Georgia Mataxas
Portraiture has been at the core of Georgia Metaxas’ work since 2004, examined predominantly through universal rituals and gestures. Metaxas employs a considered and deliberate approach, a conceptually inspired rendering drawn from the chaos of reality.
For her current work Metaxas investigates our inherent interest in embedding our likeness into material form, whilst considering the familiarity of the photographic portrait, representation and erasure.
Metaxas has exhibited widely including: Australia, China, Spain, Germany and the UK. Her work is held in private and public collections including the National Gallery of Victoria. She holds a Master of Fine Art, Monash University, Melbourne Australia and currently lectures in Photography at Coventry and De Montfort Universities.
Gabriella Sancisi
Gabriella Sancisi has employed portraiture within the field of fine art photography as a means to explore the relationships between sitter, photographer and camera through the various poses she asks her subjects to adopt. She is interested in self-consciousness and discomfort experienced by some in the presence of a camera. Her subjects are people who share a work or leisure activity and who are marked by their labour. The first series was stonemasons covered in marble dust and posed as marble busts. The portfolio of groups has continued to grow during the past 25 years and includes some video portraits that develop some of her earlier concerns.
The recent proliferation of the ‘selfie’ has challenged the status of photographic portraiture and forms part of Sancisi’s current area of study. The ‘selfie’ is the opposite to the medium format, studio-style portraits that she currently makes that are often large scale and in great detail whereas the ‘selfie’ is usually taken on a mobile phone in a posed but casual way. So she is examining her current practice within this new context.
For this exhibition – Esposito, Metaxas, Sancisi – she will show some Polaroid photographs taken during the past ten years. They are divided into the categories Landscape, Portrait and Still Life. The Polaroid is a unique object that encompasses the postmodern dilemma of high versus low art. A cheaply produced object that can be produced by anyone with access to the equipment but at the same time, like a painting, it is a one-off so has value in its uniqueness.
Sancisi graduated with a Bachelor of Arts degree from Nottingham Trent University and holds a Masters degree from University of Westminster. She has exhibited nationally and internationally in solo and group exhibitions and her work is held in public and private collections. She has taught at various UK universities at foundation, degree and masters level.
Giuseppina Esposito
Giuseppina Esposito photographed the Dust series when she first visited some of the most remote places on the west coast of Ireland – an area which she continues to photograph almost obsessively every time she visits it. As she comes from Naples, where tides are virtually non-existent, she became intrigued by the constant and inevitable renewal process which the tidal cycle brings as it flows and ebbs. Esposito photographs these areas as empty, forlorn and seemingly otherworldly landscapes, and she re-works these through digital processes as if viewed as a distant memory.
More recently Esposito has photographed the volcanic landscape of Lanzarote, excited by the notion that there are vast areas of land which remain unapproachable. In geological terms these have been formed only recently, and are as yet in part uncharted. The Untitled series, created initially through an analogue process, is then digitally manipulated to represent remoteness, discovery and renewal.
Giuseppina Esposito has exhibited her work internationally including Ireland, Italy, France and Russia. She studied Fine Art in London at Chelsea College of Art and the Slade School of Fine Art. She has participated in art residencies in the UK and in Italy including Oreste. She currently teaches Art and Design Foundation at Kings Education where she also co-ordinates the program across the Kings group.
Portraiture has been at the core of Georgia Metaxas’ work since 2004, examined predominantly through universal rituals and gestures. Metaxas employs a considered and deliberate approach, a conceptually inspired rendering drawn from the chaos of reality.
For her current work Metaxas investigates our inherent interest in embedding our likeness into material form, whilst considering the familiarity of the photographic portrait, representation and erasure.
Metaxas has exhibited widely including: Australia, China, Spain, Germany and the UK. Her work is held in private and public collections including the National Gallery of Victoria. She holds a Master of Fine Art, Monash University, Melbourne Australia and currently lectures in Photography at Coventry and De Montfort Universities.
Gabriella Sancisi
Gabriella Sancisi has employed portraiture within the field of fine art photography as a means to explore the relationships between sitter, photographer and camera through the various poses she asks her subjects to adopt. She is interested in self-consciousness and discomfort experienced by some in the presence of a camera. Her subjects are people who share a work or leisure activity and who are marked by their labour. The first series was stonemasons covered in marble dust and posed as marble busts. The portfolio of groups has continued to grow during the past 25 years and includes some video portraits that develop some of her earlier concerns.
The recent proliferation of the ‘selfie’ has challenged the status of photographic portraiture and forms part of Sancisi’s current area of study. The ‘selfie’ is the opposite to the medium format, studio-style portraits that she currently makes that are often large scale and in great detail whereas the ‘selfie’ is usually taken on a mobile phone in a posed but casual way. So she is examining her current practice within this new context.
For this exhibition – Esposito, Metaxas, Sancisi – she will show some Polaroid photographs taken during the past ten years. They are divided into the categories Landscape, Portrait and Still Life. The Polaroid is a unique object that encompasses the postmodern dilemma of high versus low art. A cheaply produced object that can be produced by anyone with access to the equipment but at the same time, like a painting, it is a one-off so has value in its uniqueness.
Sancisi graduated with a Bachelor of Arts degree from Nottingham Trent University and holds a Masters degree from University of Westminster. She has exhibited nationally and internationally in solo and group exhibitions and her work is held in public and private collections. She has taught at various UK universities at foundation, degree and masters level.
Giuseppina Esposito
Giuseppina Esposito photographed the Dust series when she first visited some of the most remote places on the west coast of Ireland – an area which she continues to photograph almost obsessively every time she visits it. As she comes from Naples, where tides are virtually non-existent, she became intrigued by the constant and inevitable renewal process which the tidal cycle brings as it flows and ebbs. Esposito photographs these areas as empty, forlorn and seemingly otherworldly landscapes, and she re-works these through digital processes as if viewed as a distant memory.
More recently Esposito has photographed the volcanic landscape of Lanzarote, excited by the notion that there are vast areas of land which remain unapproachable. In geological terms these have been formed only recently, and are as yet in part uncharted. The Untitled series, created initially through an analogue process, is then digitally manipulated to represent remoteness, discovery and renewal.
Giuseppina Esposito has exhibited her work internationally including Ireland, Italy, France and Russia. She studied Fine Art in London at Chelsea College of Art and the Slade School of Fine Art. She has participated in art residencies in the UK and in Italy including Oreste. She currently teaches Art and Design Foundation at Kings Education where she also co-ordinates the program across the Kings group.
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Alexandre Canonico - Alexandre da Cunha - Amy Houmøller - assume vivid astro focus - Babak Ganjei - Boihugo - Cambyse Naddaf - Cassia Tabatini - Claudia Guimaraes - Daniel Lipp - David Noonan - Emile Vappereau - Fabio Kawallys - Foster & Berean - Jean-Baptiste Bernadet - Jonathan Binet - Justin Jaeckle - Laura Braun - Lucy Stein - Maria Eisl - Martin Laborde - Matthew Shannon - Melissa Stabile de Mello - Penelope Kupfer - Roberta Fortunato - Roxane Borujerdi - Sophie Anne Wyth - Sylvie Fanchon - Thiago Barbalho - Vincent Duraud - Yorgos Petrou
TREE OF LIVES
An exhibition including a collaborative mural
Perienne Christian Luci Eyers Timothy Hyman
Friday 11th October 2-8pm
Saturday 12th October 12-6pm
Friday 1st November 2-8pm
Saturday 2nd November 12-6pm
Atrium Space, Barbican Arts Trust Studios, 32a Hertford Road, N15SH
Working alongside in watercolour-on-paper within a fifteen-foot high stairwell, three painters of different generations have been improvising for five days a complex, enigmatic image.
Taking the Tree of Life as an archetype across the centuries – a structure from which might be suspended anything and everything – we each took our separate zones; leaving a central one in which we could overlap. Spinning out figures and forms in the process of making our “multiverse”, our premise was Play. But a shared London was part of it; and each of us hoped to release some imagery that told of our gendered, day-to-day, and specific lives.
Perienne Christian works across the boundaries of observation, dream and imagination. Her current work looks at the connections between landscape -including everyday medicinal weeds and their folklore - and the role of the feminine. Scale and perspectives are not literal in the work. The space she aims to create reflects that described by Blaise Pascal; ‘an infinite space whose center is everywhere, whose circumference is nowhere.’ There are no obvious narratives; rather something circular that has no beginning and no ending. Despite multiple viewpoints, the works carry stories, which the viewer can interpret for themselves.
Perienne teaches at the Royal Drawing School in London, where she completed her masters diploma in 2007. Her work is held in private and public collections internationally.
Upcoming shows include ‘Uneasy’ a two-woman show with Amelia Power as part of Deptford X festival, and ‘Purslane Peas and Bladderwrack - at the Peter Pears gallery - as part of the 2019 poetry in Aldeburgh Festival. She will be in conversation about her work, with artist John Crossley at Gallery East in Woodbridge Suffolk on the 12th of October.
www.periennechristian.co.uk / @periennechristian
Luci Eyers studied painting at the Slade School of Fine Art where she was awarded the Henriques Scholarship. She went on to forge a career in media arts and during this time took part in residencies and performances at the ICA and the Baltic (Newcastle) and received Arts Council funding to commission new work by artists using technology. In 2006 she co-curated a London-wide media arts festival called Node.London. In 2012 she was accepted as one of the first students to join the Turps Studio postgraduate painting programme. She currently lives and paints in London.
www.lucieyers.org.uk / @lucieyerspainting
Timothy Hyman was trained as a painter at the Slade; as well as ten London solo shows, he has exhibited widely and his work is in many public collection. He was elected a Royal Academician in 2011. He has taught and lectured at many galleries and art schools and was lead curator for the Tate’s Stanley Spencer retrospective. As a writer, his most recent book is THE WORLD NEW MADE; Figurative Painting in the Twentieth Century (Thames & Hudson).
www.timothyhyman.net / @timothy_hyman
In 2018 Luci and Timothy Hyman had a two-person show at Transition Two Gallery with a large collaborative wall drawing at the center of the exhibition.
An exhibition including a collaborative mural
Perienne Christian Luci Eyers Timothy Hyman
Friday 11th October 2-8pm
Saturday 12th October 12-6pm
Friday 1st November 2-8pm
Saturday 2nd November 12-6pm
Atrium Space, Barbican Arts Trust Studios, 32a Hertford Road, N15SH
Working alongside in watercolour-on-paper within a fifteen-foot high stairwell, three painters of different generations have been improvising for five days a complex, enigmatic image.
Taking the Tree of Life as an archetype across the centuries – a structure from which might be suspended anything and everything – we each took our separate zones; leaving a central one in which we could overlap. Spinning out figures and forms in the process of making our “multiverse”, our premise was Play. But a shared London was part of it; and each of us hoped to release some imagery that told of our gendered, day-to-day, and specific lives.
Perienne Christian works across the boundaries of observation, dream and imagination. Her current work looks at the connections between landscape -including everyday medicinal weeds and their folklore - and the role of the feminine. Scale and perspectives are not literal in the work. The space she aims to create reflects that described by Blaise Pascal; ‘an infinite space whose center is everywhere, whose circumference is nowhere.’ There are no obvious narratives; rather something circular that has no beginning and no ending. Despite multiple viewpoints, the works carry stories, which the viewer can interpret for themselves.
Perienne teaches at the Royal Drawing School in London, where she completed her masters diploma in 2007. Her work is held in private and public collections internationally.
Upcoming shows include ‘Uneasy’ a two-woman show with Amelia Power as part of Deptford X festival, and ‘Purslane Peas and Bladderwrack - at the Peter Pears gallery - as part of the 2019 poetry in Aldeburgh Festival. She will be in conversation about her work, with artist John Crossley at Gallery East in Woodbridge Suffolk on the 12th of October.
www.periennechristian.co.uk / @periennechristian
Luci Eyers studied painting at the Slade School of Fine Art where she was awarded the Henriques Scholarship. She went on to forge a career in media arts and during this time took part in residencies and performances at the ICA and the Baltic (Newcastle) and received Arts Council funding to commission new work by artists using technology. In 2006 she co-curated a London-wide media arts festival called Node.London. In 2012 she was accepted as one of the first students to join the Turps Studio postgraduate painting programme. She currently lives and paints in London.
www.lucieyers.org.uk / @lucieyerspainting
Timothy Hyman was trained as a painter at the Slade; as well as ten London solo shows, he has exhibited widely and his work is in many public collection. He was elected a Royal Academician in 2011. He has taught and lectured at many galleries and art schools and was lead curator for the Tate’s Stanley Spencer retrospective. As a writer, his most recent book is THE WORLD NEW MADE; Figurative Painting in the Twentieth Century (Thames & Hudson).
www.timothyhyman.net / @timothy_hyman
In 2018 Luci and Timothy Hyman had a two-person show at Transition Two Gallery with a large collaborative wall drawing at the center of the exhibition.
In this three person exhibition Henrietta Armstrong, Kirsty Harris and Hayley Harrison examine the contradictions of ‘love and rage’. Each of their practices are socially and politically driven examining humanity’s past cultures and dominances, to reimagine the future.
Put together, the words ‘love and rage’ are used as a popular signature of solidarity, promising compassion and defiant action, arguably warranted amongst today's crises. These contradictions can at times be seen in the creative process, captured in the dedication of making and the rage and drive to speak.
Armstrong pays homage to the myth of Medusa by creating a shrine installation to this anti-heroine. ‘Heaven has no rage like love to hatred turned, nor hell a fury like a woman scorned' - William Congreve 1697. Demonised for her beauty by those that desired her, punished for being a victim of rape, then vilified as a monster, never to be looked at again and feared by men, Medusa’s story scarily echoes the misogynistic realities of today.
Harris’s towering charcoal palm tree speaks of the moment before destruction, a freeze-frame from our convoluted fight for survival. Her works can seem vast and confrontational, revealing moments of manufactured violence that radically disrupt the landscape. In contradiction she inscribes a sentence in tiny lettering climbing up the staircase - easily overlooked by the passer by
In Harrison’s ‘Instruments of hope’ series, the bright joy of Kite making and flying is fiercely matched with the use of monochrome plastic bags and militant like design. The indoor installation, portrays a strain between the hope of flight and breaking away, and the fury of imprisonment.
Whether through mythological critique of a modern social tension, or a singular anthropologically significant moment, or through our psychological relationship with a simple object, each artist is exploring a moment of tension, where two states are paused, momentarily equal, before the impact of one destroys the other.
Henrietta Armstrong is a multimedia artist influenced by archaeology and anthropology. Whilst fabricating archaeological artefacts and relics, she looks at the ceremonial practices that could be applied to them, considering rituals from the past and future. Looking at defunct technologies and structures she digitally alters their forms to create futuristic totems. She most recently completed the Pendle Hill Summit Stones, a permanent public sculpture commission, creating a series of 12 sculptures that are sited around the Trig Point of Pendle Hill in Lancashire - Commissioned by Pendle Hill Landscape Partnership & In-Situ.
www.henriettaarmstrong.com / @henri_armstrong
Kirsty Harris’s solo exhibition A Foul and Awesome Display is showing at Vane Gallery, Newcastle Upon Tyne until 28th September 2019. She has shown work extensively in group exhibitions - most recently, Field Study: The Auxiliary Warehouse, Middlesbrough (2019). Her work is held in private and public collections internationally including The National Atomic Testing Museum, Nevada, USA.
www.kirstyharris.com / @kirsty_harris_art
Hayley Harrison’s work examines our disconnection with ‘nature’ and each other - via discarded materials, text, performance, and video. Her work has been selected for the Creekside Open 2019, and in 2018 her work was selected by the White Pube for the ‘OUTPOST Members Show’ (Norwich) and by Tessa Garland and Sophie Hill for ‘Visions in the Nunnery’ at Nunnery Gallery (London). Harrison lives and works in London, and delivers socially engaged projects informed by themes within her practice.
www.hayleyharrison.co.uk / @hayley_harrison_
Put together, the words ‘love and rage’ are used as a popular signature of solidarity, promising compassion and defiant action, arguably warranted amongst today's crises. These contradictions can at times be seen in the creative process, captured in the dedication of making and the rage and drive to speak.
Armstrong pays homage to the myth of Medusa by creating a shrine installation to this anti-heroine. ‘Heaven has no rage like love to hatred turned, nor hell a fury like a woman scorned' - William Congreve 1697. Demonised for her beauty by those that desired her, punished for being a victim of rape, then vilified as a monster, never to be looked at again and feared by men, Medusa’s story scarily echoes the misogynistic realities of today.
Harris’s towering charcoal palm tree speaks of the moment before destruction, a freeze-frame from our convoluted fight for survival. Her works can seem vast and confrontational, revealing moments of manufactured violence that radically disrupt the landscape. In contradiction she inscribes a sentence in tiny lettering climbing up the staircase - easily overlooked by the passer by
In Harrison’s ‘Instruments of hope’ series, the bright joy of Kite making and flying is fiercely matched with the use of monochrome plastic bags and militant like design. The indoor installation, portrays a strain between the hope of flight and breaking away, and the fury of imprisonment.
Whether through mythological critique of a modern social tension, or a singular anthropologically significant moment, or through our psychological relationship with a simple object, each artist is exploring a moment of tension, where two states are paused, momentarily equal, before the impact of one destroys the other.
Henrietta Armstrong is a multimedia artist influenced by archaeology and anthropology. Whilst fabricating archaeological artefacts and relics, she looks at the ceremonial practices that could be applied to them, considering rituals from the past and future. Looking at defunct technologies and structures she digitally alters their forms to create futuristic totems. She most recently completed the Pendle Hill Summit Stones, a permanent public sculpture commission, creating a series of 12 sculptures that are sited around the Trig Point of Pendle Hill in Lancashire - Commissioned by Pendle Hill Landscape Partnership & In-Situ.
www.henriettaarmstrong.com / @henri_armstrong
Kirsty Harris’s solo exhibition A Foul and Awesome Display is showing at Vane Gallery, Newcastle Upon Tyne until 28th September 2019. She has shown work extensively in group exhibitions - most recently, Field Study: The Auxiliary Warehouse, Middlesbrough (2019). Her work is held in private and public collections internationally including The National Atomic Testing Museum, Nevada, USA.
www.kirstyharris.com / @kirsty_harris_art
Hayley Harrison’s work examines our disconnection with ‘nature’ and each other - via discarded materials, text, performance, and video. Her work has been selected for the Creekside Open 2019, and in 2018 her work was selected by the White Pube for the ‘OUTPOST Members Show’ (Norwich) and by Tessa Garland and Sophie Hill for ‘Visions in the Nunnery’ at Nunnery Gallery (London). Harrison lives and works in London, and delivers socially engaged projects informed by themes within her practice.
www.hayleyharrison.co.uk / @hayley_harrison_