London (2015). Bax’s work was acquired by the 2020-21 UK Arts Council Collection
Kindly donated by
Olivia Bax
Olivia Bax
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SIGNED IN AS :
Lot 71
£ 420
9
NOT STARTED
Alicia Reyes McNamara - Between Their Thighs ll
Alicia Reyes McNamara - Between Their Thighs ll
Bidding starts on 27-07-2024 17:00
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71
9
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Between Their Thighs ll
2024
21 x 29.7cm
Pastel on paper
Alicia Reyes McNamara makes work that meditates on issues of displacement, particularly within a double diaspora. They draw upon both Mexican and Irish (their parent's cultural heritages) mythology and folklore in order to make work that speaks of navigating gendered and cultural identities and questions how to negotiate the idea of cultural authenticity.
Reyes McNamara’s recent works are rooted in research on Mexican and Irish mythology and in particular the recurrence of water myths within those two discourses. McNamara was struck by how many times feminine goddesses were a central part of these myths, yet largely were presented as fallen figures, punished or condemned for their hyper-sexuality or acts that defied the prevailing order. Reyes McNamara's works reclaims the subjecthood of these female figures, presenting them as agents in charge of their surroundings rather than fallen or mourned figures. These are paintings that articulate hybridity, a morphing together of disparate and sometimes disquieting elements, presided over by female figures that were once consigned to being ghosts or memories, but in these are back to reclaim the spaces that once were theirs.
This area of research has lead Reyes McNamara to exploring the non-binary and gender variance within Aztec and Mesoamerican culture. They have said about their recent practice: “I’m invested in opening up the concept of an in-between space where identity is fluid along with cultures, languages and genders. My practice examines the potential of how all things can transcend their own definition and acquire a new meaning or life.” (Whitechapel Open catalogue, 2022)
Reyes McNamara completed their MFA at University of Oxford Ruskin School of Art in 2016. They have recently shown in 'The London Open' Whitechapel Gallery, London (2022); Lismore Castle, Lismore (2021); and participated at the Skowhegan School of Painting Residency, Maine. (2022). They were commissioned by The Showroom as part of ‘Communal Knowledge’ (2018) and had a solo exhibition, ‘Nowhere Else’ at South London Gallery (2017).
2024
21 x 29.7cm
Pastel on paper
Alicia Reyes McNamara makes work that meditates on issues of displacement, particularly within a double diaspora. They draw upon both Mexican and Irish (their parent's cultural heritages) mythology and folklore in order to make work that speaks of navigating gendered and cultural identities and questions how to negotiate the idea of cultural authenticity.
Reyes McNamara’s recent works are rooted in research on Mexican and Irish mythology and in particular the recurrence of water myths within those two discourses. McNamara was struck by how many times feminine goddesses were a central part of these myths, yet largely were presented as fallen figures, punished or condemned for their hyper-sexuality or acts that defied the prevailing order. Reyes McNamara's works reclaims the subjecthood of these female figures, presenting them as agents in charge of their surroundings rather than fallen or mourned figures. These are paintings that articulate hybridity, a morphing together of disparate and sometimes disquieting elements, presided over by female figures that were once consigned to being ghosts or memories, but in these are back to reclaim the spaces that once were theirs.
This area of research has lead Reyes McNamara to exploring the non-binary and gender variance within Aztec and Mesoamerican culture. They have said about their recent practice: “I’m invested in opening up the concept of an in-between space where identity is fluid along with cultures, languages and genders. My practice examines the potential of how all things can transcend their own definition and acquire a new meaning or life.” (Whitechapel Open catalogue, 2022)
Reyes McNamara completed their MFA at University of Oxford Ruskin School of Art in 2016. They have recently shown in 'The London Open' Whitechapel Gallery, London (2022); Lismore Castle, Lismore (2021); and participated at the Skowhegan School of Painting Residency, Maine. (2022). They were commissioned by The Showroom as part of ‘Communal Knowledge’ (2018) and had a solo exhibition, ‘Nowhere Else’ at South London Gallery (2017).
Kindly donated by
Alicia Reyes McNamara
Alicia Reyes McNamara
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Lot 97
£ 350
4
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Rafał Zajko - EXHAUST
Rafał Zajko - EXHAUST
Bidding starts on 27-07-2024 17:00
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97
4
Highest bidder: Anonymous
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EXHAUST
2024
21.5 x 15cm
Handtinted Hardground etching with greyscale aquatint on Hahnemuhle paper
Rafał Zajko (b.1988, Białystok, Poland) holds an MFA in Fine Art from Goldsmiths, University of London, and a BA (Hons) in Fine Art from Chelsea College of Art, London, UK. Zajko’s work deals with issues around the industrial past, exploring its environmental impact in relation to working class heritage and queer identities. His sculptural practice incorporates diverse materials and processes including ceramics, ventilation systems, prosthetics and performance as a means to examine folklore, science fiction and queer technoscience, placing an emphasis on the industrial materials and processes that resonate with his heritage.
Recent solo exhibitions include ‘Amber Waves II’, Galeria Fran Reus, Palma, Mallorca, SP (2022), ‘Song to the Siren', Cooke Latham Gallery, London, UK (2022), ‘Amber Waves’, Public Gallery, London, UK (2021), ‘Resuscitation’, Castor Projects, London, UK (2020), ‘We Were Here/My Tu Bylismy’, Galeria Im. Slendzinskich, Białystok, PL (2019) and ‘Unputdownable’, White Cubicle, London, UK (2018).
Selected group exhibitions include ‘Support Structures’, Gathering, London (2023), ‘Swiat nie wierzy lzom’, Galeria Arsenal, Białystok, Poland (2022), ‘London Open 2022’, Whitechapel Gallery, London Uk (2022), ‘New Contemporaries 2021’, South London Gallery, London, UK (2021), ‘26 Degrees East’, Wiels Annex, Brussels, Belgium (2020), ‘Age of Ephemerality’, X Museum, Beijing, CN (2020), 'Clay TM’, TJ Boulting, London, UK (2020) and ‘Bold Tendencies 2020’, London, UK (2020). In 2020 Zajko was the recipient of the Bow Graduation Studio Award.
2024
21.5 x 15cm
Handtinted Hardground etching with greyscale aquatint on Hahnemuhle paper
Rafał Zajko (b.1988, Białystok, Poland) holds an MFA in Fine Art from Goldsmiths, University of London, and a BA (Hons) in Fine Art from Chelsea College of Art, London, UK. Zajko’s work deals with issues around the industrial past, exploring its environmental impact in relation to working class heritage and queer identities. His sculptural practice incorporates diverse materials and processes including ceramics, ventilation systems, prosthetics and performance as a means to examine folklore, science fiction and queer technoscience, placing an emphasis on the industrial materials and processes that resonate with his heritage.
Recent solo exhibitions include ‘Amber Waves II’, Galeria Fran Reus, Palma, Mallorca, SP (2022), ‘Song to the Siren', Cooke Latham Gallery, London, UK (2022), ‘Amber Waves’, Public Gallery, London, UK (2021), ‘Resuscitation’, Castor Projects, London, UK (2020), ‘We Were Here/My Tu Bylismy’, Galeria Im. Slendzinskich, Białystok, PL (2019) and ‘Unputdownable’, White Cubicle, London, UK (2018).
Selected group exhibitions include ‘Support Structures’, Gathering, London (2023), ‘Swiat nie wierzy lzom’, Galeria Arsenal, Białystok, Poland (2022), ‘London Open 2022’, Whitechapel Gallery, London Uk (2022), ‘New Contemporaries 2021’, South London Gallery, London, UK (2021), ‘26 Degrees East’, Wiels Annex, Brussels, Belgium (2020), ‘Age of Ephemerality’, X Museum, Beijing, CN (2020), 'Clay TM’, TJ Boulting, London, UK (2020) and ‘Bold Tendencies 2020’, London, UK (2020). In 2020 Zajko was the recipient of the Bow Graduation Studio Award.
Kindly donated by
Rafał Zajko
Rafał Zajko
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Lot 114
£ 744
18
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Lola Stong-Brett - Swallowed Up Amongst
Lola Stong-Brett - Swallowed Up Amongst
Bidding starts on 27-07-2024 17:00
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114
18
Highest bidder: Andrew Groocock
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Swallowed Up Amongst
Lola Stong-Brett is an artist from London who is currently based in Margate. Primarily working in oil, Lola’s paintings mingle abstraction with figuration to depict altered realities of our everyday. Taking imprints of her immediate surroundings, she uses gestural, emotive mark-making to explore wider social themes on class, memory, and nostalgia. Inspiration for Lola’s work is largely drawn from the mundane; Pool tables, pub scenes, and concrete slabs enter her work, alongside text from poems she’s written, that appear almost like graffiti, across the canvas. Visuals based on Max Fleischer's Bimbo and Pop-Eye appear in her paintings, depicting the gritty lives of everyday people. Her own cartoons dominate the canvas, blurring the boundaries between high and low-end art. Lola graduated from Edinburgh College of Art in 2019 with a First-Class Honours degree in painting. She is currently enrolled in the Tracey Emin Artist Residency, where she will have a final show in the Summer of 2024. Some the galleries she has exhibited with include the Royal Scottish Academy and Rafiki Gallery in Edinburgh, and Roman Road Gallery in London.
Lola Stong-Brett is an artist from London who is currently based in Margate. Primarily working in oil, Lola’s paintings mingle abstraction with figuration to depict altered realities of our everyday. Taking imprints of her immediate surroundings, she uses gestural, emotive mark-making to explore wider social themes on class, memory, and nostalgia. Inspiration for Lola’s work is largely drawn from the mundane; Pool tables, pub scenes, and concrete slabs enter her work, alongside text from poems she’s written, that appear almost like graffiti, across the canvas. Visuals based on Max Fleischer's Bimbo and Pop-Eye appear in her paintings, depicting the gritty lives of everyday people. Her own cartoons dominate the canvas, blurring the boundaries between high and low-end art. Lola graduated from Edinburgh College of Art in 2019 with a First-Class Honours degree in painting. She is currently enrolled in the Tracey Emin Artist Residency, where she will have a final show in the Summer of 2024. Some the galleries she has exhibited with include the Royal Scottish Academy and Rafiki Gallery in Edinburgh, and Roman Road Gallery in London.
Kindly donated by
Lola Stong-Brett
Lola Stong-Brett
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Lot 99
£ 330
4
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Finbar ward - Autumn/Winter 2018 (East St. Market)
Finbar ward - Autumn/Winter 2018 (East St. Market)
Bidding starts on 27-07-2024 17:00
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£ 330
99
4
Highest bidder: Louisa Compton
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Autumn/Winter 2018 (East St. Market)
2018
58.5 x 77.5cm
Somerset Satin Paper (300g) Debossed with found organic material
In a time of infinite exposure to imagery and an increasing estrangement from the physical, it is a visceral engagement with the work that Ward strives to elicit from the viewer.
Ward’s sculptural installations, paintings and works on paper aim to be adaptable; to reflect on and be physically determined by the histories and traditions surrounding the location the work will inhabit. Hand-dug Wiltshire clay, flora, wood, stone and plaster are among the materials used. Ward (B.1990) graduated from The Ruskin School of Art, Oxford University, in 2013. Recent solo exhibitions include Barely A Ripple at S.M.A.K Museum of Contemporary Art, Ghent, I Was Here, Geukens & De Vil, Antwerp, and A large scale sculptural work for the RHS Chelsea Flower Show 2024 Feature Garden with Harry Holding; an opportunity which has since cemented the artist’s interests in the shared spaces of art, landscape design and garden history. Past exhibitions include New Order II: British Art Today, Saatchi Gallery, London, 30 Years Of The Future, Castlefield Gallery, Manchester, In Absence, FOLD Gallery, London, In Waiting, The British Embassy, Paris and Holiday From Rules, Kunstraum Gallery, London, supported by Arts Council England. Ward recently installed a sculptural installation on the River Thames, Buckinghamshire, in collaboration with landscape Architects Randle Siddeley Ltd.
2018
58.5 x 77.5cm
Somerset Satin Paper (300g) Debossed with found organic material
In a time of infinite exposure to imagery and an increasing estrangement from the physical, it is a visceral engagement with the work that Ward strives to elicit from the viewer.
Ward’s sculptural installations, paintings and works on paper aim to be adaptable; to reflect on and be physically determined by the histories and traditions surrounding the location the work will inhabit. Hand-dug Wiltshire clay, flora, wood, stone and plaster are among the materials used. Ward (B.1990) graduated from The Ruskin School of Art, Oxford University, in 2013. Recent solo exhibitions include Barely A Ripple at S.M.A.K Museum of Contemporary Art, Ghent, I Was Here, Geukens & De Vil, Antwerp, and A large scale sculptural work for the RHS Chelsea Flower Show 2024 Feature Garden with Harry Holding; an opportunity which has since cemented the artist’s interests in the shared spaces of art, landscape design and garden history. Past exhibitions include New Order II: British Art Today, Saatchi Gallery, London, 30 Years Of The Future, Castlefield Gallery, Manchester, In Absence, FOLD Gallery, London, In Waiting, The British Embassy, Paris and Holiday From Rules, Kunstraum Gallery, London, supported by Arts Council England. Ward recently installed a sculptural installation on the River Thames, Buckinghamshire, in collaboration with landscape Architects Randle Siddeley Ltd.
Kindly donated by
Finbar ward
Finbar ward
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Lot 67
£ 310
3
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Tai Shani - The Neon Hieroglyph
Tai Shani - The Neon Hieroglyph
Bidding starts on 27-07-2024 17:00
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£ 310
67
3
Highest bidder: Victor Benady
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The Neon Hieroglyph
2021
33 x 42cm
Giclée print on Somerset velvet, edition of 100
Tai Shani’s artistic practice, comprising performance, film, photography, and installation, uses experimental writing as a guiding method. Oscillating between theoretical concepts and visceral details, Shani’s texts attempt to create poetic coordinates in order to cultivate, fragmentary cosmologies of marginalised nonsovereignty. Taking cues from both mournful and undead histories of reproductive labour, illness and solidarity, her work is invested in recovering feminised aesthetic modes – such as the floral, the trippy or the gothic – in a register of utopian militancy. In this vein, the epic, in both its literary long-form and excessive affect, often shapes Shani’s approach: Her long-term projects work through historical and mythical narratives, such as Christine de Pizan’s allegorical city of women or the social history of psychedelic ergot poisoning. Extending into divergent formats and collaborations, Shani’s projects examine desire in its (infra-)structural dimension, exploring a realism that materially fantasises against the patriarchal racial capitalist present. Tai Shani is the joint 2019 Turner Prize winner together with Lawrence Abu Hamdan, Helen Cammock and Oscar Murillo. Her work has been shown extensively in Britain and internationally.
2021
33 x 42cm
Giclée print on Somerset velvet, edition of 100
Tai Shani’s artistic practice, comprising performance, film, photography, and installation, uses experimental writing as a guiding method. Oscillating between theoretical concepts and visceral details, Shani’s texts attempt to create poetic coordinates in order to cultivate, fragmentary cosmologies of marginalised nonsovereignty. Taking cues from both mournful and undead histories of reproductive labour, illness and solidarity, her work is invested in recovering feminised aesthetic modes – such as the floral, the trippy or the gothic – in a register of utopian militancy. In this vein, the epic, in both its literary long-form and excessive affect, often shapes Shani’s approach: Her long-term projects work through historical and mythical narratives, such as Christine de Pizan’s allegorical city of women or the social history of psychedelic ergot poisoning. Extending into divergent formats and collaborations, Shani’s projects examine desire in its (infra-)structural dimension, exploring a realism that materially fantasises against the patriarchal racial capitalist present. Tai Shani is the joint 2019 Turner Prize winner together with Lawrence Abu Hamdan, Helen Cammock and Oscar Murillo. Her work has been shown extensively in Britain and internationally.
Kindly donated by
Tai Shani
Tai Shani
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Lot 61
£ 410
9
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Gavin Turk - as sure as eggs is eggs
Gavin Turk - as sure as eggs is eggs
Bidding starts on 27-07-2024 17:00
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£ 410
61
9
Highest bidder: Louisa Compton
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as sure as eggs is eggs
Graphite on paper
Gavin Turk (b 1967) is a British born, internationally renowned artist, who lives and works in London. He has pioneered many forms of contemporary British sculpture, including the painted bronze, the waxwork, the recycled art-historical icon and the use of rubbish in art.
Turk’s installations and sculptures deal with issues of authorship, authenticity and identity. Concerned with the ‘myth’ of the artist and ontological questioning. Turk’s engagement with this modernist, avant-garde debate stretches back to the ready-mades of Marcel Duchamp.
In 1991, the Royal College of Art refused Turk a degree on the basis that his final show, ‘Cave’, consisted of a whitewashed studio space containing only a blue heritage plaque commemorating his presence ‘Gavin Turk worked here 1989-91'. Instantly gaining notoriety through this installation, Turk was spotted by Charles Saatchi and was included in several YBA exhibitions.
Gavin Turk’s work is held within public and private collections worldwide, including but not limited to the TATE, Museum of Modern Art New York, Museum MMK Für Moderne Kunst, Musée Magritte Museum, San Francisco Museum of Modern Art.
In 2013 Prestel published Turk’s first monograph, showcasing more than two decades of his work and in 2014 Trolley Books published ‘This Is Not A Book About Gavin Turk’ which playfully explores themes associated with the artist’s work via thirty notable contributors.
Graphite on paper
Gavin Turk (b 1967) is a British born, internationally renowned artist, who lives and works in London. He has pioneered many forms of contemporary British sculpture, including the painted bronze, the waxwork, the recycled art-historical icon and the use of rubbish in art.
Turk’s installations and sculptures deal with issues of authorship, authenticity and identity. Concerned with the ‘myth’ of the artist and ontological questioning. Turk’s engagement with this modernist, avant-garde debate stretches back to the ready-mades of Marcel Duchamp.
In 1991, the Royal College of Art refused Turk a degree on the basis that his final show, ‘Cave’, consisted of a whitewashed studio space containing only a blue heritage plaque commemorating his presence ‘Gavin Turk worked here 1989-91'. Instantly gaining notoriety through this installation, Turk was spotted by Charles Saatchi and was included in several YBA exhibitions.
Gavin Turk’s work is held within public and private collections worldwide, including but not limited to the TATE, Museum of Modern Art New York, Museum MMK Für Moderne Kunst, Musée Magritte Museum, San Francisco Museum of Modern Art.
In 2013 Prestel published Turk’s first monograph, showcasing more than two decades of his work and in 2014 Trolley Books published ‘This Is Not A Book About Gavin Turk’ which playfully explores themes associated with the artist’s work via thirty notable contributors.
Kindly donated by
Gavin Turk
Gavin Turk
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Lot 17
£ 290
2
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Holly Hendry - Distinct Impressions
Holly Hendry - Distinct Impressions
Bidding starts on 27-07-2024 17:00
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£ 290
17
2
Highest bidder: Garth Gratrix
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Distinct Impressions
Debossed print on Fabriano Rosapina paper
2018
42 x 29.7cm
Holly Hendry received a BA from the Slade School of Fine Art, London and an MA from the Royal College of Art, London. She is represented by Stephen Friedman Gallery, London.
Hendry was a Fellow in Contemporary Art at the British School at Rome in 2018 and was awarded the 2019 Arts Foundation Award for Experimental Architecture and the Woon Foundation Prize for Painting and Sculpture in 2013. Her work is held in the collections of Arts Council, UK; FRAC Centre Collection, France; British Council Collection and Government Art Collection, UK, MMAT Collection, UK.
Debossed print on Fabriano Rosapina paper
2018
42 x 29.7cm
Holly Hendry received a BA from the Slade School of Fine Art, London and an MA from the Royal College of Art, London. She is represented by Stephen Friedman Gallery, London.
Hendry was a Fellow in Contemporary Art at the British School at Rome in 2018 and was awarded the 2019 Arts Foundation Award for Experimental Architecture and the Woon Foundation Prize for Painting and Sculpture in 2013. Her work is held in the collections of Arts Council, UK; FRAC Centre Collection, France; British Council Collection and Government Art Collection, UK, MMAT Collection, UK.
Kindly donated by
Holly Hendry
Holly Hendry
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Lot 94
£ 170
1
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Sam Keelan - Role players (Xavier Roberts)
Sam Keelan - Role players (Xavier Roberts)
Bidding starts on 27-07-2024 17:00
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£ 170
94
1
Highest bidder: Victor Benady
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Role players (Xavier Roberts)
2021
H-30cm W- 45cm
inkjet print on archival photographic paper
Framed
Sam Keelan, uses his work to tell gay surreal narratives, primarily executed through photography, moving image and writing. These narratives dissect the day-to-day connections to one another — taking ideas around individualism, care and community from the collective consciousness — then transforming benign aspects from these ideas to create queer doppelgängers of dominant middle class ideologies, often reinserted back into domestic spaces.
Keelan has a BA in Sculpture from Wimbledon College of Arts and a Postgraduate Diploma from the Royal Academy of Arts, London. Previous exhibitions include Quench, Margate; and TJ Boulting, London.
2021
H-30cm W- 45cm
inkjet print on archival photographic paper
Framed
Sam Keelan, uses his work to tell gay surreal narratives, primarily executed through photography, moving image and writing. These narratives dissect the day-to-day connections to one another — taking ideas around individualism, care and community from the collective consciousness — then transforming benign aspects from these ideas to create queer doppelgängers of dominant middle class ideologies, often reinserted back into domestic spaces.
Keelan has a BA in Sculpture from Wimbledon College of Arts and a Postgraduate Diploma from the Royal Academy of Arts, London. Previous exhibitions include Quench, Margate; and TJ Boulting, London.
Kindly donated by
Sam Keelan
Sam Keelan
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Lot 50
£ 270
1
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Ryan Mosley - A History
Ryan Mosley - A History
Bidding starts on 27-07-2024 17:00
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£ 270
50
1
Highest bidder: Anonymous
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A History
2023
29.7 x 21cm
Single colour silkscreen on 300gsm satin soft white paper
Artists proof
2023
29.7 x 21cm
Single colour silkscreen on 300gsm satin soft white paper
Artists proof
Kindly donated by
Ryan Mosley
Ryan Mosley
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Lot 23
£ 270
1
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Miranda Forrester - Frida
Miranda Forrester - Frida
Bidding starts on 27-07-2024 17:00
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£ 270
23
1
Highest bidder: Charlotte Loudon
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Frida
2024
30 x 21 cm
Watercolour marker on paper
Miranda Forrester lives and works in London. She holds a BA in Fine Art Painting from the University of Brighton.
Miranda Forrester explores the queer Black female gaze in painting vis a vis the history of men painting women naked. Her work addresses the invisibility of Black women in the western history of art. She investigates how painting is able to re-articulate the language and history of life drawing through a queer Black feminist and desiring lens. In doing so, she depicts what the male gaze may not be able to see.
Forrester says: “My work is a celebration of women’s bodies, the joy in occupying feminine identities and being in relation with one another.”
Recent exhibitions include Interiorities, Mariane Ibrahim Gallery, Chicago IL (solo - 2024); Together We Thrive, Culture& and Sotheby’s Institute of Art, in collaboration with Gallery OCA and venue Cromwell Place, London (group - 2024); Arrival, Tiwani Contemporary, London (solo - 2023); LEDA and the SWAN: a myth of creation and destruction, Victoria Miro Gallery II, London (group - 2023); Like Paradise, Claridges Art Space, London (solo - 2023); Hauntology: Ghostly Matters, Mariane Ibrahim gallery, Chicago (group - 2022); Somatic Markings, Kasmin, New York (group - 2022); Our Land Just Like a Dream, Macaal, Marrakech, Morocco (group - 2022); The Company She Keeps, Tiwani Contemporary, Lagos (group - 2022); Hard as Nails, Quench Gallery, Margate (group - 2022); At Peace, Gillian Jason Gallery, London (group - 2021); Small is Beautiful, Flowers Gallery, London (group - 2021); Sixty- Six London, St George’s Place, London (group - 2021); Reality Check, Guts Gallery, London (group - 2021); Poetic Sustenance,Tiwani Contemporary, London (group - 2021); Abode, Guts Gallery, London (solo - 2020). Other shows in 2020: Every Woman Biennial, Copeland Gallery, London; Top 100 (The Auction Collective), London; When s**t hits the fan again, Guts Gallery (online); Miranda Forrester & Emily Moore, Phoenix Brighton; Narrating Life, Studi0 gallery, St Moritz, Switzerland; Pending, San Mei Gallery, London; Antisocial Isolation, Saatchi Gallery, London; Begin Again, Guts Gallery, Online exhibition raising funds for The Free Black Uni; FBA Futures, Mall Galleries, London. In 2019: PLOP End of residency show, The Koppel Project; Mercurial Matters: The Organic Feminine, Lock-in Gallery, Hove; How did we get here - Decolonising the Curriculum, Brighton University, Brighton.
2024
30 x 21 cm
Watercolour marker on paper
Miranda Forrester lives and works in London. She holds a BA in Fine Art Painting from the University of Brighton.
Miranda Forrester explores the queer Black female gaze in painting vis a vis the history of men painting women naked. Her work addresses the invisibility of Black women in the western history of art. She investigates how painting is able to re-articulate the language and history of life drawing through a queer Black feminist and desiring lens. In doing so, she depicts what the male gaze may not be able to see.
Forrester says: “My work is a celebration of women’s bodies, the joy in occupying feminine identities and being in relation with one another.”
Recent exhibitions include Interiorities, Mariane Ibrahim Gallery, Chicago IL (solo - 2024); Together We Thrive, Culture& and Sotheby’s Institute of Art, in collaboration with Gallery OCA and venue Cromwell Place, London (group - 2024); Arrival, Tiwani Contemporary, London (solo - 2023); LEDA and the SWAN: a myth of creation and destruction, Victoria Miro Gallery II, London (group - 2023); Like Paradise, Claridges Art Space, London (solo - 2023); Hauntology: Ghostly Matters, Mariane Ibrahim gallery, Chicago (group - 2022); Somatic Markings, Kasmin, New York (group - 2022); Our Land Just Like a Dream, Macaal, Marrakech, Morocco (group - 2022); The Company She Keeps, Tiwani Contemporary, Lagos (group - 2022); Hard as Nails, Quench Gallery, Margate (group - 2022); At Peace, Gillian Jason Gallery, London (group - 2021); Small is Beautiful, Flowers Gallery, London (group - 2021); Sixty- Six London, St George’s Place, London (group - 2021); Reality Check, Guts Gallery, London (group - 2021); Poetic Sustenance,Tiwani Contemporary, London (group - 2021); Abode, Guts Gallery, London (solo - 2020). Other shows in 2020: Every Woman Biennial, Copeland Gallery, London; Top 100 (The Auction Collective), London; When s**t hits the fan again, Guts Gallery (online); Miranda Forrester & Emily Moore, Phoenix Brighton; Narrating Life, Studi0 gallery, St Moritz, Switzerland; Pending, San Mei Gallery, London; Antisocial Isolation, Saatchi Gallery, London; Begin Again, Guts Gallery, Online exhibition raising funds for The Free Black Uni; FBA Futures, Mall Galleries, London. In 2019: PLOP End of residency show, The Koppel Project; Mercurial Matters: The Organic Feminine, Lock-in Gallery, Hove; How did we get here - Decolonising the Curriculum, Brighton University, Brighton.
Kindly donated by
Miranda Forrester
Miranda Forrester
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Lot 72
£ 1,000
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Boo Saville - Lisa Without Breasts
Boo Saville - Lisa Without Breasts
Bidding starts on 27-07-2024 17:00
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72
0
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Lisa Without Breasts
2024
28 x 36cm
Ink on paper
Boo Saville (b. 1980) is an artist and printmaker whose painstakingly detailed ink drawings and paintings on canvas encompass two different styles of working – monochromatic depictions of life and highly pigmented abstraction and minimal colour field painting. Since graduating from the Slade School of Art, Saville has seen her work acquired by major collections, including Collezione Maramotti, Damien Hirst Murderme collection, the Soho House Group, Museum of Old and New Art Tasmania and the Wadsworth Atheneum Museum of Art. Twice nominated for the Sovereign Painting Prize (2007 and 2011) she undertook a residency at the Cité des Arts in Paris in 2008. Saville has worked with art publishers Other Criteria and Manifold editions. She is represented by Davidson Gallery, New York, TJ Boulting in London and County Gallery Palm Beach.
2024
28 x 36cm
Ink on paper
Boo Saville (b. 1980) is an artist and printmaker whose painstakingly detailed ink drawings and paintings on canvas encompass two different styles of working – monochromatic depictions of life and highly pigmented abstraction and minimal colour field painting. Since graduating from the Slade School of Art, Saville has seen her work acquired by major collections, including Collezione Maramotti, Damien Hirst Murderme collection, the Soho House Group, Museum of Old and New Art Tasmania and the Wadsworth Atheneum Museum of Art. Twice nominated for the Sovereign Painting Prize (2007 and 2011) she undertook a residency at the Cité des Arts in Paris in 2008. Saville has worked with art publishers Other Criteria and Manifold editions. She is represented by Davidson Gallery, New York, TJ Boulting in London and County Gallery Palm Beach.
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Boo Saville
Boo Saville
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Lot 41
£ 270
1
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Tim Noble -
Tim Noble -
Bidding starts on 27-07-2024 17:00
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41
1
Highest bidder: Grace Alexandria
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25 x 11.8 cm
Tim Noble (Born 1966, UK, lives and works in Kent). Graduated RCA, London in 1994. As part of Tim Noble & Sue Webster, Noble exhibited internationally for over 25 years and published several artist monographs. Their work is in the permanent collections of the AISTHI Foundation, Beirut; Arken Museum of Modern Art, Copenhagen; Art Gallery of South Australia, Adelaide; Artis-François Pinault, France; Berengo Studio, Venice; The British Museum, London; Dakis Joannou Collection, Athens; Es Baluard Museum, Palma, Spain; The Goss-Michael Collection, Dallas; Honart Museum, Tehran, Iran; Lyonel-Feininger Museum, Quedlinburg, Germay; Museum of Contemporary Art, Denver; Museum of Contemporary Art, Los Angeles; National Portrait Gallery, London; Nicola Erni Collection, Zug, Switzerland; The Olbricht Collection, Berlin; Saatchi Collection, London; Samsung Museum, Seoul, Korea; Solomon R. Guggenheim Museum, New York; Wemhöner Collection, Germany.
Tim Noble (Born 1966, UK, lives and works in Kent). Graduated RCA, London in 1994. As part of Tim Noble & Sue Webster, Noble exhibited internationally for over 25 years and published several artist monographs. Their work is in the permanent collections of the AISTHI Foundation, Beirut; Arken Museum of Modern Art, Copenhagen; Art Gallery of South Australia, Adelaide; Artis-François Pinault, France; Berengo Studio, Venice; The British Museum, London; Dakis Joannou Collection, Athens; Es Baluard Museum, Palma, Spain; The Goss-Michael Collection, Dallas; Honart Museum, Tehran, Iran; Lyonel-Feininger Museum, Quedlinburg, Germay; Museum of Contemporary Art, Denver; Museum of Contemporary Art, Los Angeles; National Portrait Gallery, London; Nicola Erni Collection, Zug, Switzerland; The Olbricht Collection, Berlin; Saatchi Collection, London; Samsung Museum, Seoul, Korea; Solomon R. Guggenheim Museum, New York; Wemhöner Collection, Germany.
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Tim Noble
Tim Noble
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Lot 20
£ 470
10
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Jessie Makinson - DIG HER UP, DIG HER OUT
Jessie Makinson - DIG HER UP, DIG HER OUT
Bidding starts on 27-07-2024 17:00
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20
10
Highest bidder: Anonymous
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DIG HER UP, DIG HER OUT
19 X 14 cm
Pencil on paper.
Jessie Makinson (b. 1985, London; lives and works, London) combines her skills in drawing and painting to build ecofeminist worlds in which human and non-human live in a contestant state of renegotiation. Makinson’s worlds are filled with objects abandoning their tasks and characters at once mysterious and familiar caught at a moment of tantrum. Her visual methodology is vast and ranges from contemporary science fiction to 17th and 18th-century erotica, pre-agricultural mythology, early Renaissance altarpieces, British folklore, and Flemish kitchen scenes. Plucking themes and narratives from British pop culture and mixing them, intentionally, with recognizable American motifs, she creates bold new contexts for both. Vivid colors describe tense, erotic scenes in which desirous characters are dangerous active participants, not passive permission givers. Makinson’s characters practice rituals, they embrace, plot, and conspire. They hold sexual power and disrupt expectations, inhabiting a universe that surprises, delights, and tests its audience.
19 X 14 cm
Pencil on paper.
Jessie Makinson (b. 1985, London; lives and works, London) combines her skills in drawing and painting to build ecofeminist worlds in which human and non-human live in a contestant state of renegotiation. Makinson’s worlds are filled with objects abandoning their tasks and characters at once mysterious and familiar caught at a moment of tantrum. Her visual methodology is vast and ranges from contemporary science fiction to 17th and 18th-century erotica, pre-agricultural mythology, early Renaissance altarpieces, British folklore, and Flemish kitchen scenes. Plucking themes and narratives from British pop culture and mixing them, intentionally, with recognizable American motifs, she creates bold new contexts for both. Vivid colors describe tense, erotic scenes in which desirous characters are dangerous active participants, not passive permission givers. Makinson’s characters practice rituals, they embrace, plot, and conspire. They hold sexual power and disrupt expectations, inhabiting a universe that surprises, delights, and tests its audience.
Kindly donated by
Jessie Makinson
Jessie Makinson
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Lot 19
£ 270
1
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Jenkin Van Zyl - P.E.E.P. Safety Instructions: Smothering-in-Hugs: Pt.1
Jenkin Van Zyl - P.E.E.P. Safety Instructions: Smothering-in-Hugs: Pt.1
Bidding starts on 27-07-2024 17:00
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19
1
Highest bidder: Anonymous
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P.E.E.P. Safety Instructions: Smothering-in-Hugs: Pt.1
2023
21 x 14.9 cm
A5 instruction pamphlet, holographic security stickers
Jenkin van Zyl (b. 1993) graduated from the Royal Academy of Arts, London, in 2021 and was the recipient of the RA Gold Medal Prize. Recent exhibitions include Transmediale, Kunstraum Kreuzberg/Bethanien, Berlin, Germany (2024); Surrender, FACT Liverpool, UK (2023); Surrender, Edel Assanti, London, UK (2023); The Horror Show!, Somerset House, London, UK (2022); Barbe à Papa, CAPC Musée d’art Contemporain de Bordeaux, Bordeaux, France (2022); Machines of Love, Tramway, Glasgow, Scotland (2021); Hors Pistes, Centre Pompidou, Paris, France (2020); Kiss My Genders, Hayward Gallery, London, UK (2019), and Oblivion Industry, The Horse Hospital, London, UK (2019).
2023
21 x 14.9 cm
A5 instruction pamphlet, holographic security stickers
Jenkin van Zyl (b. 1993) graduated from the Royal Academy of Arts, London, in 2021 and was the recipient of the RA Gold Medal Prize. Recent exhibitions include Transmediale, Kunstraum Kreuzberg/Bethanien, Berlin, Germany (2024); Surrender, FACT Liverpool, UK (2023); Surrender, Edel Assanti, London, UK (2023); The Horror Show!, Somerset House, London, UK (2022); Barbe à Papa, CAPC Musée d’art Contemporain de Bordeaux, Bordeaux, France (2022); Machines of Love, Tramway, Glasgow, Scotland (2021); Hors Pistes, Centre Pompidou, Paris, France (2020); Kiss My Genders, Hayward Gallery, London, UK (2019), and Oblivion Industry, The Horse Hospital, London, UK (2019).
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Lot 79
£ 650
19
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Victoria Cantons - The Fifth Element
Victoria Cantons - The Fifth Element
Bidding starts on 27-07-2024 17:00
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79
19
Highest bidder: Valerie Woods
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The Fifth Element
2024
17 x 21cm
Victoria Cantons’ work is autobiographical as well as confessional with political undercurrents. Cantons presents a record of trauma and healing, alongside a rigorous inquiry into the social constraints surrounding gender politics. Deeply informed by her own experience of limitation and stigma, her work reverberates with notions of freedom, selfhood, representation, power and aspects of the human condition which she writes, despite our divergent identities and experiences, "connect us all."
While her incisive and inquisitive creative gaze extends across photography, text and video, painting and drawing remain firmly at the centre of her practice, providing a means of, she writes, "clearing the drainpipes" and exploring the question what can paint and painting do? Her 2022 Flowers Gallery exhibition People Trust People Who Look Like Them presented a series of large self-portraits painted from a personal archive of photographs made over a period of more than a decade in the years before, during, and after intensive facial surgery. Luminous and visceral in their depiction of flesh, the paintings capture the shape-shifting bloom of post-surgical bruising, fading scar tissue, greying hair and the mottled lustre of theatrically applied makeup. Cantons describes the importance of accuracy and honesty in the paintings, saying “I needed to show exactly what this woman has been through.”
Cantons lives and works in London. She studied Fine Art Painting at Wimbledon College of Arts (UAL); followed by the Painters Studio Programme, Turps Art School, London; and graduated with an MFA in Painting from Slade School of Fine Art, UCL, in 2021, where she received the Felix Slade Scholarship. She was shortlisted for the Chadwell Award in 2021 and for New Contemporaries in 2022. Recent solo exhibitions include People Trust People Who Look Like Them at Flowers Gallery, Kingsland Road, and Champagne Tastes on Beer Money at Guts Gallery, London. Recent group exhibitions include Tomorrow: London, White Cube, (online); the Royal Academy Summer Exhibition, London; and PAPA RAGAZZE, Nicodim Gallery, Los Angeles. Cantons curated the Slade Rooms as part of LONDON GRADS NOW 2020 and 2021 at the Saatchi Gallery, London. She first exhibited at Flowers Gallery as part of the 24th Edition of Artist of the Day in 2018.
2024
17 x 21cm
Victoria Cantons’ work is autobiographical as well as confessional with political undercurrents. Cantons presents a record of trauma and healing, alongside a rigorous inquiry into the social constraints surrounding gender politics. Deeply informed by her own experience of limitation and stigma, her work reverberates with notions of freedom, selfhood, representation, power and aspects of the human condition which she writes, despite our divergent identities and experiences, "connect us all."
While her incisive and inquisitive creative gaze extends across photography, text and video, painting and drawing remain firmly at the centre of her practice, providing a means of, she writes, "clearing the drainpipes" and exploring the question what can paint and painting do? Her 2022 Flowers Gallery exhibition People Trust People Who Look Like Them presented a series of large self-portraits painted from a personal archive of photographs made over a period of more than a decade in the years before, during, and after intensive facial surgery. Luminous and visceral in their depiction of flesh, the paintings capture the shape-shifting bloom of post-surgical bruising, fading scar tissue, greying hair and the mottled lustre of theatrically applied makeup. Cantons describes the importance of accuracy and honesty in the paintings, saying “I needed to show exactly what this woman has been through.”
Cantons lives and works in London. She studied Fine Art Painting at Wimbledon College of Arts (UAL); followed by the Painters Studio Programme, Turps Art School, London; and graduated with an MFA in Painting from Slade School of Fine Art, UCL, in 2021, where she received the Felix Slade Scholarship. She was shortlisted for the Chadwell Award in 2021 and for New Contemporaries in 2022. Recent solo exhibitions include People Trust People Who Look Like Them at Flowers Gallery, Kingsland Road, and Champagne Tastes on Beer Money at Guts Gallery, London. Recent group exhibitions include Tomorrow: London, White Cube, (online); the Royal Academy Summer Exhibition, London; and PAPA RAGAZZE, Nicodim Gallery, Los Angeles. Cantons curated the Slade Rooms as part of LONDON GRADS NOW 2020 and 2021 at the Saatchi Gallery, London. She first exhibited at Flowers Gallery as part of the 24th Edition of Artist of the Day in 2018.
Kindly donated by
Victoria Cantons
Victoria Cantons
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Lot 69
£ 310
2
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Adham Faramawy - Skin Flick
Adham Faramawy - Skin Flick
Bidding starts on 27-07-2024 17:00
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69
2
Highest bidder: Tim Maggs
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Skin Flick
2019
30 x 42cm
Risograph print on paper
Adham Faramawy is an artist of Egyptian descent based in London. They have had screenings at the Guggenheim Museum, New York; Tate Modern and Tate Britain, London; Serpentine Gallery, London and Serpentine Ecologies Symposia, London. They have had recent exhibitions at Goldsmiths Centre for Contemporary Arts, London (group), Somerset House, London (group), Buffalo University Gallery, Buffalo (group); the Bemis Center, Omaha (group); Niru Ratnam Gallery, London (solo), and Cell Projects, London (solo). They were shortlisted for the Film London Jarman Award 2021 and 2017. Adham is the recipient of the Frieze London Artist Award 2023.
2019
30 x 42cm
Risograph print on paper
Adham Faramawy is an artist of Egyptian descent based in London. They have had screenings at the Guggenheim Museum, New York; Tate Modern and Tate Britain, London; Serpentine Gallery, London and Serpentine Ecologies Symposia, London. They have had recent exhibitions at Goldsmiths Centre for Contemporary Arts, London (group), Somerset House, London (group), Buffalo University Gallery, Buffalo (group); the Bemis Center, Omaha (group); Niru Ratnam Gallery, London (solo), and Cell Projects, London (solo). They were shortlisted for the Film London Jarman Award 2021 and 2017. Adham is the recipient of the Frieze London Artist Award 2023.
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Adham Faramawy
Adham Faramawy
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Lot 35
£ 125
0
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Samuel Vilanova - Timeless Answer
Samuel Vilanova - Timeless Answer
Bidding starts on 27-07-2024 17:00
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35
0
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Timeless Answer
2023
29.6 x 21.1 cm
Ink on paper.
Samuel Vilanova is a Portuguese artist based in Margate, working across sculptures and paintings that usually exist as part of installations. His work develops from moods and scenes of a British everyday life, mixed with idyllic memories of a past in Portugal. Resulting in a familiar but also magical and foggy visual world, through which Vilanova explores alternative versions of the mundane and searches for an understanding of our condition.
He has recently had solo exhibitions at Outpost Gallery, Norwich (2022) and Quench Gallery, Margate (2021) and graduated from UCA Canterbury (BA Fine Art) in 2020.
2023
29.6 x 21.1 cm
Ink on paper.
Samuel Vilanova is a Portuguese artist based in Margate, working across sculptures and paintings that usually exist as part of installations. His work develops from moods and scenes of a British everyday life, mixed with idyllic memories of a past in Portugal. Resulting in a familiar but also magical and foggy visual world, through which Vilanova explores alternative versions of the mundane and searches for an understanding of our condition.
He has recently had solo exhibitions at Outpost Gallery, Norwich (2022) and Quench Gallery, Margate (2021) and graduated from UCA Canterbury (BA Fine Art) in 2020.
Kindly donated by
Samuel Vilanova
Samuel Vilanova
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Lot 29
£ 330
4
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Polly Morgan - Retouch Me
Polly Morgan - Retouch Me
Bidding starts on 27-07-2024 17:00
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£ 330
29
4
Highest bidder: Anonymous
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Retouch me
2020
63 x 50.2 cm
Photographic print.
Polly Morgan (b.1980) is a British artist living and working in London. She is self-taught with no formal education in art and rose to attention after learning taxidermy in 2004 when she began to dismantle taxidermy traditions, creating unsettling still lives where the animal was observed in death rather than life. Recent works, making use of her model-making and painting skills, are illusory sculptures that combine taxidermy with cast objects and painted trompe l’oeil veneers and lie somewhere between figuration and abstraction.
Her work has been shown internationally and belongs in many notable collections including the Zabludowicz Collection, Thomas Olbricht, David Roberts Art Foundation and The New Art Gallery Walsall. She was chosen to represent Britain in Women to Watch 2015 at the National Museum of Women in the Arts, Washington and her work Departures was featured in the Thames and Hudson book 100 Works of Art that will Define our Age.
2020
63 x 50.2 cm
Photographic print.
Polly Morgan (b.1980) is a British artist living and working in London. She is self-taught with no formal education in art and rose to attention after learning taxidermy in 2004 when she began to dismantle taxidermy traditions, creating unsettling still lives where the animal was observed in death rather than life. Recent works, making use of her model-making and painting skills, are illusory sculptures that combine taxidermy with cast objects and painted trompe l’oeil veneers and lie somewhere between figuration and abstraction.
Her work has been shown internationally and belongs in many notable collections including the Zabludowicz Collection, Thomas Olbricht, David Roberts Art Foundation and The New Art Gallery Walsall. She was chosen to represent Britain in Women to Watch 2015 at the National Museum of Women in the Arts, Washington and her work Departures was featured in the Thames and Hudson book 100 Works of Art that will Define our Age.
Kindly donated by
Polly Morgan
Polly Morgan
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Lot 92
£ 250
0
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Sophie Spedding - Devotion
Sophie Spedding - Devotion
Bidding starts on 27-07-2024 17:00
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£ 250
92
0
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Devotion
2024
21 x 29.7cm
Pencil and charcoal on paper
Sophie Spedding London | b. 1995,
Sophie Spedding work involves using hyperbolic forms emphatic to the body,
tied to narratives of control, sexuality, and abjection. The work is interested in involving viewpoint, saturation and ecology to direct posthuman conceptions of the effect of a potential body. Spedding graduated with their BA from The Slade School of Fine Art, UCL in London where they currently live and work.
Through poisonous flora and fauna; hyperbolic in body and saturation; abstraction through the intimacy of the scale; with the depth of the painting as a point of derealisation – I make narratives by controlling a digestive system of viewing. Kristeva’s work on the mirroring and compilation of the ‘pure-‘self’, through abjection and the need for passivation of the self in the constitution of subjectivity is something I return to. Her work has informed my thematic intention and language of invitational painting. I explore the tension between these ideas by creating spaces of reconciliation, which I make through balancing low-fi references and harboring the sentiment of role play. I appropriate Commercial arts’ easily dismissed normative aesthetics to trap. My work explores a duality of using space; to create invitational POV as well as a curation of care into a character's introduction to you, to in-spell the viewer as the chosen victim in a horror narrative.
Ecosexuality is a consistent gesture in my work; now, I’m focused on the forms as a composite of the macrophilic organic uncanny. These textural visuals are duplicated within the natural: in geology and human pathology, allowing the viewer to be subsumed in a skin landscape. Inside/outside, I/other. I use paintings, as a placeholder for caves, which are transgressive sites that animate transhumanist disruption: they act as sets containing the vilified humour of dejected darkness, with anthropomorphic representations as a conceptual consistent language that involves using archetypal myth to convey new ideas.
My work has an inherent biographical sincerity to it that is disrupted by the satirical articulation of the directness. The disruption can come from; object, direction or surface construction of paint, to move the value of consent. I see the value of consent within image making as a push and pull between the lens of reflective suggestions or pov which has become a language of invitational critique within my narrative.
2024
21 x 29.7cm
Pencil and charcoal on paper
Sophie Spedding London | b. 1995,
Sophie Spedding work involves using hyperbolic forms emphatic to the body,
tied to narratives of control, sexuality, and abjection. The work is interested in involving viewpoint, saturation and ecology to direct posthuman conceptions of the effect of a potential body. Spedding graduated with their BA from The Slade School of Fine Art, UCL in London where they currently live and work.
Through poisonous flora and fauna; hyperbolic in body and saturation; abstraction through the intimacy of the scale; with the depth of the painting as a point of derealisation – I make narratives by controlling a digestive system of viewing. Kristeva’s work on the mirroring and compilation of the ‘pure-‘self’, through abjection and the need for passivation of the self in the constitution of subjectivity is something I return to. Her work has informed my thematic intention and language of invitational painting. I explore the tension between these ideas by creating spaces of reconciliation, which I make through balancing low-fi references and harboring the sentiment of role play. I appropriate Commercial arts’ easily dismissed normative aesthetics to trap. My work explores a duality of using space; to create invitational POV as well as a curation of care into a character's introduction to you, to in-spell the viewer as the chosen victim in a horror narrative.
Ecosexuality is a consistent gesture in my work; now, I’m focused on the forms as a composite of the macrophilic organic uncanny. These textural visuals are duplicated within the natural: in geology and human pathology, allowing the viewer to be subsumed in a skin landscape. Inside/outside, I/other. I use paintings, as a placeholder for caves, which are transgressive sites that animate transhumanist disruption: they act as sets containing the vilified humour of dejected darkness, with anthropomorphic representations as a conceptual consistent language that involves using archetypal myth to convey new ideas.
My work has an inherent biographical sincerity to it that is disrupted by the satirical articulation of the directness. The disruption can come from; object, direction or surface construction of paint, to move the value of consent. I see the value of consent within image making as a push and pull between the lens of reflective suggestions or pov which has become a language of invitational critique within my narrative.
Kindly donated by
Sophie Spedding
Sophie Spedding
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Lot 77
£ 290
2
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Alexis Harding - 7.19pm Orange/Blue Spillage
Alexis Harding - 7.19pm Orange/Blue Spillage
Bidding starts on 27-07-2024 17:00
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£ 290
77
2
Highest bidder: John Smith
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7.19pm Orange/Blue Spillage
2023/24
38 x 57cm
Unique mono-print
Since the mid 1990’s Alexis Harding has subjected painting to a singular physical strain.
His work emerged as an antagonistic and unruly take on abstract painting in the 90’s and has developed into a wider practice that explores and celebrates the intersections between abstraction and representation. In its use of painterly time-based material and the reinvention and appropriation of various organising principles, it has sought out new areas for painting. One of the most innovative and driven makers of his generation, Harding’s practice over the last 20 years has aimed to reinvigorate the possibilities of abstract painting.
“I use an ordinary language of abstraction to begin with and then aim to fundamentally change it; over time the painting moves and changes on its way to an image and compositional position. It will then continue long after I have stepped away from it. Contingency, control, chance and cancellation are at the centre of the conditions in making these works.
Each painting is subjected to a specific painterly behavior where I am able to slow the making of a painting right down and then make incredibly quick decisions within this durational time-span. The long drying time is there to allow ideas and the world IN.
There are many processes and approaches to make a painting that occur simultaneously in the studio and I tend to work in series that overlap, where the paintings direct and ask me to move from one to the next and back again; they are in a continual state of formation and change where my role is to guide them. The movement, fracture and disruption of the wet surface is dynamic, bodily, entropic and continually generative”.
The work has been shown Nationally and Internationally since 1995. Harding was the winner of the 2004 John Moores Prize for painting in 2004.
2023/24
38 x 57cm
Unique mono-print
Since the mid 1990’s Alexis Harding has subjected painting to a singular physical strain.
His work emerged as an antagonistic and unruly take on abstract painting in the 90’s and has developed into a wider practice that explores and celebrates the intersections between abstraction and representation. In its use of painterly time-based material and the reinvention and appropriation of various organising principles, it has sought out new areas for painting. One of the most innovative and driven makers of his generation, Harding’s practice over the last 20 years has aimed to reinvigorate the possibilities of abstract painting.
“I use an ordinary language of abstraction to begin with and then aim to fundamentally change it; over time the painting moves and changes on its way to an image and compositional position. It will then continue long after I have stepped away from it. Contingency, control, chance and cancellation are at the centre of the conditions in making these works.
Each painting is subjected to a specific painterly behavior where I am able to slow the making of a painting right down and then make incredibly quick decisions within this durational time-span. The long drying time is there to allow ideas and the world IN.
There are many processes and approaches to make a painting that occur simultaneously in the studio and I tend to work in series that overlap, where the paintings direct and ask me to move from one to the next and back again; they are in a continual state of formation and change where my role is to guide them. The movement, fracture and disruption of the wet surface is dynamic, bodily, entropic and continually generative”.
The work has been shown Nationally and Internationally since 1995. Harding was the winner of the 2004 John Moores Prize for painting in 2004.
Kindly donated by
Alexis Harding
Alexis Harding
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SIGNED IN AS :
Lot 111
£ 270
2
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Mercedes Lucy - Greek God
Mercedes Lucy - Greek God
Bidding starts on 27-07-2024 17:00
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£ 270
111
2
Highest bidder: Kate Bryan
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Greek God
2024
21 x 29.5
Cobalt Blue Ink Monoprint
2024
21 x 29.5
Cobalt Blue Ink Monoprint
Kindly donated by
Mercedes Lucy
Mercedes Lucy
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SIGNED IN AS :
Lot 119
£ 400
6
NOT STARTED
Laura Footes - Some Time Away
Laura Footes - Some Time Away
Bidding starts on 27-07-2024 17:00
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119
6
Highest bidder: Ann Binlot
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Some Time Away
2024
27 x 37cm
Monotype in Caligo ink, unique
Laura Footes
Born in Birmingham UK, lives and works in Margate
My main areas of artistic interest are explored through the lens of 'dysfunction'.
I look at dysfunction of the body, as I live with an incurable debilitating disease since childhood, that has shaped the way I see my body and how I experience the world. Art has become my therapy for this.
I also look at psychological dysfunction, through the prism of disease and also the home: like our bodies, the home is both sanctuary and battleground, and the female experience in these spaces is of particular interest, especially from a class perspective - as I was raised in working-class Birmingham in an ecosystem rife with hardship, sexism and misogyny. It was also a place where I came across the strongest and most resilient and fierce Matriarchal role models.
I want to understand all these contradictions, by 'zooming out' : making large architectural mindscapes / memory maps of places I have lived,
and 'zooming in' : architecture of the body, into the cells, the flesh and the anatomy of the mind, to make sense of dysfunction and create new realities.
I studied modern languages abroad for many years, therefore much influence comes from within Europe: French/German/Spanish literature, world cinema (Almodóvar, Tarkovsky, French New Wave) have all leaked into my practice, specifically the language between the work of Louise Bourgeois and Tracey Emin. I am also a fan of the surrealists: Leonora Carrington, Dorothea Tanning. Drawing is at the heart of my process. I had the opportunity to study at The Royal Drawing School under the leadership of Catherine Goodman who was another important influence on the long and difficult road from hospital bed throughout my twenties, to the easel at TKE Studios.
2024
27 x 37cm
Monotype in Caligo ink, unique
Laura Footes
Born in Birmingham UK, lives and works in Margate
My main areas of artistic interest are explored through the lens of 'dysfunction'.
I look at dysfunction of the body, as I live with an incurable debilitating disease since childhood, that has shaped the way I see my body and how I experience the world. Art has become my therapy for this.
I also look at psychological dysfunction, through the prism of disease and also the home: like our bodies, the home is both sanctuary and battleground, and the female experience in these spaces is of particular interest, especially from a class perspective - as I was raised in working-class Birmingham in an ecosystem rife with hardship, sexism and misogyny. It was also a place where I came across the strongest and most resilient and fierce Matriarchal role models.
I want to understand all these contradictions, by 'zooming out' : making large architectural mindscapes / memory maps of places I have lived,
and 'zooming in' : architecture of the body, into the cells, the flesh and the anatomy of the mind, to make sense of dysfunction and create new realities.
I studied modern languages abroad for many years, therefore much influence comes from within Europe: French/German/Spanish literature, world cinema (Almodóvar, Tarkovsky, French New Wave) have all leaked into my practice, specifically the language between the work of Louise Bourgeois and Tracey Emin. I am also a fan of the surrealists: Leonora Carrington, Dorothea Tanning. Drawing is at the heart of my process. I had the opportunity to study at The Royal Drawing School under the leadership of Catherine Goodman who was another important influence on the long and difficult road from hospital bed throughout my twenties, to the easel at TKE Studios.
Kindly donated by
Laura Footes
Laura Footes
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SIGNED IN AS :
Lot 101
£ 300
3
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Gabriel Hartley - Windows
Gabriel Hartley - Windows
Bidding starts on 27-07-2024 17:00
CURRENT PRICE:
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LOT #:
BIDS:
£ 300
101
3
Highest bidder: Anonymous
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Windows
2024
Painted Instax
Gabriel Hartley’s work combines optical effects and iconic markings on highly textured surfaces. His work summons early Modernism’s play with abstraction and perspective. With bold linear brushstrokes and organic, elemental shapes, Hartley’s forms play with space and movement.
His painterly effects – generated through a mix of gloss and matte paint – convey both a flatness and a depth that produce a palpable sense of tension. The dusty quality of Hartley’s impasto surfaces recall the paintings of School of Paris artist Jean Fautrier.
Hartley fuses seemingly opposing elements: the painterly and the photographic, flatness and depth, and two and three dimensionality.
2024
Painted Instax
Gabriel Hartley’s work combines optical effects and iconic markings on highly textured surfaces. His work summons early Modernism’s play with abstraction and perspective. With bold linear brushstrokes and organic, elemental shapes, Hartley’s forms play with space and movement.
His painterly effects – generated through a mix of gloss and matte paint – convey both a flatness and a depth that produce a palpable sense of tension. The dusty quality of Hartley’s impasto surfaces recall the paintings of School of Paris artist Jean Fautrier.
Hartley fuses seemingly opposing elements: the painterly and the photographic, flatness and depth, and two and three dimensionality.
Kindly donated by
Gabriel Hartley
Gabriel Hartley
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SIGNED IN AS :
Lot 109
£ 330
5
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Joline Kwakkenbos - Conversation with the Artists
Joline Kwakkenbos - Conversation with the Artists
Bidding starts on 27-07-2024 17:00
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BIDS:
£ 330
109
5
Highest bidder: Andrew Lodder
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Conversation with the Artists
2023
28 x 36cm
Acrylic on painter
My work is about the plurality of my own identity, and how I relate to the world around me. I mainly paint self-portraits, which deal with my childhood, my queer identity and being a 'woman'. My work is therefore autobiographical, but also touches on elements of fiction in the search for that own identity. My portraits constantly balance between characters and myself, touching on personal issues of sexuality, identity and memories. Subjects I deal with include myself as a young woman, free and spiritual, seductive, historical, traumatised, powerful, as a painter, as a lesbian woman, and as a human being.
Over the years, I have created and collected a special collection of garments that represent the different characters of my portraits . They are thematically linked by cultural references and explorations within the experience of being a woman. I experiment with the shape of these garments but also with the visibility of the naked body. In doing so, I try to question traditional notions of 'being a woman' - and what this means to me.
I, Joline Kwakkenbos (b. 1997, Hilversum, Netherlands) grew up in a small dutch village. In my childhood, the need to express myself in drawing and painting was already present. In 2019, I obtained my bachelor's degree in Fashion Design. Through the diversity of subjects I received during my studies in Fashion Design, I discovered that my visual language could also find form through painting. Something I started exploring more after my studies.
2023
28 x 36cm
Acrylic on painter
My work is about the plurality of my own identity, and how I relate to the world around me. I mainly paint self-portraits, which deal with my childhood, my queer identity and being a 'woman'. My work is therefore autobiographical, but also touches on elements of fiction in the search for that own identity. My portraits constantly balance between characters and myself, touching on personal issues of sexuality, identity and memories. Subjects I deal with include myself as a young woman, free and spiritual, seductive, historical, traumatised, powerful, as a painter, as a lesbian woman, and as a human being.
Over the years, I have created and collected a special collection of garments that represent the different characters of my portraits . They are thematically linked by cultural references and explorations within the experience of being a woman. I experiment with the shape of these garments but also with the visibility of the naked body. In doing so, I try to question traditional notions of 'being a woman' - and what this means to me.
I, Joline Kwakkenbos (b. 1997, Hilversum, Netherlands) grew up in a small dutch village. In my childhood, the need to express myself in drawing and painting was already present. In 2019, I obtained my bachelor's degree in Fashion Design. Through the diversity of subjects I received during my studies in Fashion Design, I discovered that my visual language could also find form through painting. Something I started exploring more after my studies.
Kindly donated by
Joline Kwakkenbos
Joline Kwakkenbos
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SIGNED IN AS :
Lot 22
£ 290
2
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Lydia Pettit - A Quick Study
Lydia Pettit - A Quick Study
Bidding starts on 27-07-2024 17:00
CURRENT PRICE:
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LOT #:
BIDS:
£ 290
22
2
Highest bidder: Anonymous
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A Quick Study
2023
34 x 22.9 cm
Graphite on paper
LYDIA PETTIT (b. 1991) is a Painter and Curator from Towson, Maryland. She pursued her BFA in painting and photography at the Maryland Institute College of Art and is a two-time recipient of the Elizabeth Greenshields Foundation Grant. In 2014, she purchased and opened Platform Arts Center, a studio and mixed-use building in downtown Baltimore, to provide affordable studio space to young and low-income artists in the area. Within the space she was the co-Director and co-Founder of Platform Gallery, a project with a focus on providing opportunities to Baltimore-based and regional emerging artists. In 2017 Pettit and her partner closed the gallery, and she turned her focus to her art practice. She obtained her MA in Painting at the Royal College of Art in 2020 and is now living and working in London.
2023
34 x 22.9 cm
Graphite on paper
LYDIA PETTIT (b. 1991) is a Painter and Curator from Towson, Maryland. She pursued her BFA in painting and photography at the Maryland Institute College of Art and is a two-time recipient of the Elizabeth Greenshields Foundation Grant. In 2014, she purchased and opened Platform Arts Center, a studio and mixed-use building in downtown Baltimore, to provide affordable studio space to young and low-income artists in the area. Within the space she was the co-Director and co-Founder of Platform Gallery, a project with a focus on providing opportunities to Baltimore-based and regional emerging artists. In 2017 Pettit and her partner closed the gallery, and she turned her focus to her art practice. She obtained her MA in Painting at the Royal College of Art in 2020 and is now living and working in London.
Kindly donated by
Lydia Pettit
Lydia Pettit
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SIGNED IN AS :
Lot 46
£ 270
1
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Jane Bustin - "Sometimes the Earth trembles; sometimes you can feel it breathe"
Jane Bustin - "Sometimes the Earth trembles; sometimes you can feel it breathe"
Bidding starts on 27-07-2024 17:00
CURRENT PRICE:
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LOT #:
BIDS:
£ 270
46
1
Highest bidder: Daniel Benson
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"Sometimes the Earth trembles; sometimes you can feel it breathe"- Jean Rhys
2024
30 x 21 cm
Acrylic, tea, ink on paper.
Through a minimal, concept lead practice that combines traditional techniques with a wide variety of contemporary and historic materials and supports, including aluminium, wood, copper, silk, paper, latex, gesso, ceramics and ready-made objects, Bustin’s paintings are initiated following intense periods of research or collaboration. The work explores the metaphysical potential for painting to 'make visual' philosophical concepts found primarily in literature, as well as music, science, dance and theology. They are presented within the formal constraints of abstraction but subvert this tradition; while not representational in the traditional sense, each decision in making the work is conceptually justified in relation to a particular subject. While minimal in style the works are intensely personal in subject, flying in the face of the masculine dogma of modernist Minimalism. Jane Bustin studied at Portsmouth Polytechnic and lives and works in London.
Recent projects include: the Rothko Museum (Latvia), Drawing Biennale 2024, The Drawing Room (London), and the solo Pirelli, let me count the ways at Copperfield (London). Her work has been exhibited internationally, including at Whitechapel Gallery (London), The British Library (London), Jane Lombard (New York), Fox Jensen (Sydney).
Her work is part of collections internationally, including the Ferens Museum & Gallery, Hull (UK), The Victoria and Albert Museum (London), the Goldman Sachs Collection, and Yale Center for British Art, USA. Recent acquisitions include the Rothko Museum and the collection of Frédéric de Goldschmidt.
2024
30 x 21 cm
Acrylic, tea, ink on paper.
Through a minimal, concept lead practice that combines traditional techniques with a wide variety of contemporary and historic materials and supports, including aluminium, wood, copper, silk, paper, latex, gesso, ceramics and ready-made objects, Bustin’s paintings are initiated following intense periods of research or collaboration. The work explores the metaphysical potential for painting to 'make visual' philosophical concepts found primarily in literature, as well as music, science, dance and theology. They are presented within the formal constraints of abstraction but subvert this tradition; while not representational in the traditional sense, each decision in making the work is conceptually justified in relation to a particular subject. While minimal in style the works are intensely personal in subject, flying in the face of the masculine dogma of modernist Minimalism. Jane Bustin studied at Portsmouth Polytechnic and lives and works in London.
Recent projects include: the Rothko Museum (Latvia), Drawing Biennale 2024, The Drawing Room (London), and the solo Pirelli, let me count the ways at Copperfield (London). Her work has been exhibited internationally, including at Whitechapel Gallery (London), The British Library (London), Jane Lombard (New York), Fox Jensen (Sydney).
Her work is part of collections internationally, including the Ferens Museum & Gallery, Hull (UK), The Victoria and Albert Museum (London), the Goldman Sachs Collection, and Yale Center for British Art, USA. Recent acquisitions include the Rothko Museum and the collection of Frédéric de Goldschmidt.
Kindly donated by
Jane Bustin
Jane Bustin
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SIGNED IN AS :
Lot 2
£ 750
18
NOT STARTED
Lindsey Mendick - Self Care
Lindsey Mendick - Self Care
Bidding starts on 27-07-2024 17:00
CURRENT PRICE:
(Reserve not met !)
LOT #:
BIDS:
£ 750
2
18
Highest bidder: Anonymous
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Self Care
2024
42 x 29.7cm
Watercolour and pencil on paper
Lindsey Mendick (b.1987) works primarily with ceramics, embedding her sculptures within installations that include stained glass, film, furniture, large stage sets and performance. She received a BA from Sheffield Hallam University and an MA in Sculpture from the Royal College of Art, London. Her autobiographical work offers a form of catharsis, encouraging the viewer to explore their own personal history through the revisionist lens of the artist. She was the recipient of the Henry Moore Foundation Artist Award in 2020, the Alexandra Reinhardt memorial award in 2018 and was also selected for Jerwood Survey in 2019 and the Future Generations Art Prize in 2020. Mendick has participated in solo and group exhibitions at Jupiter Artland, Yorkshire Sculpture Park, Hayward Gallery, Carl Freedman Gallery, Somerset House, Jeffrey Deitch, Cooke Latham, Hannah Barry Gallery, among others. With her partner, the artist Guy Oliver, Mendick initiated Quench Gallery in Margate to provide vital support for early career artists through exhibitions and mentoring.
2024
42 x 29.7cm
Watercolour and pencil on paper
Lindsey Mendick (b.1987) works primarily with ceramics, embedding her sculptures within installations that include stained glass, film, furniture, large stage sets and performance. She received a BA from Sheffield Hallam University and an MA in Sculpture from the Royal College of Art, London. Her autobiographical work offers a form of catharsis, encouraging the viewer to explore their own personal history through the revisionist lens of the artist. She was the recipient of the Henry Moore Foundation Artist Award in 2020, the Alexandra Reinhardt memorial award in 2018 and was also selected for Jerwood Survey in 2019 and the Future Generations Art Prize in 2020. Mendick has participated in solo and group exhibitions at Jupiter Artland, Yorkshire Sculpture Park, Hayward Gallery, Carl Freedman Gallery, Somerset House, Jeffrey Deitch, Cooke Latham, Hannah Barry Gallery, among others. With her partner, the artist Guy Oliver, Mendick initiated Quench Gallery in Margate to provide vital support for early career artists through exhibitions and mentoring.
Kindly donated by
Lindsey Mendick
Lindsey Mendick
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SIGNED IN AS :
Lot 82
£ 360
7
NOT STARTED
Gabriela Max - Colour Found Me
Gabriela Max - Colour Found Me
Bidding starts on 27-07-2024 17:00
CURRENT PRICE:
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LOT #:
BIDS:
£ 360
82
7
Highest bidder: Alex Mashadi
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Colour Found Me
2020
57 x 76cm
Silkscreen print
Edition of one
Born and raised in a small countryside town in Brazil, Gabriela holds a Masters in Painting from Wimbledon College of Arts
Gabriela creates paintings with a fusion between humans, animals and the environment. She expresses her belief in the tie between humans and nature. The way humans perceive, encounter, and experience the natural world, instinctively and logically, is where she stands.
Only Painting can depict what she wants to say, her visual language encapsulates the chaos, energy, passion, and hostility of the wild animal she relates to. Traveling outside the studio on solo trips in different countries and connecting with natives allow her to build her own way of interpreting life and land into paint, aiming to create a unique structure and palette for her art
2020
57 x 76cm
Silkscreen print
Edition of one
Born and raised in a small countryside town in Brazil, Gabriela holds a Masters in Painting from Wimbledon College of Arts
Gabriela creates paintings with a fusion between humans, animals and the environment. She expresses her belief in the tie between humans and nature. The way humans perceive, encounter, and experience the natural world, instinctively and logically, is where she stands.
Only Painting can depict what she wants to say, her visual language encapsulates the chaos, energy, passion, and hostility of the wild animal she relates to. Traveling outside the studio on solo trips in different countries and connecting with natives allow her to build her own way of interpreting life and land into paint, aiming to create a unique structure and palette for her art
Kindly donated by
Gabriela Max
Gabriela Max
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SIGNED IN AS :
Lot 10
£ 330
4
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Catherine Chinatree - Haven of Movement
Catherine Chinatree - Haven of Movement
Bidding starts on 27-07-2024 17:00
CURRENT PRICE:
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LOT #:
BIDS:
£ 330
10
4
Highest bidder: Jack Kennerley
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Haven of Movement
2023
15 x 15 cm
Acrylic on paper - framed.
Catherine Chinatree studied at Wimbledon College of Arts, graduating with a Masters in Fine Art. She was awarded the Ferdynand Zweig Arts travel Scholarship award, and set up a collaborative engagement project between the Uk and Havana, Cuba. Chinatree was Shortlisted for the Mercury Music Arts Prize, Nasty Woman NYC and The Griffin x Elephant New Graduates Arts Prize. She recently completed an artist residency with Elephant Magazine and was Sponsored by Liquitex Paints. Her latest project was a window painting installation commission by Artquest for their 20th anniversary, which is on show now at UAL in Holborn, London.
2023
15 x 15 cm
Acrylic on paper - framed.
Catherine Chinatree studied at Wimbledon College of Arts, graduating with a Masters in Fine Art. She was awarded the Ferdynand Zweig Arts travel Scholarship award, and set up a collaborative engagement project between the Uk and Havana, Cuba. Chinatree was Shortlisted for the Mercury Music Arts Prize, Nasty Woman NYC and The Griffin x Elephant New Graduates Arts Prize. She recently completed an artist residency with Elephant Magazine and was Sponsored by Liquitex Paints. Her latest project was a window painting installation commission by Artquest for their 20th anniversary, which is on show now at UAL in Holborn, London.
Kindly donated by
Catherine Chinatree
Catherine Chinatree
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SIGNED IN AS :
Lot 60
£ 3,000
37
NOT STARTED
Dame Sonia Boyce - Everyday People
Dame Sonia Boyce - Everyday People
Bidding starts on 27-07-2024 17:00
CURRENT PRICE:
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LOT #:
BIDS:
£ 3,000
60
37
Highest bidder: Jay Jopling
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Everyday People
2024
A4
Carbon transfer on paper
Dame Sonia Boyce OBE is a British Afro-Caribbean artist who lives and works in London. She studied at Stourbridge College, West Midlands. Boyce’s early work addressed issues of race and gender in the media and in day-to-day life. She expressed these themes through large pastel drawings and photographic collages.
Her work has since shifted materially and conceptually by incorporating a variety of media such as photographs, collages, films, prints, drawings, installation and sound. Her recent work collaboratively brings the audience into sharper focus as an integral part of the artwork, between artist, vocalists and audience, demonstrating how cultural differences might be articulated, mediated and enjoyed. Boyce’s significant exhibitions include Five Black Women, African Centre, London (1983); Sonia Boyce: For you, only you, Magdalen College, Oxford and subsequent UK venues (2007 – 2008); and In 2022, Boyce’s exhibition for the British Pavilion at the 59th Venice Biennale received the Golden Lion for Best National Participation.
She is represented in the permanent collections of Arts Council England and Tate Modern, London. In 2007, Boyce was awarded an MBE in The Queen’s Birthday Honours, and an OBE in the 2019 New Year Honours, for services to art. She was made a Dame Commander of the Most Excellent Order of the British Empire (DBE) in the 2024 New Year Honours, again for services to art. She is currently Professor of Black Art and Design at University of the Arts London
2024
A4
Carbon transfer on paper
Dame Sonia Boyce OBE is a British Afro-Caribbean artist who lives and works in London. She studied at Stourbridge College, West Midlands. Boyce’s early work addressed issues of race and gender in the media and in day-to-day life. She expressed these themes through large pastel drawings and photographic collages.
Her work has since shifted materially and conceptually by incorporating a variety of media such as photographs, collages, films, prints, drawings, installation and sound. Her recent work collaboratively brings the audience into sharper focus as an integral part of the artwork, between artist, vocalists and audience, demonstrating how cultural differences might be articulated, mediated and enjoyed. Boyce’s significant exhibitions include Five Black Women, African Centre, London (1983); Sonia Boyce: For you, only you, Magdalen College, Oxford and subsequent UK venues (2007 – 2008); and In 2022, Boyce’s exhibition for the British Pavilion at the 59th Venice Biennale received the Golden Lion for Best National Participation.
She is represented in the permanent collections of Arts Council England and Tate Modern, London. In 2007, Boyce was awarded an MBE in The Queen’s Birthday Honours, and an OBE in the 2019 New Year Honours, for services to art. She was made a Dame Commander of the Most Excellent Order of the British Empire (DBE) in the 2024 New Year Honours, again for services to art. She is currently Professor of Black Art and Design at University of the Arts London
Kindly donated by
Dame Sonia Boyce
Dame Sonia Boyce
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SIGNED IN AS :
Lot 36
£ 170
1
NOT STARTED
Stuart Raynor - EVENING SELF PORTRAIT
Stuart Raynor - EVENING SELF PORTRAIT
Bidding starts on 27-07-2024 17:00
CURRENT PRICE:
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LOT #:
BIDS:
£ 170
36
1
Highest bidder: Charlie Condou
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EVENING SELF PORTRAIT
21 x 28.7cm
Paper, oil, ink, water colour.
Stuart Rayner is a Margate based artist working through the mediums of painting and illustration. Stuart subverts art historical tradition tradition by referencing the female nude and classical still life compositions whilst portraying contemporary living as a queer person in a vibrant yet quiet atmosphere. Stuart's work often expresses a tender emotional connection to nature through his flourishing use of colour and impressionistic form. Natural forms are brought inside to populate cubist interior living spaces, caring spaces designed for contemplation.
21 x 28.7cm
Paper, oil, ink, water colour.
Stuart Rayner is a Margate based artist working through the mediums of painting and illustration. Stuart subverts art historical tradition tradition by referencing the female nude and classical still life compositions whilst portraying contemporary living as a queer person in a vibrant yet quiet atmosphere. Stuart's work often expresses a tender emotional connection to nature through his flourishing use of colour and impressionistic form. Natural forms are brought inside to populate cubist interior living spaces, caring spaces designed for contemplation.
Kindly donated by
Stuart Raynor
Stuart Raynor
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Lot 40
£ 200
11
NOT STARTED
Tim Allen - Mask
Tim Allen - Mask
Bidding starts on 27-07-2024 17:00
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£ 200
40
11
Highest bidder: Alex Mashadi
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Mask
2024
21 x 29.7 cm
Tim Allen was born in 1950 in Manchester and brought up in Durham City. He studied at the University of Newcastle upon Tyne from 1968 until 1972 and graduated from Goldsmiths College, London in 1980. Over his career, he has produced a vast body of work, with colour and movement at the forefront of his aesthetic concerns. His painting techniques merge both traditional graining brushes and various other tools with custom built painterly devices that produce parallel strokes and mesmerising effects. His work has developed cyclically, from hard edge abstraction, through free-form multi-image paintings, to landscape based semi-abstractions, and back again to pure abstraction. Allen’s paintings are always made using an improvisatory approach. His process is a perpetual event of remaking and revisiting, dancing from the past to the present.
Allen has exhibited widely in the United Kingdom, Europe and the United States. His recent exhibitions include From the Ferry at Dahl Gallery, Luzern, Switzerland; Dual Purpose at Turps Gallery, London; Strukturen/Structures and Multilayer, both curated by Ivo Ringe. His work is also featured in many public and private collections worldwide.
2024
21 x 29.7 cm
Tim Allen was born in 1950 in Manchester and brought up in Durham City. He studied at the University of Newcastle upon Tyne from 1968 until 1972 and graduated from Goldsmiths College, London in 1980. Over his career, he has produced a vast body of work, with colour and movement at the forefront of his aesthetic concerns. His painting techniques merge both traditional graining brushes and various other tools with custom built painterly devices that produce parallel strokes and mesmerising effects. His work has developed cyclically, from hard edge abstraction, through free-form multi-image paintings, to landscape based semi-abstractions, and back again to pure abstraction. Allen’s paintings are always made using an improvisatory approach. His process is a perpetual event of remaking and revisiting, dancing from the past to the present.
Allen has exhibited widely in the United Kingdom, Europe and the United States. His recent exhibitions include From the Ferry at Dahl Gallery, Luzern, Switzerland; Dual Purpose at Turps Gallery, London; Strukturen/Structures and Multilayer, both curated by Ivo Ringe. His work is also featured in many public and private collections worldwide.
Kindly donated by
Tim Allen
Tim Allen
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Lot 76
£ 125
6
NOT STARTED
Simeon Barclay - Endor
Simeon Barclay - Endor
Bidding starts on 27-07-2024 17:00
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76
6
Highest bidder: Anonymous
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Endor
2024
A4
Arabica on paper
Simeon Barclay (b. 1975, in Huddersfield, UK) received his BA from Leeds Metropolitan University, Leeds in 2010 and an MFA from Goldsmiths College, London in 2014. Barclay is a member of the Arts Council Acquisition Committee since 2021 and a member of the advisory committee for the Freelands Foundation since 2018, and in 2020 he was selected to be included in the British Art Show 9.
He has exhibited both nationally and internationally including at Southbank Centre, Tate Britain, South London Gallery, London; Liverpool Biennial, Liverpool; Baltic Centre for Contemporary Art, Workplace Foundation, Gateshead; Holden Gallery, Manchester; The Tetley, Leeds; Cubitt Gallery, London; The Bluecoat, Liverpool; Jerwood Space, London; Galerie Lisa Kandlhofer, Vienna; Rodolphe Janssen, Brussels; Arcadia Missa, New York and W139, Amsterdam. His work is in the Arts Council Collection, London; Zabludowicz Collection, London; Manchester Art Gallery and Whitworth Art Gallery collection, Manchester.
2024
A4
Arabica on paper
Simeon Barclay (b. 1975, in Huddersfield, UK) received his BA from Leeds Metropolitan University, Leeds in 2010 and an MFA from Goldsmiths College, London in 2014. Barclay is a member of the Arts Council Acquisition Committee since 2021 and a member of the advisory committee for the Freelands Foundation since 2018, and in 2020 he was selected to be included in the British Art Show 9.
He has exhibited both nationally and internationally including at Southbank Centre, Tate Britain, South London Gallery, London; Liverpool Biennial, Liverpool; Baltic Centre for Contemporary Art, Workplace Foundation, Gateshead; Holden Gallery, Manchester; The Tetley, Leeds; Cubitt Gallery, London; The Bluecoat, Liverpool; Jerwood Space, London; Galerie Lisa Kandlhofer, Vienna; Rodolphe Janssen, Brussels; Arcadia Missa, New York and W139, Amsterdam. His work is in the Arts Council Collection, London; Zabludowicz Collection, London; Manchester Art Gallery and Whitworth Art Gallery collection, Manchester.
Kindly donated by
Simeon Barclay
Simeon Barclay
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Lot 25
£ 270
1
NOT STARTED
Nour El Saleh - Untitled
Nour El Saleh - Untitled
Bidding starts on 27-07-2024 17:00
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25
1
Highest bidder: Anonymous
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Untitled
2021
29.7 x 21 cm
Oil paint monotype on paper
born in Beirut, Lebanon, 1997
lives and works in London
Nour el Saleh explores notions of place, belonging and selective/relative memory.
Working instinctively without prior planning, the works reveal fragments of familiar yet inhabitable environments with ecosystems suitable only for those who are created within them. Without being an exception to that rule – she visits frequently as an observer, relying on her medium as a mode of research and inquisition into the regulations and dynamics that may come to play within those hypothetical spaces. Bodies; animal and humanoid, appear on the surface, where they indiscriminately meld into each other and are inseparable from the land that they inhabit. heavily referencing human anatomy, they are scrutinized beyond the bounds of biology. Through delicately feathered strokes, flesh is made to look tender, porous and translucent - expanding the visceral possibilities of openings and entries to the body that are neither functional or sexual.
Nour el Saleh completed her postgraduate degree from The Royal Drawing School in 2022 after receiving a BFA at the Slade School of Fine Art in 2019 and has recently exhibited at General Expenses, Mexico city (2024) Des Bains, UK (2024), Xxijra Hii, UK (2023), Quench Gallery, UK (2023), Edel Assanti, UK (2022), Castello di San Basillio, Italy (2022), Cassina Projects, Italy (2022), Christies, London (2022), Plaza Plaza, UK (2021), V.O Curations, UK (2021); Lowell Ryan Projects, Mexico (2020); Kuva Gallery, Finland (2019); Daniel Benjamin Gallery, London (2018). She was recently in residence at Castello San Basilio, Italy (2022) Palazzo Monti, Italy (2022) and Dumfries House, Scotland (2023).
2021
29.7 x 21 cm
Oil paint monotype on paper
born in Beirut, Lebanon, 1997
lives and works in London
Nour el Saleh explores notions of place, belonging and selective/relative memory.
Working instinctively without prior planning, the works reveal fragments of familiar yet inhabitable environments with ecosystems suitable only for those who are created within them. Without being an exception to that rule – she visits frequently as an observer, relying on her medium as a mode of research and inquisition into the regulations and dynamics that may come to play within those hypothetical spaces. Bodies; animal and humanoid, appear on the surface, where they indiscriminately meld into each other and are inseparable from the land that they inhabit. heavily referencing human anatomy, they are scrutinized beyond the bounds of biology. Through delicately feathered strokes, flesh is made to look tender, porous and translucent - expanding the visceral possibilities of openings and entries to the body that are neither functional or sexual.
Nour el Saleh completed her postgraduate degree from The Royal Drawing School in 2022 after receiving a BFA at the Slade School of Fine Art in 2019 and has recently exhibited at General Expenses, Mexico city (2024) Des Bains, UK (2024), Xxijra Hii, UK (2023), Quench Gallery, UK (2023), Edel Assanti, UK (2022), Castello di San Basillio, Italy (2022), Cassina Projects, Italy (2022), Christies, London (2022), Plaza Plaza, UK (2021), V.O Curations, UK (2021); Lowell Ryan Projects, Mexico (2020); Kuva Gallery, Finland (2019); Daniel Benjamin Gallery, London (2018). She was recently in residence at Castello San Basilio, Italy (2022) Palazzo Monti, Italy (2022) and Dumfries House, Scotland (2023).
Kindly donated by
Nour El Saleh
Nour El Saleh
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Lot 74
£ 290
2
NOT STARTED
Anna Perach -
Anna Perach -
Bidding starts on 27-07-2024 17:00
CURRENT PRICE:
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74
2
Highest bidder: Anonymous
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Untiltled
2022
29 x 21cm
Watercolour and markers on paper
Anna Perach's practice explores the dynamic between personal and cultural myths. Specifically she is interested in how our private narratives are deeply rooted in ancient folklore and storytelling. Her work interweaves female archetypes into sculptural hybrids in order to examine ideas of identity, gender, and craft.
Perach's main medium of work is wearable sculpture and performance. She works in a technique called tufting, making hand-made carpet textile, which she then transforms into wearable sculptures. Perach begins by creating a pattern of a three-dimensional form, followed by manually tufting each piece of the pattern, and finally assembling it into a wearable, tufted sculpture. The wearable sculpture functions as both a garment that is performed in as well as a freestanding sculpture. Through this medium, she examines how elements associated with the domestic sphere such as textiles and carpet operate as an extension of the self and reflect one's heritage and gender role. Perach performs the tufted, domestic carpet serves as an external added layer of skin, which hides the physical body but exposes fragments of the self.
Anna Perach (b. 1985, Ukraine) is based in London. She has exhibited in solo and group exhibitions internationally including: Richard Saltoun, London (2023); Edel Assanti, London (2022); Herzliya Museum of Contemporary Art; ADA, Italy (both 2021); Centrale Fies, Italy (2020); MOSTYN, Llandudno; Mimosa House, London (both 2019). In 2022, Perach was awarded the Carol Rama Award at Artissima, and in 2021 she received the Ingram Prize. In 2020, she received the Sarabande Foundation studio award. Perach is a studio holder at Gasworks and presented a solo exhibition with us in 2024.
2022
29 x 21cm
Watercolour and markers on paper
Anna Perach's practice explores the dynamic between personal and cultural myths. Specifically she is interested in how our private narratives are deeply rooted in ancient folklore and storytelling. Her work interweaves female archetypes into sculptural hybrids in order to examine ideas of identity, gender, and craft.
Perach's main medium of work is wearable sculpture and performance. She works in a technique called tufting, making hand-made carpet textile, which she then transforms into wearable sculptures. Perach begins by creating a pattern of a three-dimensional form, followed by manually tufting each piece of the pattern, and finally assembling it into a wearable, tufted sculpture. The wearable sculpture functions as both a garment that is performed in as well as a freestanding sculpture. Through this medium, she examines how elements associated with the domestic sphere such as textiles and carpet operate as an extension of the self and reflect one's heritage and gender role. Perach performs the tufted, domestic carpet serves as an external added layer of skin, which hides the physical body but exposes fragments of the self.
Anna Perach (b. 1985, Ukraine) is based in London. She has exhibited in solo and group exhibitions internationally including: Richard Saltoun, London (2023); Edel Assanti, London (2022); Herzliya Museum of Contemporary Art; ADA, Italy (both 2021); Centrale Fies, Italy (2020); MOSTYN, Llandudno; Mimosa House, London (both 2019). In 2022, Perach was awarded the Carol Rama Award at Artissima, and in 2021 she received the Ingram Prize. In 2020, she received the Sarabande Foundation studio award. Perach is a studio holder at Gasworks and presented a solo exhibition with us in 2024.
Kindly donated by
Anna Perach
Anna Perach
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SIGNED IN AS :
Lot 54
£ 530
4
NOT STARTED
Jack Lavender - Quench My Heart
Jack Lavender - Quench My Heart
Bidding starts on 27-07-2024 17:00
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BIDS:
£ 530
54
4
Highest bidder: John Cavanagh
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Quench My Heart
2024
A4
Ink, gloss and collage on paper
2024
A4
Ink, gloss and collage on paper
Kindly donated by
Jack Lavender
Jack Lavender
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SIGNED IN AS :
Lot 84
£ 330
4
NOT STARTED
Bobby Baker - Michael Gove with Ignorant Eyes.
Bobby Baker - Michael Gove with Ignorant Eyes.
Bidding starts on 27-07-2024 17:00
CURRENT PRICE:
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LOT #:
BIDS:
£ 330
84
4
Highest bidder: Anonymous
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Michael Gove with Ignorant Eyes. (subtitle: Nothing in the world is more dangerous than sincere ignorance and conscientious stupidity. Martin Luther King)
2024
29.7 x 21cm
Watercolour, ink, aqua pastels, watercolour paper
Bobby Baker's acclaimed intersectional feminist practice includes performance, drawing and installation, and persistently exposes the undervalued and stigmatised aspects of women’s daily lives, exemplified by pioneering
works such as Drawing on a Mother’s Experience (1988), and Kitchen Show (1991).
Born in 1950 in Kent, UK, she graduated from Painting at St. Martins School of Art (1972, now Central St Martins) and holds an Honorary Doctorate from Queen Mary University London.
Performances and installations include Great & Tiny War, Newcastle (2018); An Edible Family in a Mobile Home (Stepney, 1976/ Tate Britain, 2023), London; Drawing on a (Grand) Mother’s Experience, WOW-Women of the World Festival, London (2015); Kitchen Show(1991), London, Adelaide Festival and touring; How to Live, Barbican Centre, London (2004); Table Occasions 9–15, Münchner Künstlerhaus, Munich (1998); How to Shop, Chicago International Festival of Arts (1996); Cook Dems, Harbour Front Centre, Toronto (1992); and Box Story, Arnolfini, Bristol (2001). Selected solo exhibitions include Tarros de Chutney, La Casa Encendida, Madrid (2019); Art Supermarket and Perpetuity in Icing, ICA, London (1978); and Diary Drawings: ‘Mental Illness’ and Me 1997–2008, Wellcome Collection, London (touring exhibition) (2009).
Since the late 1990s, following her own lived experience of physical and mental ill health, recovery and survival, her work has actively confronted the misogyny, racism and failings of the mental health system.
Since the late 1990s her work has actively confronted the misogyny, racism and failings of the mental health system.
Bobby Baker lives and works in London.
2024
29.7 x 21cm
Watercolour, ink, aqua pastels, watercolour paper
Bobby Baker's acclaimed intersectional feminist practice includes performance, drawing and installation, and persistently exposes the undervalued and stigmatised aspects of women’s daily lives, exemplified by pioneering
works such as Drawing on a Mother’s Experience (1988), and Kitchen Show (1991).
Born in 1950 in Kent, UK, she graduated from Painting at St. Martins School of Art (1972, now Central St Martins) and holds an Honorary Doctorate from Queen Mary University London.
Performances and installations include Great & Tiny War, Newcastle (2018); An Edible Family in a Mobile Home (Stepney, 1976/ Tate Britain, 2023), London; Drawing on a (Grand) Mother’s Experience, WOW-Women of the World Festival, London (2015); Kitchen Show(1991), London, Adelaide Festival and touring; How to Live, Barbican Centre, London (2004); Table Occasions 9–15, Münchner Künstlerhaus, Munich (1998); How to Shop, Chicago International Festival of Arts (1996); Cook Dems, Harbour Front Centre, Toronto (1992); and Box Story, Arnolfini, Bristol (2001). Selected solo exhibitions include Tarros de Chutney, La Casa Encendida, Madrid (2019); Art Supermarket and Perpetuity in Icing, ICA, London (1978); and Diary Drawings: ‘Mental Illness’ and Me 1997–2008, Wellcome Collection, London (touring exhibition) (2009).
Since the late 1990s, following her own lived experience of physical and mental ill health, recovery and survival, her work has actively confronted the misogyny, racism and failings of the mental health system.
Since the late 1990s her work has actively confronted the misogyny, racism and failings of the mental health system.
Bobby Baker lives and works in London.
Kindly donated by
Bobby Baker
Bobby Baker
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Lot 37
£ 270
1
NOT STARTED
Susie Green - Follow Me
Susie Green - Follow Me
Bidding starts on 27-07-2024 17:00
CURRENT PRICE:
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LOT #:
BIDS:
£ 270
37
1
Highest bidder: Jennifer Bellamy
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Follow Me
2024
19.2 x 14.4 cm
Watercolour and pencil crayon on paperon cotton paper
Susie Green (b.1979, Shrewsbury, UK) works across painting and performance, examining displays of dominance, submission, and female presenting confidence. Her work often has an amped up, biographical form, with commanding characters taking up space unapologetically. Throughout her work, empowerment through dress, fetish and disguise return as a regular preoccupation, with bodies adorned in preparation for scenarios of pleasure, abandon, and release. Figures are fluid and expansive, often appearing on the brink of transcending the confines of their skin or melting into contained worlds. Her background as a lead singer in UK punk and pop bands informs her work, allowing for reflections on emotional release and performance of self.
2024
19.2 x 14.4 cm
Watercolour and pencil crayon on paperon cotton paper
Susie Green (b.1979, Shrewsbury, UK) works across painting and performance, examining displays of dominance, submission, and female presenting confidence. Her work often has an amped up, biographical form, with commanding characters taking up space unapologetically. Throughout her work, empowerment through dress, fetish and disguise return as a regular preoccupation, with bodies adorned in preparation for scenarios of pleasure, abandon, and release. Figures are fluid and expansive, often appearing on the brink of transcending the confines of their skin or melting into contained worlds. Her background as a lead singer in UK punk and pop bands informs her work, allowing for reflections on emotional release and performance of self.
Kindly donated by
Susie Green
Susie Green
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Lot 127
£ 250
0
NOT STARTED
Emma Douglas - Lung Bell
Emma Douglas - Lung Bell
Bidding starts on 27-07-2024 17:00
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BIDS:
£ 250
127
0
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Lung Bell
2021
Mixed media on paper
2021
Mixed media on paper
Kindly donated by
Emma Douglas
Emma Douglas
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Lot 88
£ 640
17
NOT STARTED
Darcy Brenna - To Have Seen What I Have Seen
Darcy Brenna - To Have Seen What I Have Seen
Bidding starts on 27-07-2024 17:00
CURRENT PRICE:
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LOT #:
BIDS:
£ 640
88
17
Highest bidder: Natasha Hull
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To Have Seen What I Have Seen
2020
53 x 44cm
Etching on Paper
2020
53 x 44cm
Etching on Paper
Kindly donated by
Darcy Brenna
Darcy Brenna
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Lot 64
£ 850
15
NOT STARTED
Rebecca Lucy Taylor - First draft of song lyrics for You Forever
Rebecca Lucy Taylor - First draft of song lyrics for You Forever
Bidding starts on 27-07-2024 17:00
CURRENT PRICE:
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BIDS:
£ 850
64
15
Highest bidder: Anonymous
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First draft of song lyrics for You Forever
2020
28 x 21.6cm
Pen on book (I Will Never Be Beautiful Enough To Make Us Beautiful Together by Mara Gonzalez)
Rebecca Lucy Taylor (born 15 October 1986),also known by her stage name Self Esteem, is a British musician, songwriter and actress. First known as one half of the band Slow Club, she launched a solo career as Self Esteem with the single "Your Wife" in 2017, followed by the albums Compliments Please in 2019 and Prioritise Pleasure in 2021. A multi-instrumentalist, vocalist, songwriter and theatre composer, she is winner of the 2021 BBC Music Introducing Artist of the Year Award and Prioritise Pleasure was nominated for the 2022 Mercury Prize. From September 2023 to March 2024 she performed the lead role of Sally
2020
28 x 21.6cm
Pen on book (I Will Never Be Beautiful Enough To Make Us Beautiful Together by Mara Gonzalez)
Rebecca Lucy Taylor (born 15 October 1986),also known by her stage name Self Esteem, is a British musician, songwriter and actress. First known as one half of the band Slow Club, she launched a solo career as Self Esteem with the single "Your Wife" in 2017, followed by the albums Compliments Please in 2019 and Prioritise Pleasure in 2021. A multi-instrumentalist, vocalist, songwriter and theatre composer, she is winner of the 2021 BBC Music Introducing Artist of the Year Award and Prioritise Pleasure was nominated for the 2022 Mercury Prize. From September 2023 to March 2024 she performed the lead role of Sally
Kindly donated by
Rebecca Lucy Taylor
Rebecca Lucy Taylor
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SIGNED IN AS :
Lot 58
£ 120
3
NOT STARTED
Grace Alexandria - Pink Vagenis
Grace Alexandria - Pink Vagenis
Bidding starts on 27-07-2024 17:00
CURRENT PRICE:
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LOT #:
BIDS:
£ 120
58
3
Highest bidder: John Barton
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Pink Vagenis
2023
30 x 11.5cm
Lithograph print
Grace Alexandria (b. 1999) is a multi-media artist born in Minneapolis, Minnesota, coming to Margate via Brooklyn, New York. She uses whatever material she needs to express the concept on her mind, but tends toward sculpture and installation with performative elements. Grace’s work primarily tries to express the horrors of having a body, both physical and social, and attempts to reckon with cultural misogyny. Evoking the corporeal form through postures, bodily fluids, and tangible materials Grace navigates these concepts through essential human elements.
2023
30 x 11.5cm
Lithograph print
Grace Alexandria (b. 1999) is a multi-media artist born in Minneapolis, Minnesota, coming to Margate via Brooklyn, New York. She uses whatever material she needs to express the concept on her mind, but tends toward sculpture and installation with performative elements. Grace’s work primarily tries to express the horrors of having a body, both physical and social, and attempts to reckon with cultural misogyny. Evoking the corporeal form through postures, bodily fluids, and tangible materials Grace navigates these concepts through essential human elements.
Kindly donated by
Grace Alexandria
Grace Alexandria
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SIGNED IN AS :
Lot 106
£ 290
2
NOT STARTED
Prem Sahib - 10th Floor
Prem Sahib - 10th Floor
Bidding starts on 27-07-2024 17:00
CURRENT PRICE:
(Reserve not met !)
LOT #:
BIDS:
£ 290
106
2
Highest bidder: Darren Neave
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10th Floor
2014
35 x 25cm
Risograph on paper, edition of 10 + 5AP
The work of Prem Sahib (b. 1982 in London) embodies a poetic and provocative “destabilised minimalism”, referencing the architecture of public and private spaces, structures that shape individual and communal identities, senses of belonging, alienation and confinement. Mixing the personal and political, abstraction and figuration, Sahib’s formalism is suggestive of the body as well as its absence, drawing attention to traces of touch and frameworks of looking.
Recent exhibitions include The Life Cycle of a Flea, a solo presentation at Phillida Reid, London (October 2023) and forms of the surrounding futures, the 12th Göteborg Biennial for Contemporary Art, curated by João Laia (September - November 2023). Sahib’s work has been shown widely institutionally including solo exhibitions Balconies, Kunstverein Hamburg (2017) and Side On, ICA London (2015) as well in group shows at Sharjah Art Foundation, Sharjah, UAE; Migros Museum, Zürich, Switzerland; Whitechapel Gallery; Hayward Gallery, London; KW Institute of Art, Berlin, Germany; Des Moines Art Centre, Iowa, USA; and the Gwangju Biennale, South Korea.
Their work is in the collections of Tate, The Arts Council, Government Art Collection, UK; Walker Art Center, Minneapolis, USA; Astrup Fearnley Museum of Modern Art, Norway; X Museum, Beijing, China; and MONA, Australia.
That Fire Over There, an artist’s book developed from Descent, Sahib’s three-part show of 2020-21, was published in summer 2023 by Book Works, London.
2014
35 x 25cm
Risograph on paper, edition of 10 + 5AP
The work of Prem Sahib (b. 1982 in London) embodies a poetic and provocative “destabilised minimalism”, referencing the architecture of public and private spaces, structures that shape individual and communal identities, senses of belonging, alienation and confinement. Mixing the personal and political, abstraction and figuration, Sahib’s formalism is suggestive of the body as well as its absence, drawing attention to traces of touch and frameworks of looking.
Recent exhibitions include The Life Cycle of a Flea, a solo presentation at Phillida Reid, London (October 2023) and forms of the surrounding futures, the 12th Göteborg Biennial for Contemporary Art, curated by João Laia (September - November 2023). Sahib’s work has been shown widely institutionally including solo exhibitions Balconies, Kunstverein Hamburg (2017) and Side On, ICA London (2015) as well in group shows at Sharjah Art Foundation, Sharjah, UAE; Migros Museum, Zürich, Switzerland; Whitechapel Gallery; Hayward Gallery, London; KW Institute of Art, Berlin, Germany; Des Moines Art Centre, Iowa, USA; and the Gwangju Biennale, South Korea.
Their work is in the collections of Tate, The Arts Council, Government Art Collection, UK; Walker Art Center, Minneapolis, USA; Astrup Fearnley Museum of Modern Art, Norway; X Museum, Beijing, China; and MONA, Australia.
That Fire Over There, an artist’s book developed from Descent, Sahib’s three-part show of 2020-21, was published in summer 2023 by Book Works, London.
Kindly donated by
Prem Sahib
Prem Sahib
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Lot 98
£ 280
5
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Eve Stainton - On Tenter Hooks 1
Eve Stainton - On Tenter Hooks 1
Bidding starts on 27-07-2024 17:00
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98
5
Highest bidder: Helen Teede
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On Tenter Hooks 1
2024
30 x 21cm
Pen, crayon, post-it notes on card
Eve Stainton is an artist and choreographer born in Manchester, living in London, UK. They create multi-disciplinary performance worlds that hold movement practices, welded steel, digital collage, and other invisible forces like waves, imagination and drama. Their research is rooted in community, interested in how differently marginalised people experience and come into relationship with power structures and societal conventions. Often working with codes, tropes and the absurd; staging clunky physical negotiations, or revealing 'behind the scenes' mechanisms of working together, as a way to question a moral idea of perfection, seamlessness and elegance.
Notable presentations include: ICA (UK), Tramway for Take Me Somewhere (UK), Venice Biennale performance programme (IT), Block Universe (UK), Dampfzentrale (CH), My Wild Flag (SE), Le Guess Who? (NL), Bergen Kunsthall (NO), The Place (UK), Nottingham Contemporary (UK), Crac Occitanie (FR), Sadler’s Wells Lilian Baylis (UK), Close Encounters (CPH), La Becque (CH), LCMF (UK), CCA Glasgow (UK), Tangente (CA). Recent Billboards commission 'All About Love' for 28 billboard sites across Manchester. In 2023 Eve was nominated for the Premio Cunha e Silva Art Prize at Galeria Municipal do Porto (PT). Features include The Wire mag, PW Magazine, The Art Newspaper, Metal, AQNB, FACT Mag, Dazed Beauty, Twin Magazine, Art in America, This is Tomorrow. Work for other artists include Anthea Hamilton, Tai Shani, Last Yearz Interesting Negro, Sonia Boyce, Malik Nashad Sharpe, Holly Blakey, Goldfrapp, Compagnie ECO international tour, Vivienne Westwo
2024
30 x 21cm
Pen, crayon, post-it notes on card
Eve Stainton is an artist and choreographer born in Manchester, living in London, UK. They create multi-disciplinary performance worlds that hold movement practices, welded steel, digital collage, and other invisible forces like waves, imagination and drama. Their research is rooted in community, interested in how differently marginalised people experience and come into relationship with power structures and societal conventions. Often working with codes, tropes and the absurd; staging clunky physical negotiations, or revealing 'behind the scenes' mechanisms of working together, as a way to question a moral idea of perfection, seamlessness and elegance.
Notable presentations include: ICA (UK), Tramway for Take Me Somewhere (UK), Venice Biennale performance programme (IT), Block Universe (UK), Dampfzentrale (CH), My Wild Flag (SE), Le Guess Who? (NL), Bergen Kunsthall (NO), The Place (UK), Nottingham Contemporary (UK), Crac Occitanie (FR), Sadler’s Wells Lilian Baylis (UK), Close Encounters (CPH), La Becque (CH), LCMF (UK), CCA Glasgow (UK), Tangente (CA). Recent Billboards commission 'All About Love' for 28 billboard sites across Manchester. In 2023 Eve was nominated for the Premio Cunha e Silva Art Prize at Galeria Municipal do Porto (PT). Features include The Wire mag, PW Magazine, The Art Newspaper, Metal, AQNB, FACT Mag, Dazed Beauty, Twin Magazine, Art in America, This is Tomorrow. Work for other artists include Anthea Hamilton, Tai Shani, Last Yearz Interesting Negro, Sonia Boyce, Malik Nashad Sharpe, Holly Blakey, Goldfrapp, Compagnie ECO international tour, Vivienne Westwo
Kindly donated by
Eve Stainton
Eve Stainton
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Lot 56
£ 330
5
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Guy Oliver - Hey, It's Fine
Guy Oliver - Hey, It's Fine
Bidding starts on 27-07-2024 17:00
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56
5
Highest bidder: Celso Lopez
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Hey, It's Fine
2022
24 x 32cm
Watercolour on paper
2022
24 x 32cm
Watercolour on paper
Kindly donated by
Guy Oliver
Guy Oliver
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Lot 53
£ 270
1
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Jack Lavender - Quench Friends
Jack Lavender - Quench Friends
Bidding starts on 27-07-2024 17:00
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53
1
Highest bidder: Anonymous
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Quench Freinds
2024
A4
Ink, gloss and collage on paper
2024
A4
Ink, gloss and collage on paper
Kindly donated by
Jack Lavender
Jack Lavender
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Lot 52
£ 510
8
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Jonathan Baldock - Self Seeding Flower
Jonathan Baldock - Self Seeding Flower
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52
8
Highest bidder: Alanna Lawley
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Self Seeding Flower
2024
15 x 11cm
Coloured pencil on paper
Baldock was born in 1980 in Kent, UK. He lives and works in London. He graduated from Winchester School of Art with a BA in Painting (2000-2003), followed by the Royal College of Art, London with an MA in Painting (2003-2005).
Saturated with humour and wit, as well as an uncanny, macabre quality that channels his longstanding interest in myth and folklore, Baldock has an ongoing focus on the contrast between the material qualities of ceramic and fabric in his work. Concerned with removing the functional aspects of the materials he uses, the artist instead works in a performative way through his sculptural assemblages, bringing the viewer, the object and the space they simultaneously occupy into question as a theatrical or ritualistic act.
Recent solo exhibitions include ‘Touch Wood’, Yorkshire Sculpture Park, Wakefield, UK (2023); ‘through the joy of the senses’, Charleston Lewes, Sussex, UK (2023); ‘Unearthed’, Kunstverein Göttingen, Germany (2023); ‘we are flowers of one garden’, Stephen Friedman Gallery, London, UK (2023); 'I'm Still Learning', La Casa Encendida, Madrid, Spain (2021); ‘Warm Inside’, Accelerator, Stockholm, Sweden (2021); and ‘Me, Myself and I’, Kunsthall Stavanger, Norway (2020).
In the spring of 2019, Baldock’s solo exhibition ‘Facecrime’ opened at Camden Arts Centre, London following a Freelands Lomax Ceramics Fellowship. The exhibition travelled to Tramway, Glasgow in August 2019 and Bluecoat, Liverpool in March 2020. Other notable solo and two-person exhibitions include ‘LOVE LIFE: Act 3’, De La Warr Pavilion, Bexhill, UK (2017); ‘LOVE LIFE: Act 2’, Grundy Art Gallery, Blackpool, UK (2017); ‘There’s No Place Like Home’, Southwark Park Galleries, London, UK (2017); ‘LOVE LIFE: Act 1’, PEER, London, UK (2016); ‘The Soft Machine’, Chapter Gallery, Cardiff, Wales, UK (2016) and ‘A strange cross between a butchers shop and a nightclub’, Wysing Arts Centre, Cambridge, UK (2013).
Baldock has recently participated in group shows including ‘Poor Things’ at Fruitmarket, Edinburgh, UK (2023); ‘Strange Clay’ at Hayward Gallery, London, UK (2022); ‘Threadbare’ at Stephen Friedman Gallery, London, UK (2021); ‘Human Conditions of Clay’ at Chapter Arts Centre, Cardiff, Wales (2021); and the inaugural Towner International biennial at Towner Art Gallery, Eastbourne, UK (2020). His works are included in prominent collections including Aïshti Foundation, Beirut, Lebanon; Arts Council Collection, London, England; The Grundy Art Gallery, Blackpool, England; The Roberts Institute of Art, London, England and Saatchi Gallery, London, England.
2024
15 x 11cm
Coloured pencil on paper
Baldock was born in 1980 in Kent, UK. He lives and works in London. He graduated from Winchester School of Art with a BA in Painting (2000-2003), followed by the Royal College of Art, London with an MA in Painting (2003-2005).
Saturated with humour and wit, as well as an uncanny, macabre quality that channels his longstanding interest in myth and folklore, Baldock has an ongoing focus on the contrast between the material qualities of ceramic and fabric in his work. Concerned with removing the functional aspects of the materials he uses, the artist instead works in a performative way through his sculptural assemblages, bringing the viewer, the object and the space they simultaneously occupy into question as a theatrical or ritualistic act.
Recent solo exhibitions include ‘Touch Wood’, Yorkshire Sculpture Park, Wakefield, UK (2023); ‘through the joy of the senses’, Charleston Lewes, Sussex, UK (2023); ‘Unearthed’, Kunstverein Göttingen, Germany (2023); ‘we are flowers of one garden’, Stephen Friedman Gallery, London, UK (2023); 'I'm Still Learning', La Casa Encendida, Madrid, Spain (2021); ‘Warm Inside’, Accelerator, Stockholm, Sweden (2021); and ‘Me, Myself and I’, Kunsthall Stavanger, Norway (2020).
In the spring of 2019, Baldock’s solo exhibition ‘Facecrime’ opened at Camden Arts Centre, London following a Freelands Lomax Ceramics Fellowship. The exhibition travelled to Tramway, Glasgow in August 2019 and Bluecoat, Liverpool in March 2020. Other notable solo and two-person exhibitions include ‘LOVE LIFE: Act 3’, De La Warr Pavilion, Bexhill, UK (2017); ‘LOVE LIFE: Act 2’, Grundy Art Gallery, Blackpool, UK (2017); ‘There’s No Place Like Home’, Southwark Park Galleries, London, UK (2017); ‘LOVE LIFE: Act 1’, PEER, London, UK (2016); ‘The Soft Machine’, Chapter Gallery, Cardiff, Wales, UK (2016) and ‘A strange cross between a butchers shop and a nightclub’, Wysing Arts Centre, Cambridge, UK (2013).
Baldock has recently participated in group shows including ‘Poor Things’ at Fruitmarket, Edinburgh, UK (2023); ‘Strange Clay’ at Hayward Gallery, London, UK (2022); ‘Threadbare’ at Stephen Friedman Gallery, London, UK (2021); ‘Human Conditions of Clay’ at Chapter Arts Centre, Cardiff, Wales (2021); and the inaugural Towner International biennial at Towner Art Gallery, Eastbourne, UK (2020). His works are included in prominent collections including Aïshti Foundation, Beirut, Lebanon; Arts Council Collection, London, England; The Grundy Art Gallery, Blackpool, England; The Roberts Institute of Art, London, England and Saatchi Gallery, London, England.
Kindly donated by
Jonathan Baldock
Jonathan Baldock
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Lot 38
£ 270
1
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Ted Rogers - Grief
Ted Rogers - Grief
Bidding starts on 27-07-2024 17:00
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38
1
Highest bidder: Rosamund Hull
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Grief
2024
21 x 26 cm
Willow charcoal on Washi paper
2024
21 x 26 cm
Willow charcoal on Washi paper
Kindly donated by
Ted Rogers
Ted Rogers
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Lot 18
£ 120
1
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Jack Hirons - Laying Egg (Chicken Scratch)
Jack Hirons - Laying Egg (Chicken Scratch)
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18
1
Highest bidder: Anonymous
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Laying Egg (Chicken Scratch)
2023
14.7 x 21.1cm
Jack’s main practice focuses on the relationship between depiction and material, often reflecting on a single subject for contemplation on wider issues. His interest lies with the history and meanings attached to matter and how this can be used to create depictions and ultimately dialogues beyond the subject matter. This leads him to acts such as making his own oil paint from chicken bones.
Born in North Devon, England (1992). Jack gained a BA in Photographic Arts from the University of Westminster. Selected exhibitions include: Round the back of KFC, by the bins, Crate Project Space, Margate (2022); Political, Spiritual, Disaster. Ain’t nobody here but us chickens, Studio Kind, Braunton (2022); Of Earth For Earth, Heartlands World Heritage Mining, Cornwall (2020); Material Light, Kochi Biennale, India (2017).
2023
14.7 x 21.1cm
Jack’s main practice focuses on the relationship between depiction and material, often reflecting on a single subject for contemplation on wider issues. His interest lies with the history and meanings attached to matter and how this can be used to create depictions and ultimately dialogues beyond the subject matter. This leads him to acts such as making his own oil paint from chicken bones.
Born in North Devon, England (1992). Jack gained a BA in Photographic Arts from the University of Westminster. Selected exhibitions include: Round the back of KFC, by the bins, Crate Project Space, Margate (2022); Political, Spiritual, Disaster. Ain’t nobody here but us chickens, Studio Kind, Braunton (2022); Of Earth For Earth, Heartlands World Heritage Mining, Cornwall (2020); Material Light, Kochi Biennale, India (2017).
Kindly donated by
Jack Hirons
Jack Hirons
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Lot 107
£ 250
0
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Jane Hayes Greenwood - The Nurturing,
Jane Hayes Greenwood - The Nurturing,
Bidding starts on 27-07-2024 17:00
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107
0
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The Nurturing,
2024.
30 x 42cm.
Giclee print on Somerset paper, AP. 30 x 42cm.
Jane Hayes Greenwood is a British artist living in London. Hayes Greenwood is first and foremost a painter but works across painting, ceramics, sculptural installation and CGI animation. Beginning with an autobiographical starting point, her work reflects on subjects such as birth, death, sexuality, motherhood and mourning. In her work, otherworldly plants and strange objects exist in psychologically charged, psychedelic environments. Infused with a dreamlike sensibility, her work explores the powerful connections between the human and un/natural world.
Her work has been exhibited internationally including exhibitions with Castor Gallery, London (UK), Stuart Shave Modern Art, London (UK), GiG Munich (Germany), Fir, Beijing (China) and more. She is the co-founder of Block 336, an artist-run project space in Brixton, London, which she directed from 2011-2023. She is a visiting tutor at City & Guilds of London Art School, ESOP and mentors at Turps Art School.
2024.
30 x 42cm.
Giclee print on Somerset paper, AP. 30 x 42cm.
Jane Hayes Greenwood is a British artist living in London. Hayes Greenwood is first and foremost a painter but works across painting, ceramics, sculptural installation and CGI animation. Beginning with an autobiographical starting point, her work reflects on subjects such as birth, death, sexuality, motherhood and mourning. In her work, otherworldly plants and strange objects exist in psychologically charged, psychedelic environments. Infused with a dreamlike sensibility, her work explores the powerful connections between the human and un/natural world.
Her work has been exhibited internationally including exhibitions with Castor Gallery, London (UK), Stuart Shave Modern Art, London (UK), GiG Munich (Germany), Fir, Beijing (China) and more. She is the co-founder of Block 336, an artist-run project space in Brixton, London, which she directed from 2011-2023. She is a visiting tutor at City & Guilds of London Art School, ESOP and mentors at Turps Art School.
Kindly donated by
Jane Hayes Greenwood
Jane Hayes Greenwood
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Lot 81
£ 270
1
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Charlie Godet Thomas - Unfolding Landscape (Extinction)
Charlie Godet Thomas - Unfolding Landscape (Extinction)
Bidding starts on 27-07-2024 17:00
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81
1
Highest bidder: Anonymous
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Unfolding Landscape (Extinction)
2024
29.5 x 20.5cm
Acrylic, glue and and paper on salvaged envelope
Charlie Godet Thomas (b.1985, London, UK. British/Bermudian) currently lives and works between Mexico City, MX and Essex, UK. He studied a BA in Fine Art (Sculpture) at Manchester School of Art (2009) and an MA in Fine Art (Sculpture) at the Royal College of Art, London (2014), where he was awarded the Bermuda Arts Council Scholarship and the Peter Leitner Scholarship. Past residencies include: Fundación Casa Wabi (2023); Caribbean Linked IV at Ateliers ’89 in Oranjestad, Aruba (2016); Tarrant County College, Fort Worth, Texas, US (2017); and Atelier Mondial, Basel, CH (2017).
Thomas has been exhibited internationally at galleries, institutions, and biennials including: Museo Jumex, Mexico City, MX; BALTIC Centre for Contemporary Art, Gateshead, UK; Somerset House, London, UK; 2022, 2020, 2018, 2016, 2014 and 2012 Bermuda Biennial, The Bermuda National Gallery, BM; Espacio Union, Mexico City, MX; Ladrón galería, Mexico City, MX; Carillon Gallery, Texas, US; VITRINE Basel, CH and London, UK; Assembly Point, London, UK; N.A.S.A.L., Mexico City, MX; JO-HS, Mexico City, MX; Nicoletti Contemporary, London, UK; Paradise Works, Manchester, UK; Bloc Projects, Sheffield, UK; Cactus, Liverpool, UK; Home-Platform, Bristol, UK; Telfer Gallery, Glasgow, UK; RCA/ ECA Edinburgh Sculpture Court, Edinburgh, UK; Vernacular Institute, Mexico City, MX; Colector, Monterrey, MX; Ballon Rouge, Brussels, BE; Standpoint Gallery, London, UK; TACO!, London, UK.
Art fairs include: Salón ACME 2024, Mexico City, MX; Material Vol.7, Mexico City, MX; Frieze Sculpture 2019, London, UK; POPPOSITIONS 2018, Brussels, BE; The Manchester Contemporary, Manchester, UK. He was commissioned for SCULPTURE AT Bermondsey Square, London in 2017.
Current/forthcoming exhibitions include The 2024 Bermuda Biennial, Bermuda National Gallery, Hamilton, BM; and a solo show 'Little Sound' at VITRINE Fitzrovia (June 2024).
2024
29.5 x 20.5cm
Acrylic, glue and and paper on salvaged envelope
Charlie Godet Thomas (b.1985, London, UK. British/Bermudian) currently lives and works between Mexico City, MX and Essex, UK. He studied a BA in Fine Art (Sculpture) at Manchester School of Art (2009) and an MA in Fine Art (Sculpture) at the Royal College of Art, London (2014), where he was awarded the Bermuda Arts Council Scholarship and the Peter Leitner Scholarship. Past residencies include: Fundación Casa Wabi (2023); Caribbean Linked IV at Ateliers ’89 in Oranjestad, Aruba (2016); Tarrant County College, Fort Worth, Texas, US (2017); and Atelier Mondial, Basel, CH (2017).
Thomas has been exhibited internationally at galleries, institutions, and biennials including: Museo Jumex, Mexico City, MX; BALTIC Centre for Contemporary Art, Gateshead, UK; Somerset House, London, UK; 2022, 2020, 2018, 2016, 2014 and 2012 Bermuda Biennial, The Bermuda National Gallery, BM; Espacio Union, Mexico City, MX; Ladrón galería, Mexico City, MX; Carillon Gallery, Texas, US; VITRINE Basel, CH and London, UK; Assembly Point, London, UK; N.A.S.A.L., Mexico City, MX; JO-HS, Mexico City, MX; Nicoletti Contemporary, London, UK; Paradise Works, Manchester, UK; Bloc Projects, Sheffield, UK; Cactus, Liverpool, UK; Home-Platform, Bristol, UK; Telfer Gallery, Glasgow, UK; RCA/ ECA Edinburgh Sculpture Court, Edinburgh, UK; Vernacular Institute, Mexico City, MX; Colector, Monterrey, MX; Ballon Rouge, Brussels, BE; Standpoint Gallery, London, UK; TACO!, London, UK.
Art fairs include: Salón ACME 2024, Mexico City, MX; Material Vol.7, Mexico City, MX; Frieze Sculpture 2019, London, UK; POPPOSITIONS 2018, Brussels, BE; The Manchester Contemporary, Manchester, UK. He was commissioned for SCULPTURE AT Bermondsey Square, London in 2017.
Current/forthcoming exhibitions include The 2024 Bermuda Biennial, Bermuda National Gallery, Hamilton, BM; and a solo show 'Little Sound' at VITRINE Fitzrovia (June 2024).
Kindly donated by
Charlie Godet Thomas
Charlie Godet Thomas
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Lot 93
£ 150
0
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David Shillinglaw
David Shillinglaw
Bidding starts on 27-07-2024 17:00
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93
0
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Nuclear Love
2023
70 x 50cm
7 colour screen print on 300gsm Somerset paper, edition of 50
David Shillinglaw creates vibrant and eclectic artwork, which spans various mediums including painting, murals, and installations. His work explores themes of identity, the complexities of the human condition and the languages we use to describe our experiences. Shillinglaw’s practice is characterised by a playful yet thoughtful approach, employing a collage-like aesthetic, his art is both introspective and outward-looking, inviting viewers to reflect on personal and collective narratives.
“David Shillinglaw explores the conflicted, messy human condition: a relentless need for control within a disordered world. His vibrant, vital paintings present a tumultuous system in which natural forms, freely connected words and human features both burst from and are contained within grids, boxes and organised lines.” -Emily Steer.
2023
70 x 50cm
7 colour screen print on 300gsm Somerset paper, edition of 50
David Shillinglaw creates vibrant and eclectic artwork, which spans various mediums including painting, murals, and installations. His work explores themes of identity, the complexities of the human condition and the languages we use to describe our experiences. Shillinglaw’s practice is characterised by a playful yet thoughtful approach, employing a collage-like aesthetic, his art is both introspective and outward-looking, inviting viewers to reflect on personal and collective narratives.
“David Shillinglaw explores the conflicted, messy human condition: a relentless need for control within a disordered world. His vibrant, vital paintings present a tumultuous system in which natural forms, freely connected words and human features both burst from and are contained within grids, boxes and organised lines.” -Emily Steer.
Kindly donated by
David Shillinglaw
David Shillinglaw
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Lot 63
£ 1,020
20
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Gabriella Boyd - Study for Night Carriage
Gabriella Boyd - Study for Night Carriage
Bidding starts on 27-07-2024 17:00
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63
20
Highest bidder: Anonymous
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Study for Night Carriage
2022
A4
Oil and watercolour on paper
The act of painting for Gabriella Boyd is an act of translation, from the interior or verbal, into the exterior and visual. Her paintings give visual form to internal sensations, memories, narratives and spaces held in the mind. Boyd explores and collapses the distinction between interior and exterior states by bringing together representational motifs with purely symbolic structures or diagrammatic forms. In an attempt to depict embodied experience and memory, painting enables the approximation of sentiment or language, allowing invisible sources of power and energy to flourish in indefinite but sincere, candid vocabularies.
Utilizing a distinct almost uneasy palette, her paintings, some imposing in scale, others quietly intimate, explore power relations between people and their environments; the charging or depletion of resources experienced within daily life spent in an urban city system. Pale greens, whites and yellows infuse select canvases with the luminous quality of artificial halogen bulbs, of street lamps and train carriages, refracted through hazy, geometric interiors that imply a doubling effect of windows or mirrors.
“Painting from an urban centre - Boyd focuses on topics of care and attention in a world that increasingly seems devoid of connection. Although we cohabit the city with millions of strangers and share intimate crowded spaces with them daily on the tube, it can never have the same effect of sharing a bedroom with a significant other. A caress differs from a medical swipe only in intention and intensity. It is these magnified relations that cannot be separated from flesh, body, mind, and space that enter an intermingled world of texture, colour, and hypnoticabstraction. Within the visual realm of Boyd’s architectural and pictorial vocabulary are the primordial emotions of human attention, of the necessity of sharing with others and the bonds that make us human.” (Excerpt from Vigilant Space, Àngels Miralda, Mile, November 2022, p. 114)
Gabriella Boyd (b. 1988, Glasgow, UK) lives and works in London (UK). She studied at Glasgow School of Art (2007-2011) and Royal Academy Schools, London (2014-2017). She was shortlisted for the John Moores Painting Prize in 2016, and was commissioned by the Folio Society to illustrate a new edition of Sigmund Freud’s The Interpretation of Dreams in 2015. Her work is held in the permanent collection of AkzoNobel Art Foundation (NL); Arts Council Collection (UK); Columbus Museum of Art (US); The David and Indrė Roberts Collection, London (UK); De Young Museum, Fine Arts Museums of San Francisco (US); He Art Museum (CN); Long Museum (CN); The Rachofsky Collection (US); Royal Academy of Arts Collection (UK) and Walker Art Gallery Collection (UK).
2022
A4
Oil and watercolour on paper
The act of painting for Gabriella Boyd is an act of translation, from the interior or verbal, into the exterior and visual. Her paintings give visual form to internal sensations, memories, narratives and spaces held in the mind. Boyd explores and collapses the distinction between interior and exterior states by bringing together representational motifs with purely symbolic structures or diagrammatic forms. In an attempt to depict embodied experience and memory, painting enables the approximation of sentiment or language, allowing invisible sources of power and energy to flourish in indefinite but sincere, candid vocabularies.
Utilizing a distinct almost uneasy palette, her paintings, some imposing in scale, others quietly intimate, explore power relations between people and their environments; the charging or depletion of resources experienced within daily life spent in an urban city system. Pale greens, whites and yellows infuse select canvases with the luminous quality of artificial halogen bulbs, of street lamps and train carriages, refracted through hazy, geometric interiors that imply a doubling effect of windows or mirrors.
“Painting from an urban centre - Boyd focuses on topics of care and attention in a world that increasingly seems devoid of connection. Although we cohabit the city with millions of strangers and share intimate crowded spaces with them daily on the tube, it can never have the same effect of sharing a bedroom with a significant other. A caress differs from a medical swipe only in intention and intensity. It is these magnified relations that cannot be separated from flesh, body, mind, and space that enter an intermingled world of texture, colour, and hypnoticabstraction. Within the visual realm of Boyd’s architectural and pictorial vocabulary are the primordial emotions of human attention, of the necessity of sharing with others and the bonds that make us human.” (Excerpt from Vigilant Space, Àngels Miralda, Mile, November 2022, p. 114)
Gabriella Boyd (b. 1988, Glasgow, UK) lives and works in London (UK). She studied at Glasgow School of Art (2007-2011) and Royal Academy Schools, London (2014-2017). She was shortlisted for the John Moores Painting Prize in 2016, and was commissioned by the Folio Society to illustrate a new edition of Sigmund Freud’s The Interpretation of Dreams in 2015. Her work is held in the permanent collection of AkzoNobel Art Foundation (NL); Arts Council Collection (UK); Columbus Museum of Art (US); The David and Indrė Roberts Collection, London (UK); De Young Museum, Fine Arts Museums of San Francisco (US); He Art Museum (CN); Long Museum (CN); The Rachofsky Collection (US); Royal Academy of Arts Collection (UK) and Walker Art Gallery Collection (UK).
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Gabriella Boyd
Gabriella Boyd
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Lot 8
£ 270
1
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Anne Ryan - Eve
Anne Ryan - Eve
Bidding starts on 27-07-2024 17:00
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8
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Highest bidder: Kathryn Kaelin
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Eve
2023
35 x 23cm
Anne Ryan is a contemporary artist who creates figurative paintings and sculptures drawing on observations from everyday life. Charged with energy and attitude, her colourful works are always in motion – they dance, writhe, and mosh. Ryan loves music, the movies and mythologies, and these cultural references fuel her work. Born in Limerick, Ireland in 1964, Ryan lives and works in London and Kent. She studied at Limerick School of Art and Birmingham University and was Abbey Fellow in Painting at the British School at Rome in 2016.
2023
35 x 23cm
Anne Ryan is a contemporary artist who creates figurative paintings and sculptures drawing on observations from everyday life. Charged with energy and attitude, her colourful works are always in motion – they dance, writhe, and mosh. Ryan loves music, the movies and mythologies, and these cultural references fuel her work. Born in Limerick, Ireland in 1964, Ryan lives and works in London and Kent. She studied at Limerick School of Art and Birmingham University and was Abbey Fellow in Painting at the British School at Rome in 2016.
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Anne Ryan
Anne Ryan
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Lot 6
£ 1,260
27
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Rana Begum - WP640
Rana Begum - WP640
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6
27
Highest bidder: Valerie Woods
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WP640
2024
29.5 x 21cm
Spray paint on card
The work of London-based artist Rana Begum distils spatial and visual experience into ordered form. Through her refined language of Minimalist abstraction, Begum blurs the boundaries between sculpture, painting and architecture. Her visual language draws from the urban landscape as well as geometric patterns from traditional Islamic art and architecture. Light is fundamental to her process. Begum’s works absorb and reflect varied densities of light to produce an experience for the viewer that is both temporal and sensorial.
Born in Bangladesh in 1977, Rana Begum lives and works in London. In 1999, Begum graduated with a BA in Fine Art from Chelsea College of Art and Design and, in 2002, gained an MFA in Painting from Slade School of Fine Art.
2024
29.5 x 21cm
Spray paint on card
The work of London-based artist Rana Begum distils spatial and visual experience into ordered form. Through her refined language of Minimalist abstraction, Begum blurs the boundaries between sculpture, painting and architecture. Her visual language draws from the urban landscape as well as geometric patterns from traditional Islamic art and architecture. Light is fundamental to her process. Begum’s works absorb and reflect varied densities of light to produce an experience for the viewer that is both temporal and sensorial.
Born in Bangladesh in 1977, Rana Begum lives and works in London. In 1999, Begum graduated with a BA in Fine Art from Chelsea College of Art and Design and, in 2002, gained an MFA in Painting from Slade School of Fine Art.
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Rana Begum
Rana Begum
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The current bid on an auction item is £100. The minimum increment is £10. You enter a bid of £150 (your maximum bid).
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