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Jonny Green’s paintings are precise renderings of very imprecise, rather expressionistic sculptures. Green’s working process is long and labour intensive, beginning with making miniature sculptural objects fabricated from accumulated everyday and discarded, overlooked objects, such as screws, nails, plasticine and electrical tape. The artist then lives with the pieces, discards or edits them, photographing his few selected pieces then paints them. The point of photography is important in Green’s process as this is the moment where most of the decisions are made in terms of its presentation, reducing the subject from 3 dimension to 2, choosing what will be shown and what will be concealed and the painting process is a documentation of these decisions. Once painted, his objects, once flawed and abject are transformed and take on a monumentality and depth not originally present in their original state. Within his process, Green’s works bring to mind ideas of displacement, otherness, metamorphosis, and the abject and the vulnerable. Green explains his approach as one of chasing the human element within his objects, to tell their story and make their voices heard and validate them. Previously creating the sculptures in a ‘stream of conscious’ working process, Green’s latest works are purposefully directed towards portraiture. His paintings thereby exist as portrait and still life, as anthropomorphized objects crossing over to subject, both animate and inanimate. What we, the viewer are presented with is highly realised pictorially yet intentionally ambiguous, we don’t know what we are looking at, its provenance and what its intention is and it is this ambiguity that challenges us.
Bad To The Bone is Jonny Green's first solo exhibition at the gallery, following the success of his highly acclaimed solo presentation at London Art Fair 2016, Art Projects.
Jonny Green’s work has featured in Art Review, a-n, ArtLyst, Tate etc., The Evening Standard, The Guardian, The Independent, Time Out, FAD, Modern Painters and It's Nice That. His work is collected by Deutsche Bank, Hull City Art Gallery, Sony International and the Susan and Bob Summers Collection.
Born 1966, North Yorkshire, United Kingdom. Lives and works in London.
Simone Webb's work demonstrates a delicate melancholy organic time. Flora and fauna bloom and decay in painterly gestures, arrangements of petals float seamlessly in placid space. A desire for a fluid discourse between solid and gaseous forms manifest in flowers dissected with a blurring of focus. Insect and plant relations play out a perceived cycle of orchestrated pollination, horticultural worship by synchronised anthropods lay in a creeping mandala.
Limited edition prints and originals juxtapose the beautiful with the morbid, offering euphoric moments emerging from stark backgrounds graced with fragile flowers to instances of despondency, often dark in appearance, yet remaining equitably as elegant.
Tenses are enhanced by the unification of traditional and contemporary methods in which the final outcomes are formed. Whilst we often only get to view a fleeting moment of nature, she aims to create something of more permanence that can be observed at any given time. Fusing the past, present, and the ambiguous future of these together highlights the beauty alongside the mundanity that occurs throughout their natural life circle.
British, b. 1964, Lincolnshire, United Kingdom, based in London, United Kingdom
A’Court’s practice explores the notion of the visual sublime working within painting, collage and drawing, she employs re-imagined landscapes as a trigger for encounter or contemplation.
Classical landscape references are reinterpreted in a new context, rendered in graphite on a variety of surfaces. The form, composition and materiality are meticulously constructed to summon a state of mind rather than a specific location.
Central to the work is an exploration of the human desire for solace in “numinous” experience within a reductionist secular context.
The tension between the precision drawing and the loosely painted ground references different models of art history and alludes to contrasting types of mental attention competing for the same psychological space.
A’Court invites curiosity of ones own mental states. Her own interest has been informed by the ideas of pre-eminent psychiatrist Ian McGilchrist’s in his book “ the Master and His Emissary-the Divided Brain and the Making of the Western World”, presenting his research on the hemisphere differences and the different perspectives they have in constructing our current experience and impact on our society.