The Young Masters Art Prize operates as a not-for-profit initiative of the Cynthia Corbett Gallery, and is recognized as an exciting, high profile competition that is highly innovative in its concept – to recognize contemporary art that embraces its past.
Art Miami 5-10 December 2017
1 Herald Plaza,NE 14th Street, Miami
We are delighted to announce The Cynthia Corbett Gallery will be showcasing a curated selection of Young Master Artists in the 28th Edition of the internationally acclaimed art fair, Art Miami. Participating artists are given the chance to exhibit at the forefront of the international contemporary art scene. The commercial fair attracts an average of 75,000 visitors annually and year upon year, artists gain prestigious new private and public collectors.
2017 marks The Cynthia Corbett Gallery’s ninth consecutive year exhibiting at Art Miami. Art Miami is one of the most important international art fairs in the artworld and it has an extraordinary reputation that resonates with Young Masters global outreach.
Known as Miami’s premier anchor fair, Art Miami kicks off the opening day of Miami Art Week — when thousands of collectors, dealers, curators and artists descend upon Miami. World-famous for its stylish gallery-like decor, its outstanding quality and extraordinary variety, Art Miami showcases the best in modern and contemporary art from 125 international art galleries.
Art Miami maintains a preeminent position in America’s contemporary art fair market. With a rich history, it is the original and longest-running contemporary art fair in Miami and continues to receive praise for the variety of unparalleled art that it offers. It is the “can’t miss” event for all serious collectors, curators, museum directors and interior designers, providing an intimate look at some of the most important work at the forefront of the international contemporary art movement.
Now in its 28th edition, since Art Miami was founded it has formed the nexus of Miami Art Week and its presence and success has catalysed the inception of Art Basel | Miami Beach in addition to a number of renowned Miami “satellite fairs” such as Design Miami, Scope Miami Beach, Pulse Miami Beach, Untitled, and NADA.
22–25 February 2018
Press View: 22 February, 10am
The Saatchi Gallery Stand 6.3
Young Masters is delighted to return to the Saatchi Gallery with The Cynthia Corbett Gallery for COLLECT 2018.
This February, Young Masters will exhibit with The Cynthia Corbett Gallery at the Saatchi Gallery for the 14th edition of Collect, the Crafts Council’s international art fair for contemporary objects. The Cynthia Corbett Gallery is one of 35 international galleries being brought together to celebrate contemporary craft objects, material innovation and new, experimental approaches to making. Collect promises an endless array of objects to fall in love with, and a litany of maker names to add to the ‘ones to watch’ list.
“The contemporary craft sector has never been more dynamic or forward- thinking. In studios and workshops across the world, we are seeing boundaries tested, conventions challenged and new materials capturing the imaginations of makers. To bring so many of the most skilled talents and world-leading galleries from Britain and beyond together under one roof is always a privilege, but to do so at a time when craft is seizing more attention than ever is truly exciting.”
– Rosy Greenlees, Executive Director, Crafts Council
COLLECT is the International Art Fair for Contemporary Objects, featuring 35 International Galleries showing world-class, museum-quality contemporary craft. The Fair takes place at the Saatchi Gallery, London, from 22 – 25 February 2018.
Combining the personal, private and political with wit, style and elegance, Azita Moradkhani is a worthy winner of two prizes under the banner of the Young Masters Art Prize. The ceremony took place in June at Piccadilly’s exclusive Gallery 8, and Morakhani stunned the room into admiring silence as she received her awards via videolink. After Nyne’s Editor Claire Meadows was present, and interviewed the artist about the past, the present, and a very bright future.
Congratulations on your awards, Azita. A spectacular achievement. What did winning the Young Masters Prize and Young Masters Emerging Woman Art Prize mean to you?
Thank you so much. Winning the 2017 Young Masters Art Prize and the Young Masters Emerging Woman Art Prize from The Cynthia Corbett Gallery has been an honor for me and I am very grateful for that.
What made you want to apply for the Prize?
The masters are relevant in my work in that I maintain a traditional artistic practice, using representation to comment on the contemporary world. I’m interested in returning beauty and realism to contemporary art, using formality, virtuosity, and delicacy to connect my work aesthetically to art of the past. So, when I heard about the Young Masters Art Prize, I thought it would be a good fit for the kind of projects I’ve been working on.
Your winning work is full of mystery – it’s only when one looks closer that the real detail is revealed. How does this represent your views on the purpose of art?
My drawings of intimate lingerie, “Victorious Secrets,” on paper in colored pencil, use imagery culled from photojournalism and iconography to explore connected narratives of pain and pleasure, using these aesthetics to shift the viewer’s focus to possibility to hope. Yet as they look more closely, past the details of lace and filigree, my disruptive iconography becomes apparent, engaging the inherited histories of nation and belief. I take time to go through the channels of the art world and make my points aesthetically approachable, but aesthetic pleasure is not enough in the world today. I’m not interested in making propaganda, either, but there has to be a conceptual dimension, and I want to challenge viewers to recognize the significance of both of these and how they work together in so many of the images made available to us.
What themes do you always return to in your work?
The female body is central to my work, specifically its exposure to different social norms. It is about displacement as an unnatural state we experience when we find ourselves insecure in our own bodies. My “Victorious Secrets” drawings were based on the impression I got from walking into a Victoria’s Secret store in the U.S. for the first time. Seeing such a large lingerie store in public surprised me, as in Iran such stores were private, secret spaces. The connections and tensions between sexual representation and national identity, between public and private, are themes that I’m working with right now.
Who/what have been your influences?
I’ve been impressed by the way Greer Lankton connects her body’s experiences in her work, resulting in a strong dialogue with the viewer about gender and sexuality. Also, I like Wangechi Mutu’s belief that “females carry the marks, language and nuances of their culture more than the male. Anything that is desired or despised is always placed on the female body.” Moreover, I’ve been drawn to the illustrations of Jim Shaw and the way that he challenges different theories about religion, human being, and beliefs.
What are the next steps for you? Maybe a full solo exhibition?
I’ve shown my work in different group and solo exhibitions in the U.S. and outside. I also curated a group exhibition featuring the work of seven Iranian female artists in Boston this past May, which was an amazing experience and a very successful show. I just started a journey to participate in multiple artists’ residencies in the U.S. for nine months, and I am planning to keep traveling for the next two years. So, while I am exposing myself to new environments, I will also keep focusing on my process of making art.
In your view is it ever possible to truly separate the personal from the political in art?
For me, it is difficult to separate them: I come from a country where people are very engaged with social and political issues anyway. So, that could be a reason why I can’t see the political separated from personal matters.
London Art Fair
17 – 21 January 2018
Business Design Centre
52 Upper St, London, N1 0QH
We are delighted to announce that a selection of Young Masters artists will be participating in the forthcoming London Art Fair as the fair celebrates 30 years of operation.
Taking place from 17 – 21 January 2018, London Art Fair is an unmissable opening in the international art calendar.
Following the success of the 2017 Young Masters Art Prize, the Young Masters’ Tour has brought finalists, alumni and guest artists to the historic Royal Over-Seas League, the Royal Opera Arcade Gallery and a handful of the finest international fairs, such as Art Miami 2017 and Collect 2018.
Isabelle Van Zeijl
2017 Porcelain 30 x 15 x 12 cm 11 3/4 x 5 7/8 x 4 3/4 in. £1,550.00
2016 Coloured Pencils on Paper 30.5 x 40.6 cm 12 1/8 x 16 in. £1,850.00
Welcome to the Young Masters Tour | 2.0 at The Royal Opera Arcade Gallery
The Royal Opera Arcade Gallery
5b Pall Mall, St. James’s, London SW1Y 4UY
Exhibition Dates: 2nd – 14th October 2017
Opening Hours: Daily 11am – 7pm or by appointment
To view a specially curated selection from the exhibition on Artsy please click here.
Participating artists include finalists from this year’s prizes: Amartey Golding, Antoine Schneck, Azita Moradkhani, David Piddock, John Phillips, Isabelle van Zeijl, Laura Hospes, Liron Kroll, Liane Lang, Sheila Rock, Tamara Al-Mashouk, Yuehan Pan.
Young Masters Alumni and Touring Artists include: Adam Mysock, Anne Francoise Couloumy, Amy Douglas, Claire Partington, Eleanor Watson, Fabiano Parisi, Flora Yukhnovich, Jongjin Park, Jo Taylor, Lottie Davies, Mary O’Malley, Matt Smith, Christy Symington, Oliver Jones, Yigal Ozeri.
Young Masters Guest Artists: Andy Burgess, Gordon Cheung, Joy Gregory.
Malene Hartmann Rasmussen, Troll #7, 2017
Oliver Jones, Face Mask, 2017
Lottie Davies, What Is The Future, 2009
Christy Symington MRBS, #OlaudahEQUIANO in BLACK and WHITE #BlackHistoryMonth, 2017
Jongjin Park, Artistic Stratum_BO4/1MG4/1 and Artistic Stratum_VB4/1C4, 2017
Isabelle van Zeijl, HER, 2017
Jo Taylor, Rubescent Series, 2017
David Piddock, Samson at Queenhithe, 2016
Jongjin Park, Artistic Stratum_BO4/1MG4/1 and Artistic Stratum_VB4/1C4, 2017
Andy Burgess, Colour House and Weller Steel House – Zig Zag Roof, 2017. Background: Fabiano Parisi and Matt Smith
Joy Gregory, Lilac & Gold Shheened Kitten Heels, 2003 and Hair Grip, 1995. Below: Jongjin Park
Lauren Nauman, Lines, small black, 2017 and Lines, medium striped, 2017
Matt Smith, Coneheads Series, 2017
Liron Kroll, Childcare No.1, 2013
irina Razumovskaya, Metomorphoses, 2016
Claire Partington, Venus, 2015
Lucille Lewin, Bucolic Body and Inanimation II, 2017
Amy Douglas, Something blew his mind and th cracks began to show,2017
John Phillips, Jo Taylor, Azita Moradkhani, Joy Gregory, Jongjin Park
Grant Aston, Reconciliation, 2016
Grant Aston, Reconciliation, 2016. Background: Tessa Eastman and Liane Lang
Liane Lang, Wrestlers, 2017
Lucille Lewin, Inanimation II, 2017
Claire Partington, Venus, 2015
Young Masters has returned to the Royal Opera Arcade Gallery with a group exhibition which runs through London Frieze Week.
For last month’s readers’ art assignment Cynthia Corbett invited The Guardian readers to share art on the theme of women. Here are some of her favourites, with captions by the artists themselves.
Oliver Jones, Three Steps to Younger Looking Skin pt.3, Pastel on Paper.
A pastel drawing from a series challenging the culture of perfectionism flaunted to us in the media and through industry. Based on industry slogans and tag lines the works aim to ‘re-advertise’ a more truthful image of the flesh and the rituals undertaken to achieve these falsified visions that are all too familiar Artwork: Oliver Jones/GuardianWitness
Caravaggio, The Goddess of wine/ Bacchus Woman (self-portrait), Oil painting.
This is an interpretation of Bacchus by Caravaggio created in 1595. My painting represents the fact that in our time we have women who drink the same, and sometimes more, as men. So for me the gods can be women because we all are equal
Artwork: mazarache oana/GuardianWitness
Gillian Hyland, The Forgotten, C-type Print.
This photograph was taken during a shoot last year and was shot outside a 1930s house on the outskirts of London. The young girl is reflected in the vintage car window and it symbolises how children often feel invisible to adults
Artwork: Gillian Hyland/GuardianWitness
Young Masters is delighted to introduce Guest Artist Joy Gregory.
One of the major artists to emerge from the Black British photography movement of the 1980s, Joy Gregory (b. 1959, UK) takes a cross-disciplinary approach to her practice and the vehicle of photography. Her work is concerned with social and political issues with particular reference to history and cultural differences in contemporary society.
Much of Gregory’s photography deals with the physicality of the object, its potency and associations. The series ‘Girl Thing’ (2002-10) deploys the 19th-century cyanotype process, a technique which involves placing her still life objects onto paper painted with light sensitive emulsion. When exposed to light, these objects of cultural and sentimental value are fixed in a deep blue shrouded by a ghostly aura. The process adds a dimension of time and suggests a narrative structure of a different era. ‘Girl Thing’ addresses the power of stereotypical feminine clothing – kitten heels, silk bras and corsets and feminine accessories, such as a delicate handkerchief. These photographs present perceived images of femininity and act as an exploration of gender through female belongings. Gregory states that “this work combines my tendency for collecting objects associated with the female form with my fascination with narrative and history. These seemingly innocuous objects placed within an historical or social context result in surprising and sometimes chilling implications.” In ‘Lilac & Gold Sheened Kitten Heels’, the shoes are contorted and suggest pieces of meat.
Joy Gregory, Hair Grip, From the series ‘Objects of Beauty’. Kallitype on Paper. 44.5 x 58 cm.
Critical of the pressure the fashion and beauty press place on women to be “young, thin and conventionally beautiful regardless of our natural features”, in 1993 Gregory produced a series of photographs of the objects women use every day to make themselves more attractive. As well as this hairpin, the series ‘Objects of Beauty’ (1992 – 1995) includes a corset, a comb, false eyelashes, curlers, jewellery, stockings and lace knickers. Each object is photographed on its own and printed as a calotype, a photographic process also popular in the 19th-century which is characterised by subtle tonal differences. These formal qualities give the individual objects an iconic status and ironically, they themselves become beautiful in their still life guises. ‘Hair Grip’ was recently used on the cover of a new edition of ‘The Second Sex’ by Simone de Beauvoir.
Joy Gregory is a graduate of Manchester Polytechnic and the Royal College of Art. She is the recipient of numerous awards and has exhibited all over the world showing in many festivals and biennales. In 2002, Gregory received the NESTA Fellowship, which led to a major piece around language endangerment. The first of this series was the video piece ‘Gomera’, which premiered at the Sydney Biennale in May 2010. Her work is included in many collections including the UK Arts Council Collection, Victoria and Albert Museum, Institute of Modern Art, Brisbane, Australia, and Yale British Art Collection.
Gregory is currently exhibiting at the Diaspora Pavilion for the 57th Venice Biennale alongside artists such as Isaac Julien, Yinka Shonibare, Hew Locke, Barbara Walker and Ellen Gallagher. Her exhibited work, ‘Overlooked and Underreported‘, consists of two components – a textural golden plaque and a figurative image based piece. The Diaspora Pavilion is presented by International Curators Forum (ICF) and University of the Arts London (UAL), and runs from May 13th until November 26th 2017 at the Palazzo Pisani S. Marina. She currently lives and works in London.
Hair Grip and Lilac & Gold Sheened Kitten Heels will be on display at the Royal Opera Arcade Gallery as part of the exhibition ‘Young Masters Tour 2.0’.
The Royal Opera Arcade Gallery
5b Pall Mall, St. James’s, London SW1Y 4UY
Exhibition Dates: 2nd – 14th October 2017
Opening Hours: daily 11am – 7pm or by appointment
Private View: Tuesday 3rd October 2017, 6 – 9 pm | RSVP essential
Featured Image: Joy Gregory, Lilac & Gold Sheened Kitten Heels, 2003, From the series ‘Girl Thing’. Cyanotype on Paper. 63 x 84 cm.
There is one week left to discover and enjoy “Origin and Consequence’ by Young Masters Alumnus Lluís Barba.
Head to Galeria Contrast, Barcelona to take a look!
June 27, 2017 – September 23, 2017
‘Lluis Barba’s reinterpretation of Michelangelo’s Sistine Chapel, invites the public to reflect on the necessity of tolerance among people and the urgency of developing a common understanding to reach a better social coexistence. It addresses different social issues: the addition of masked women raises questions of gender violence; the ark of Noah present in the last plane gains a contemporary resonance in light of the refugee crisis. Lluís Barba sheds light on a struggling society.’
Lluís Barba, Origin and Consequence. Michelangelo. Sistine Chapel, 2017. Digital printing on canvas, 270 x 750 cm. .
‘Responding to the theme of ‘The Changing Faces of People’, her new body of work celebrates the lives of some of the women who have helped to make the county what it is today.
Through her depictions of landscapes, interiors, still lives, and film stills, Eleanor provided us with a different perspective by which to explore the legacy of these extraordinary women.
The Jonathan Vickers Fine Art Award brings an emerging artist to Derbyshire to produce a body of new work inspired by the country’s landscape, heritage and people. Eleanor is the winner of the seventh Jonathan Vickers Fine Art Award’
W is for Women!
For this month’s project, the Founder and Director of the Cynthia Corbett Gallery and the Young Masters Art Prize invites you to share your art on the theme of women. Deadline 30 September 2017.
Share an image of your artwork via Guardian Witness by clicking the blue “contribute” button for a chance to be featured on the Guardian’s art and design site.
‘Women have created art throughout history, and yet for over 700 years, art has been a mostly male game. If asked to name the art world greats, most people will cite the names of male artists. We still celebrate the Old Masters – and rightly so, they were undeniably remarkable – yet when we reflect on them in the context of today’s globalised world, we see a group of artists who were overwhelmingly European, white and male, with women and minorities relegated to the status of their subject matter.
With the women’s liberation movement, we came a step towards equality in the arts and in the late 1960s a feminist art movement began to emerge. In the mid-80s, the Guerrilla Girls burst on to the scene fighting against sexual and racial inequality in the arts. And yet here we are in 2017 and the gender balance is still askew.
According to a survey conducted by Washington-based National Museum of Woman in the Arts, works by female artists make up only 3-5% of major permanent collections in the US and Europe. To illustrate this point, here in the UK our sizeable public collections of impressionist paintings only include five works by the celebrated female artist, Berthe Morisot.
Earlier this year I launched a new strand of the Young Masters Art Prize, the contemporary art prize I founded in 2009, to address this inequality and give a platform and voice for a young, female artist. I called it the Young Masters Emerging Woman Art Prize. The response was overwhelming and in the prize entries I noticed that something is bubbling away: it is female artists who are embracing experimentation and the avant garde. They are critically engaging with their position within contemporary society and the history of art.
A young Iranian-born Boston-based artist, Azita Moradkhani has won both of these prizes. Fresh from art school, she creates art that fuses elements of Western art, Iranian identity and modern life. Moradkhani’s delicate drawings of women’s underwear are overlaid with iconography from the works of Michelangelo, Gericault and Monet. Beauty is her weapon to make political points aesthetically approachable, and she calls the viewer to question the authority of male creation over the female body.
Other examples of ambitious women-focused projects include the recent Soho House acquisition programme: Vault 100 at The Ned in the heart of the City of London, featuring 92 female British artists. There is an exciting new wave of feminism emerging in the art world and it includes artists coming from the Middle East and Iran. Women’s artistic voices are louder than ever with exciting creative ideas.
A selection of women artists from the Young Masters Art Prize including previous and current winners will be featured in the Young Masters exhibition at the Royal Opera Arcade Gallery London, from 2–14 October, during Frieze week.
A collaboration between two remarkable artists resulted in Isabelle Van Zeijl’s series ICONS. This collection of introspective portraits explores the ancient icons of beauty. Polyhymnia, Venus, Medusa and Victoria are all distinct masquerades created by the harmonious and converging visions of Van Zeijl and renowned Dutch fashion designer Iris Van Herpen. Van Zeijl carefully selected couture designs by Van Herpen from 2011 – 2016 to create a series of poetic and complex images.
‘Venus,’ the Goddess of Love, is depicted in a medley of rippled fabric reminiscent of the 18th century hairstyles of Botticelli’s ‘Birth of Venus.’ According to mythology Medusa, the snake haired temptress, had the power to turn onlookers into stone. The symbol of the medusa head was later adopted to connote malevolence. Here, Zeijl incorporates the dark sultry nature of Herpen’s sequence design into her portrayal of the dark female force ‘Medusa.’
Polyhymnia, From the Muses Series.
Iris van Herpen Haute Couture SS2017
(Left) Isabelle van Zeijl, “Polyhymnia,” from the series ICONS, 2017 (Right) Iris Van Herpen, Haute Couture Catwalk Show SS2017.
Medusa, From the Muses Series
Iris van Herpen FW2016
(Left) Isabelle Van Zeijl, “Medusa,”, ICONS, 2017. (Right) Team Peter Stigter, 2016. Iris Van Herpen Catwalk Fashion Show Womenswear FW2016.
Venus, From the Muses Series
Iris van Herpen Haute Couture FW 2016
(Left) Van Zeijl, Isabelle. 2017. “Venus,” ICONS, 2017. (Right) Graveravens. 2016. Iris Van Herpen Haute Couture FW 2016 Collection Presented At Paris Fashion Week.
Victoria, From the Muse Series
Iris Van Herpen Catwalk | Fall 2011 Couture
(Left) Isabelle van Zeijl, “Victoria,” ICONS, 2017. (Right) Vogue. 2011. Iris Van Herpen Catwalk | Fall 2011 Couture.
You can find out more about Isabelle van Zeijl’s series ICONS here.
‘HER’ by Isabelle van Zeijl is currently on display at Young Masters at the Royal Over-Seas League. Isabelle van Zeijl, HER,
Ceramic Review, issue 287 features an interview with Maylis Grand patron and judge of The Young Masters Maylis Grand Ceramics Prize, whom we want to express our deep gratitude for her generous support and patronage.
Watch one of our partners and sponsors of the Be Smart About Art Prize, Susan Mumford, as she offers a virtual tour of the Young Master exhibition at the Royal Over-seas League.
Susan will be offering a talk at the Young Masters Exhibition in ROSL for emerging to mid-career art world professionals next tuesday. To book your ticket to the evening event hosted by Be Smart About Art, click here.
Azita’s art tastefully fuses elements of Western art, Iranian identity and modern life. She currently has a striking series on display in a group exhibition at the Royal Over-Seas League in St James’s, London (ending September 8). It’s called “Victorious Secrets” and her art is embedded in old-fashioned lingerie.
Kayhan Life caught up with Azita for a conversation about her work.
Where did you grow up, and what is your relationship with Iran?
I was born and raised in Tehran, and from childhood I was surrounded by beautiful, delicate Persian carpets and colorful textile designs in everything from my grandma’s dress to the curtains on the wall. I was also impressed by Persian miniatures, with their colorful details and the art of storytelling through images. And of course having a father who is an artist himself was a huge inspiration for me through[out] my life. I will definitely go back and forth to Iran to visit my family. I would love to experience art residencies in Iran, and possibly teach art in the future – have exhibitions there and be in touch with artists.
When and how did you decide to become an artist?
It’s a very difficult question for me, because there is a point at which you question [yourself] and have doubts and ask yourself ‘why’ and ‘how.’ These questions have continued from my childhood until now. As my father was an artist, I always did drawing and made art on his easel and with a big canvas of paint. Even now that I’m 30, I’m [asking] myself how I can have more impact on the world through the process of making art, through what I have a lot of passion [for].
Your most recent series, ‘Victorious Secrets,’ has as its base drawings of old-fashioned female undergarments. Can you explain why? Isn’t it an unexpected choice of subject coming from a young woman with Iranian origins?
The female body is central to my work – especially exposure to different social norms.
A series of recent drawings is based on my first impression of walking into a Victoria’s Secret store in the U.S. I was surprised to see such a large lingerie store in public, and it made me think about how these stores are such private, secret spaces in Iran. These drawings of lingerie emphasize the connection and tensions between sexual representation and national identity – between private and public.
My drawings of intimate lingerie, ‘Victorious Secrets,’ on paper and in color pencil, explore connected narratives of pain and pleasure through repeated abstract patterns and images based on photojournalism and iconography. I use an aesthetic of pleasure to shift the viewer’s focus to possibility, to hope. Yet when the viewer looks more closely at the lines that make up the drawing in the interior space of the panties, they are brought face to face with shadowy images of violence that signify the vulnerability of victims. The images intertwine in abstract patterns, traumas that repeat themselves.
Has the Young Masters Prize been helpful to you?
It has been an honor for me, and I’m very grateful for that. [In terms of] sales of my work, I have seen much more interest recently. I have been hearing about different collectors more, both in Boston and other cities.
How is your work inspired by art history?
I’m interested in returning beauty and realism to the world of contemporary art. But aesthetic pleasure is not enough. There has to be a conceptual dimension as well, and I want to challenge viewers to recognize the significance of both of these and how they work together.
Many themes from Old Masters’ work emerge in my work. For example, in one of my drawings, I used the nearly touching hands [in the “Creation of Adam“,] the iconic image by Michelangelo [in the Sistine Chapel]. I challenge the story of Adam’s creation as an idealized representation of the physical birth of men. My piece points out the power of women’s bodies to give birth to humankind, even as we [women] are limited in our power to make decisions about our own bodies.
What are your next projects?
One of the projects I’m working on is at the printing workshop: the possibility of transferring drawings onto the actual fabric of the lingerie. Let’s see how it works.
And I’m working on my body casts too. It’s a mix of the patterns of lacy and luxury lingerie on the bodies with images from different resources. It’s like a tattooing of history and memory on the body for me, and it’s all colored pencil on paper clay – meaning a clay based on paper. But let’s see!
Young Masters is taking part in The Cynthia Corbett Gallery’s Exclusive Online Summer Exhibition, now live on Artsy ☀️
The show comprises a plethora of Contemporary art in a variety of media, from painting, photography and collage, to ceramics, sculpture and video. Curated around the theme of summer in all possible interpretations, our Summer Exhibition seeks to position the exploration of colour, texture and movement as self-sufficient points of reference and inspiration, and to explore the continuous importance of process in Contemporary art making.
Don’t miss the delicate pencil drawings of Azita Moradkhani, the winner of this year’s Young Masters Art Prize and inaugural Emerging Woman Art Prize, and abstract paintings by Elise Ansel, one of many acclaimed Young Masters Alumni featured in this presentation. Adopting historical painting as their blueprint in order to challenge and subvert art history’s portrayal of women, both these female artists explore the formal qualities of gesture and colour.
Other highlights are the glimmering summer palettes of yellow, gold and fiery orange in the works of Jongjin Park, Stephen Snoddy, Matt Smith and Charlotte Bracegirdle, whose leisurely figure in Flaming June recalls the Californian cool of Andy Burgess’ Pool House.
This exhibition brings together vibrant impressions of nature: while Katie Spragg and Beatriz Elorza evoke details of flora, Malene Hartmann Rasmussen and Asya Reznikov transport the viewer into magical worlds that combine natural with supernatural.
Tom Leighton, Andréa Stanislav and Tony Fitzpartick channel the energy of summer through dynamic and highly personal experimentations with collage, creating dream-like cityscapes, electric portraits and illustrative mind maps.
The season of summer is full of richness, life and vibrance. Whether you’re sipping one of Deborah Azzopardi’s cocktails or basking under Mary O’Malley’s palm tree, The Cynthia Corbett Gallery is bringing the summer to you!
The exhibition runs until the 9th of September.
Featured: Elise Ansel, ‘Infidelity V’, 2015, Oil on Canvas, 12 × 12 in, 30.5 × 30.5 cm.
Portraiture has always been more than just a record. It has been used to depict beauty, power, virtue, importance, wealth and many other qualities of the sitter. Currently on show in London are two exhibitions exploring what portraiture means today – the BP Portrait Award at the National Portrait Gallery and From Selfie to Self-Expression at Saatchi Gallery.
The BP Portrait Award is an annual competition that aims to represent the best in contemporary portrait painting, with works ranging from intimate studies of friends and family to bold representations of public figures. In an age where photography is arguably the most important and widespread medium for portraiture, the BP Portrait Award is committed to support the tradition of portrait painting by featuring a variety of styles and approaches to the contemporary painted portrait, while referencing portraiture’s centuries old history.
This year’s winning painting by Benjamin Sullivan, titled Breech!, depicts the artist’s wife Virginia breastfeeding their newborn baby. The tenderness of this mundane domestic scene evokes Madonna and Child paintings through the ages, while also putting forward a decidedly contemporary take on the age-old subject of maternal bond.
Like Sullivan, Charles Moxon is a painter engaging with the question of where contemporary portraiture lies in relation to the Old Masters tradition. Moxon was shortlisted and highly commended for the Young Masters Art Prize in 2012. His portrait of MP Harriet Harman was selected for the BP Portrait award in 2016. He was previously shortlisted for the Final 300 in 2012 and 2013. Moxon’s work is grounded in reference to traditional techniques and processes of Dutch 17th century paintings, which he uses to create profoundly direct contemporary portraiture. Set against pitch-black backgrounds, his subjects are depicted in a way that is highly personal yet gracious. Created with painstaking attention to detail, Moxon’s portraits seek to engage with contemporary sitters as they are.
From Selfie to Self-Expression, currently on at Saatchi, is the world’s first exhibition exploring the history of the selfie from the 16th century to the present day, and celebrating the potential of a form of expression often dismissed for its inanity. The exhibition opens with some of the finest self-portraits ever created by Old and Modern Masters including Rembrandt, Van Gogh, Picasso, Frieda Kahlo, Warhol. Alongside those highly valuable works are spontaneous selfie portraits by contemporary cultural influencers such as Kim Kardashian and Barack Obama. The exhibition argues that what we think of as a selfie – taking our own picture with our own camera – is not entirely new, nor is it frivolous and inane. ‘The selfie is by far the most expansionist form of visual self-expression’ said gallery chief executive Nigel Hurst. ‘The art world cannot really afford to ignore it.’ Self-portraiture is as relevant as ever, and selfies provide artists with the opportunity to imaginatively and richly explore the notion of what the self might really be.
Dutch fine art photographer Isabelle Van Zeijl, whose works were Highly Commended for the inaugural Young Masters Emerging Woman Art prize in June 2017, is one of many contemporary artists placing self-portraiture at the core of her practice. Although inevitably individual in their nature, her self-portraits conjure a sense of awareness and ubiquity; her work is driven by the fascination with the female in all its guises and the pursuit of a universal, timeless beauty. Van Zeijl’s self-portraits evoke the work of the Flemish Primitives, Renaissance masters and Golden Age portraitists. During the Renaissance, the focus shifted to the individual, to ‘great’ men, distinguished and virtuous. Van Zeijl co-opts the cult of Renaissance masculine virtuosity by existing in her practice as both object and subject. Digitally composing her photographs like a painter by using techniques of the past, Van Zeijl reaches beyond the self to discover a timeless vision of female beauty, advancing the genre of self-portraiture in her own, distinctly contemporary manner.
Laura Hospes is another Young Masters artist whose practice is premised on self-portraiture. Hospes was Highly Commended for the Young Masters Art Prize 2017. Her monochrome, high contrast self-portrait Braid received a great deal of praise. Unlike Van Zeijl, Hospes’s self-portraiture is intensely autobiographical, based on her understanding of the self and her personal battle with mental illness. The resulting image is intense and arresting, confronting the viewer with a direct, heavy gaze of a young woman dealing with depression and anxiety. Inspired by the magical work of Francesca Woodman, the black and white portraits of Stephan Vanfleteren and the dark lights of Dutch painter Rembrandt she has developed her own visual language and voice.
By Zhiqin Zhang, Emmanuelle Gautier and Masha Ryabova
Young Masters at the Royal Overseas League continues until September 8th. Join us for our Summer Party on September 7th RSVP.
Featured Image: Laura Hospes, Braid, 2015, Archival Pigment Print, Edition of 7 + 2 AP, 60 x 40cm (23.5 x 15.7in.), courtesy Kahmann Gallery
PUBLISHED: 22:26, 30 July 2017 | UPDATED: 22:33, 30 July 2017
When Lucille Lewin applied for a Masters degree, her first thought was: ‘Can I really do this?’ ‘I hadn’t actually done a BA before,’ she says. ‘And the elephant in the room was my age.’
A 67-year-old mother of two grown-up sons (‘one’s a doctor, one’s a lawyer’), she’d be some 40 years older than many of the students.
It’s rare to relish starting a new career just as your contemporaries are winding down. And going to art college in your mid-60s is clearly a challenge — from coping with the super-confident, young millennials, to completing mountains of coursework — but the change is particularly shocking if, like Lucille, you once ran a legendary fashion empire.
With her husband Richard, Lucille founded Whistles in 1976 and turned it into one of the High Street’s biggest success stories.
Her own designs for the brand were sized for real women, and many of us are still wearing her jewelled knits, embroidered jackets and tailored suits 20 years on.
By the time the couple sold the business in 2002, to business partner Richard Caring, it had 40 stores across the country.
The funny thing is, she admits, none of her twentysomething fellow students knew about her history. ‘All the brownie points I got in fashion were worth absolutely nothing. It was a new world completely.’
Though, she adds, they did Google her half way through the course.
Lucille’s decision to completely reinvent herself eight years ago happened by chance.
‘I walked into an evening class in Hackney, East London, by mistake. A good friend was going, and I wanted to talk to her, so I said: “I’ll drop you off.”
‘I wandered into this little basement studio, where there were a few potters potting, and the smell of the clay hit me. I connected with it at once . . . it’s a very earthy smell.’
She signed up for part-time evening classes, then decided to study ceramics full-time.
Anyone thinking of retraining mid-life, after a career, might take inspiration from Lucille. Now a tiny, vibrant 69-year-old, she remains endlessly curious. In fact, she says everything in her life has happened organically.
She married Richard on her 21st birthday and went to America after he got a place at Harvard Business School.
In 1972, they moved to the UK. Richard had a job with menswear company Burtons and, to her amazement, she landed a job as an assistant to the merchandiser at Harvey Nichols.
‘I only had ripped jeans to wear, so I went out and bought this fabulous suit and a pair of stacked heels for the interview.’ She was later promoted to buyer, but was eventually fired for being too outspoken.
So, in 1976, she decided to open her own shop on George Street in Marylebone. ‘I wanted to occupy the space between designer and High Street.’
She filled the tiny, 250 sq ft shop with black and white clothes — and it sold out.
She believes the sale of Whistles may have been a trigger for one of the most traumatic episodes in her life. In 2009, she was diagnosed with a non-cancerous brain tumour known as an acoustic neuroma.
‘The takeover was a very difficult time for me,’ she admits. ‘The company was very much my baby.
‘It was a time of unbelievable, unrelenting shock and stress. I felt powerless, and that was one of the hardest things.’
It’s art, yes, but also a business. You don’t make ceramics just to sit looking pretty in your garage — you do it to exhibit and sell the work – Lucille Lewin
The tumour was removed during a 12-and-a-half hour operation at Addenbrooke’s Hospital in Cambridge. Afterwards, she felt very weak for three months. She says: ‘I could not shop, cook or care for myself. I was so grateful I had my family around me.’
At first, smiling was impossible and eating was a challenge.
‘Many people retreat because they can’t cope with what’s happened to their faces.
‘You lose the ability to react, you lose your smile.’
Following an intensive rehabilitation programme, her condition is barely visible — except in photographs. Having recovered, she was determined to have more pleasure in her life. She took a two-year part-time diploma in fine art and ceramics at London’s City Lit college (2012–14), after which tutors urged her to apply for a two-year postgraduate degree at the prestigious Royal College of Art.
To her delight, she won a place. As a fashion guru, she had lectured at the Royal College. Now she was a mere student. ‘I’m quite a relaxed person, so I didn’t worry about status, thank goodness,’ she laughs.
Though she says wryly that young people master technology so much better, she made friends for life on the course.
At a time when the number of part-time and mature students has dropped significantly, because people are worried about running up debt, she’s keen to stress it’s not an indulgence.
It’s exciting. I’ve got so many things I still want to say. And I think it’s just the start of this adventure – Lucille Lewin
The course cost £9,000 a year, but by selling her work, she can recoup the cost.
‘It’s art, yes, but also a business. You don’t make ceramics just to sit looking pretty in your garage — you do it to exhibit and sell the work.’
In fact, Lewin has more than held her own alongside her classmates. In June, she won the £1,500 Young Masters Maylis Grand Ceramics Prize, after completing her MA in ceramics and glass.
The irony of being declared a ‘young master’ at the age of 69 isn’t lost on her. Since she won the prize, pretty much all of her exquisite white porcelain sculptures have sold. Now she’s preparing for an exhibition in November. Husband Richard grumbles good-naturedly that they can’t go on holiday.
‘I don’t blame him, I should be calming down a little bit,’ smiles Lucille. ‘But it’s exciting. I’ve got so many things I still want to say. And I think it’s just the start of this adventure.’
Lucille’s work is on show at The Cynthia Corbett Gallery / Young Masters Art Prize at the Royal Overseas League until September 8, young-masters.co.uk, lucillelewin.com
On June 21st, Artists, Judges, Patrons, friends and family gathered at the Young Masters Art Prize Exhibition at Gallery 8 for the prize giving ceremony. Cynthia Corbett opened the ceremony by introducing the 2017 Young Masters and warmly thanked all those that helped the vision become a reality.
The chair of the judging panel Godfrey Barker announced the winner of the 2017 Young Masters Art Prize, Azita Moradkhani. Laura Hospes and Tamara Al-Mashouk were announced as Highly Commended artist for the Young Masters Art Prize. In his speech Godfrey discussed the importance of the Old Masters in the art world today.
Iranian artist Azita Moradkhani was announced as the winner of the Young Masters Art Prize and inaugural Young Masters Emerging Woman Art Prize, both generously supported by Dr. Chris Blatchley. Moradkhani was chosen from a shortlist of 18 international artists for her delicately crafted drawings. The female body is central to her work and she uses beauty as her weapon to address complex socio-political issues. Her use of traditional techniques, skill and delicacy connect her work aesthetically to the art of the past.
Azita Moradkhani’s delivered an acceptance speech from afar:
Dr. Chris Blatchley, Patron of The Young Masters Art Prize and The Young Masters Emerging Woman Art Prize, announced Isabelle van Zeijl and Katie Spragg as the two artists Highly Commended for the Emerging Woman Art Prize.
Lucille Lewin was announced by James Grand as the winner of the £1,500 Young Masters Maylis Grand Ceramics Prize, which is supported by patron, collector and philanthropist Maylis Grand. Lauren Nauman was announced as Highly Commended for Young Masters Maylis Grand Ceramics Prize.
Last but not least, Katie Spragg was declared the winner of the Be Smart About Art award by Susan Mumford, the Founder of Be Smart About Art and Association of Women Art Dealers (AWAD).
See full details of our 2017 winners and prizes here.
Exhibition dates: 19 – 24 June Location: Gallery 8
8 Duke Street St James’s, St. James’s, London SW1Y 6BN
The Young Masters Tour Exhibition at Royal Over-Seas League celebrates artists who pay homage to the skill and traditions of the past. The not-for-profit ethos of the Young Masters Art Prize aligns with ROSLarts which also aims to support emerging talent and offers opportunities early into the careers of international, young creatives. Many entrants of the prize, past and present exhibit and boast variety in medium and subject as well as artists varying in age and experience.
Sitting alongside these works is the work of more established talent represented by The Cynthia Corbett Gallery and exhibited internationally, further adding to the diversity of the work on the show. The exhibition offers new works of contemporary art that take inspiration from the past, displayed in the grand setting of the historic clubhouse that is open to all visitors to come and enjoy.
Grant Aston | Lluís Barba | Sasha Bowles | Elisabeth Caren | Anne Francoise Couloumy | Lottie Davies | Tessa Eastman | Beatriz Elorza | Michal Fargo | Carole Freeman | Amartey Golding | Liron Kroll | Liane Lang | Sandro Miller | Azita Moradkhani | Charlie Moxon | Lauren Nauman | Mary O’Malley | Yigal Ozeri | Fabiano Parisi | John Phillips | David Piddock | Lars Reiffers | Sheila Rock | Red Saunders | Antoine Schneck | Stephen Snoddy | Christoph Steinmeyer | Eleanor Watson | Isabelle van Zeijl
Young Masters presented a panel discussion at the Royal Over-Seas League on Sunday 2nd July from 2 – 1.30pm. The talk was held in association with Mayfair Art Weekend. Click the link above for video and details.
Exhibition Location: Royal Overseas League, Over-Sea House, Park Pl, St. James’s, London SW1A 1LR
Exhibition runs: 28 June – 8 September 2017
Private View: Thursday 29 June, 6-8 pm
Opening Hours: Monday – Friday 11am-5.30pm & weekends by appointment
Introduction by Cynthia Corbett, Founder and Director of the Young Masters Art Prize
“The Young Masters Art Prize was founded in 2009 because I felt at the time it was important to not only nurture young artistic talent but to reflect upon the past in these uncertain economic and political times. Eight years later, this endeavour is even more crucial.
Our 2017 edition has proved to be the most successful Young Masters to date. The call for entries was answered by over 775 artists, by far a record! With the assistance of the dedicated team of judges and staff, we selected 18 artists and 10 ceramicists to exhibit their work in London, showcasing this incredible shortlist in the heart of London’s prestigious art district St James’s. This selection is extremely diverse; the artists come from the UK, Europe, USA, Asia, the Middle East and Africa. The youngest artist is 24 and the oldest was born in 1948. A Young Master does not have to be of a young chronological age, and the initiative supports any artist, regardless of age, gender or nationality, providing they have the talent and the relationship with the past in their work. This means that Young Masters is unique.”
To coincide with the inaugural Young Masters Emerging Woman Art Prize we presented a talk to celebrate and discuss gender issues around art. The panel discussion was moderated by Susan Mumford, Founder, Association of Woman Art Dealers, and included Jean Wainwright, Art Historian, Critic and Professor of Contemporary Art and Photography at the University for the Creative Arts, Marine Tanguy, CEO MTART, Catherine Loewe, London-based curator and consultant and Cynthia Corbett, Gallerist and Founder of The Young Masters Art Prize.
Young Masters: Talks includes discussions hosted by speakers from: Be Smart About Art, offering specialist, advice and support for artists and industry professionals; and Artists’ Collecting Society, the premium collecting society for the administration of the Artist’s Resale Right (ARR).
Discussions are led by Young Masters Art Prize Judges, including:Jean Wainwright, Art Historian, Critic and Professor of Contemporary Art and Photography at the University for the Creative Arts; and Melanie Gerlis, Art Market Columnist at the Financial Times and Editor-at-large at The Art Newspaper.
Where & When: Royal Over-Seas League Park Place London SW1A 1LR United Kingdom
Market Art + Design by Art Market Productions, the East End’s premier modern and contemporary art fair, returned to Bridgehampton for its 7th year. The Art Fair was set just off Montauk Highway at the The Bridgehampton Museum, New York.
The Cynthia Corbett Gallery exhibited in Booth 509 and presented work by Young Masters Alumni Lluis Barba, finalist of the 2009 edition, and Zemer Peled, Highly Commended for the inaugural Young Masters Maylis Grand Ceramics Prize in 2014. Their work was exhibited alongside art by Gallery Artists Deborah Azzopardi, Andy Burgess, Tom Leighton, Mary O’Malley and Klari Reis.
The display featured a special focus on pop artist Deborah Azzopardi. While her colours serve as the initial bait to gain the viewer’s attention, it is her subject matter that hooks you and keeps you captivated. In “Saturday Night” 2004, lipstick is seductively applied, while elsewhere toned bodies remove items of clothing and long female legs dangle from a red convertible. These works are provocatively flirtatious, highlighted by playful titles such as “Beach Party” and “Happy Birthday”. Millions of people across the world are familiar with her artworks, her works have been published internationally and there is an incredible demand for her Original Paintings.
The unique synthesis of biology and creativity was on offer in Klari Reis’ installation work of hand painted, wall mounted Petri dishes. Also on view were the clear lines, bold geometric design and dynamic forms of buildings painted by Andy Burgess.
To coincide with Tate Britain’s exhibition of one of the most popular and influential British artists of the twentieth century, The Cynthia Corbett Gallery also offered visitors ‘David Hockney. A Bigger Book’.
Israeli ceramicist Zemer Peled is the first ever Fondation Bernardaud, Limoges Porcelain, Artist in Residence. Peled is currently participating in C’est le bouquet!, a group exhibition which features 17 international ceramicists whose creations are inspired by floral themes. The exhibition runs 23 June 2017 – 24 February 2018.
Andrew Burgess, Mary O’Malley, Deborah Azzopardi, Zemer Peled.
Deborah Azzopardi, Zemer Peled, Lluis Barba, Klari Reis
THE CYNTHIA CORBETT GALLERY | BOOTH 509
July 6 – 9, 2017
The Bridgehampton Museum – 2368 Montauk Highway, Bridgehampton, NY
Iranian artist Azita Moradkhanihas been announced as the winner of the Young Masters Art Prize and inaugural Young Masters Emerging Woman Art Prize, both generously supported by Dr Chris Blatchley. She was presented with her combined £3,000 prize at an award ceremony sponsored by Brownhill Insurance held this evening, Wednesday 21 June 2017, at Gallery 8 in London’s St James’s.
Moradkhani was chosen from a shortlist of 18 international artists for her delicately crafted drawings. The female body is central to her work and she uses beauty as her weapon to address complex socio-political issues. Her use of traditional techniques, skill and delicacy connect her work aesthetically to the art of the past.
Chair of the judges, art historian Godfrey Barker, comments: ‘The Young Masters Art Prize is a snapshot of contemporary art now. It had a huge number of entries from 55 countries, a vast majority of those from young or emerging artists. Two things we have never seen before: the prize has been overwhelmed by women (two thirds of the entries) and all nine of the awards have been given to women. Clearly this prize is now at the cutting edge, with an international emphasis that includes North America, Africa, the Middle East and the Islamic world.’
Cynthia Corbett comments: ‘We’re extremely excited about this year’s prize and winners. The additional strand of an emerging women’s prize has led to overwhelming interest from international female artists. The astounding quality of female applicants has meant that the judges have bestowed all the awards to women. I hope we can now look forward to a future of artistic meritocracy.’
Two Highly Commended Prizes of £500 courtesy of the Artists’ Collecting Society (ACS) were awarded toLaura Hospesand Tamara Al-Mashoukand a new ‘Be Smart About Art’ award worth £500 was awarded toKatie Spragg.
The judges were Godfrey Barker, Melanie Gerlis, Art Market Columnist at the Financial Times and Editor-at-large at The Art Newspaper; Daisy McMullan, Curator; Hannah Rothschild, writer, filmmaker and Chair of the Board of Trustees of the National Gallery, London; Charles Saumarez Smith, Secretary and Chief Executive of the Royal Academy of Arts and Jean Wainwright, Art Historian, Critic and Professor of Contemporary Art and Photography at the University for the Creative Arts.
Lucille Lewinhas been announced as the winner of the £1,500 Young Masters Maylis Grand Ceramics Prize, which is supported by collector and philanthropist Maylis Grand. This strand of the Young Masters Art Prize was launched in 2014 to give a separate platform for ceramics and highlight the creative and innovative potential of this artistic medium. She was chosen from 10 shortlisted artists for her work that the judges described as ‘completely original’.
The judges, Janice Blackburn, former Curator of Arts and Crafts at Sotheby’s; collector Preston Fitzgerald; collector and philanthropist, Maylis Grand and the Crafts Council’s Daniella Wells, continued: ‘We were looking for originality and a strong voice and we were in total harmony about our choice of winner. Lucille’s work is experimental, beautifully made and totally original; this is work with a future.’
Lucille Lewin’s work is the result of research into the origins into 18th century European porcelain and the alchemists who invented it. Her pieces, which combine porcelain with other media including glass and salt crystals, reference the Victorian Cabinet of Curiosities and the early microscopic photographs of the natural world by Karl Blosfeldt. A £500 Highly Commended Prize was awarded to Lauren Nauman.
The inaugural Young Masters Emerging Woman Art Prize was introduced this year to profile and reward the work of an emerging female artist. In addition to the main prize given to Azita Moradkhani, two Highly Commended Prizes of £250 were awarded to Isabelle van Zeijland Katie Spragg.
The Young Masters Emerging Woman Art Prize judges were Beth Colocci, Chair of the Trustees of UK Friends of the National Museum of Women in the Arts; Sylvie Gormezano, Chair of the Association of Women Art Dealers; award-winning designer and art collector Ronnette Riley, FAIA and Nadja Swarovski, Member of the Executive Board, Head of Corporate Branding and Communications and Chairperson of the Swarovski Foundation.
Young Masters Art Prize winners:
Azita Moradkhani, £2,000 main prize, thanks to Dr Chris Blatchley
Laura Hospes, £500 Highly Commended courtesy of the Artists’ Collecting Society
Tamara Al-Mashouk, £500 Highly Commended courtesy of the Artists’ Collecting Society
Katie Spragg, Be Smart About Art Award worth £500
Young Masters Maylis Grand Ceramics Prize winners:
Lucille Lewin, £1,500 main prize, thanks to Maylis Grand
Lauren Nauman, £500 Highly Commended, thanks to Maylis Grand
Young Masters Emerging Woman Art Prize winners:
Azita Moradkhani, £1,000 main prize thanks, to Dr Chris Blatchley
Isabelle van Zeijl, £250 Highly Commended, thanks to Dr Chris Blatchley
Katie Spragg, £250 Highly Commended, thanks to Dr Chris Blatchley
Young Masters Art Prize Shortlist Exhibition at Gallery 8, 8 Duke Street, St James’s, London, SW1Y 6BN.
Exhibition runs until 24 June 2017
Public opening times: 11am to 7pm daily (or by appointment)
Nearest tubes: Green Park or Piccadilly Circus (St. James’s exit)
Featured Image: Azita Moradkhani, Not Too Far Away (Victorious Secrets), 2016, Coloured Pencils on Paper, 30.5 x 43.2 cm, (12 1/8 x 17 1/8 in). Courtesy Gallery Kayafas.
As part of Young Masters: Talks programme, we were delighted to host a talk by Julia Smith of Artists’ Collecting Society at the Young Masters Shortlist Exhibition, Gallery 8, Duke Street. The talk comprised a practical guide that covered the Artist’s Resale Right, copyright and licensing. It was presented with burgeoning artists in mind and was attended by several finalists of the fourth edition of the Young Masters Art Prize.
Julia Smith is Art Sales Researcher at the Artists’ Collecting Society, a not-for-profit Community Interest Company that administers intellectual property rights such as Artist’s Resale Right and copyright royalties on behalf of over 1,000 visual artists. She joined the team in 2014. Julia studied History and Philosophy of Art with a focus on aesthetics and the contemporary arts. She has a background in research for publicity and antiques based projects, with several years’ experience as a visual arts writer.
Location: Gallery 8, 8 Duke Street, St James’s, London SW1Y 6BN
Date: Tuesday, 20 June 2017, 5-6.15pm
Presented by: Julia Smith.
The Artists’ Collecting Society provide key information on their website.
Young Masters Art Prize 2017 Be Smart About Art Award
Sponsored by Be Smart About Art
Be Smart About Art is delighted to offer this Award to help one winning artist build an outstanding art career. More than five years into running our professional development programme, we understand that each artist’s situation is different. Accordingly, the YM – BSAA Award presents three award package options – each with a differing adviser, to enable the successful recipient to select the professional support package of his/her choice.
To get started: The winner will be invited to have a 20 – minute conversation with a BSAA Team Member. During this call, the artist will gain a better understanding of career support available, and similarly, the dialogue will position the BSAA Team Member to provide recommendations to help the winner make the most of the opportunity.
*Not shortlisted for the Young Masters Competition 2017? Don’t worry! You can still join the BSAA community by signing up for the Sunday Reading Blog. We’re giving away a complimentary download of the BSAA e-book, HACKING THE ARTWORLD.
All art is made with reference to that which precedes it. The Young Masters Art Prize seeks to unpack this tendency, celebrating contemporary artists who place this referential process at the centre of their practice. The phrase ‘Old Masters’ describes the premodern figureheads of the arthistorical canon. While the Old Masters were undeniably remarkable, in today’s globalised world the canon is reflected on as overbearingly European, white and male. In contrast to this legacy, this Young Masters shortlist is the most diverse yet, featuring more women than men, and artists selected from all around the world. Whereas women and minorities were historically relegated to the status of Old Master subject matter, for example Ingres’s odalisques, bathers and concubines, Young Masters proves that today, the tables have turned.
This shortlist features female artists who critically engage with their position within the history of art. Iranian artist Azita Moradkhani’s delicate drawings of women’s underwear are symptomatic of such efforts to rewrite the canon. By inscribing iconography from the works of Michelangelo, Gericault and Monet onto lingerie, Moradkhani calls us to question the authority of male creation over the female body. We also find feminist resonances in Liane Lang’s series of staged photographs; lifelike dolls masquerade as female Catholic saints and martyrs, occupying buildings designed by Gothic architect Augustus Pugin. Dutch photographers Isabelle van Zeijl and Laura Hospes place their own bodies at the centre. The forcefulness of Hospes’s black and white self-portraits lies in her Rembrandtesque manipulation of light and shadow. Van Zeijl announces herself as author and muse, subsequently readdressing the intrinsically gendered subject-object relations which typify the genre of portraiture. Assuming the painterly lexicon of The Dutch Golden Age, van Zeijl claims the camera and Photoshop as her tools to cast aspersions over the notion of “timeless beauty”.
Van Zeijl stands alongside other artists in this exhibition for whom the traditional canvas is an outmoded terrain for expression. These artists deploy advanced technologies while looking to the past for inspiration. Russian-American multi-media artist Asya Reznikov’s framed television screen animation Be Fruitful transforms Lucas Cranach the Elder’s Adam and Eve of 1526 into a witty commentary on the rebirth of painting. Reznikov trades in the perspectival trickery of Albertian perspective for animated zooms, and comically undermines the fixity of Biblical narratives by depicting her own baby daughter emerging from the fallen fruit. Israeli artist Liron Kroll also masters contemporary image-making technologies. Kroll uses digital layering techniques to create composite worlds with no clear anchor in time or space. With domesticity and the family as central themes, Kroll does away with the sense of devotion equated with da Vinci and Parmigianino’s Madonna and child portraits, to produce surreal scenes of reverie and estrangement.
Also exploiting the tension between subject and media, British artist John Phillips splices over 1,400 separate photographs together to create contemporary echoes of Dutch vanitas painting. Parallels can be drawn between Phillips’s studies and the Baroque still lifes of Jan Davidsz de Heem, in which flowers are a powerful expression of the impending slippage from life to death. Where Phillips’s images simulate painting, German painter Lars Reiffers uses the camera as a tool to interrogate natural forms, before bringing them to life in paint. Such a strategic representational process produces a virtuosic realism with a lineage all the way back to Giotto. Distorted by scale and colour, in Reiffers’ paintings individual petals are rendered monstrous and blindingly opulent.
Channelling renaissance chiaroscuro, French photographer Antoine Schneck dramatically offsets brightly lit hyperrealist faces, recumbent figures and suits of armour against stark black backgrounds. Not only is Schneck’s technical facility characteristic of the 21st century artist, featuring panoramic editing, multi-angle shooting and graphic palette retouching, his representations of African subjects are emphatically contemporary in that they are a far cry from the exoticizing tendencies of a colonial past. The criticism of colonial history also arises in Ghanaian-British multi-media artist Amartey Golding’s 15 minute film Chainmail. In this case, art-historical allusions lay beneath the surface. As cerebral as it is beautiful, Chainmail evokes Degas’s avant-garde approach to the ballet dancer, blurring the lines of performance, endurance and enslavement. Chinese painter Yuehan Pan investigates eastern and western representational practices, substituting the picture frame, with its western properties of spatial hierarchisation, for fine silk scrolls influenced by the ancient philosophy of ‘San Cai’.
Video-artist Tamara Al-Mashouk takes her own subjectivity as a queer Saudi Arabian woman living abroad as the starting point for her single-channel film . An architectural monument is burned to the ground amid heavy rainfall; an iconoclastic gesture which captures perfectly the contemporary instability of racialized histories. Iconoclasm is another common thread woven through this shortlist. British artist Sasha Bowles manipulates reproductions of well-known paintings by Masters such as Goya, Gainsborough, Frans Hals and Velázquez, giving male sitters new and absurd guises which sacrifice individual personas in the face of the artist’s own authorial signature. Sheila Rock’s photographic series The Spirit of the Horse is directly inspired by the great European horse painters: Stubbs, Delacroix, Gericault, Herring, and Franz Marc. Her black and white silver gelatin prints are not only indicative of her sophisticated command over the medium, but reflect a unique pictorial aesthetic, carved out within the context of a highly developed and mature genre.
In David Piddock’s landscape paintings, imagery is sourced from the past to inform the present. Monumental marble sculptures materialise in unexpected places: we see Giambologna’s Samson Slaying a Philistine bathed in light on the bank of the River Thames. Whereas Piddock’s scenes are often devoid of human presence, Canadian painter Carole Freeman makes clear the indebtedness of art to people. Taking her cue from iconic Old Master portraits, Freeman depicts contemporary artworld professionals in the style of Bronzio, Vigée Le Brun and Van Der Weyden.
American painter Lucy Beecher Nelson appropriates the formal devices of 15th century Italian marriage portraits to express relationship dynamics between present day couples. While Beecher Nelson uses the divisional form of the diptych to communicate emotional disconnection, British painter Stephen Snoddy creates diptych compositions founded on unity. Snoddy takes the window as a point of departure, a loaded art-historical motif with foundations in Renaissance naturalism; the ultimate task of painting as a “window” onto the world. Yet his work stands apart from this representational tradition, operating within the realm of the abstract. His colourful canvases are defined by clear continuations in line and form.
The eighteen artists showcased in this shortlist are significantly diverse, proving that the desire to blend the art of today with the art of the past has a global and cross-generational significance. As ever, the skills and art of the Old Masters are direct sources of inspiration. Whether these artists appropriate imagery, assimilate styles, or intervene in seemingly “closed” genres, they do so with critical intention. They honour and renegotiate their sources to produce art which is strikingly original and contemporary. While technological developments offer innovative new methods of image making, traditional media prove to be equally fruitful. More than ever, this year’s shortlist represents artists who engage with identity politics; personal histories are divulged to address wider issues of collective and universal importance. By mining the art of the past, the contemporary artist can rewrite history. The art-historical canon is but one history open for contestation.
By Millie Print, Co-ordinator and Curatorial Associate
Featured Image: Amartey Golding, Chainmail (08.16), film still, 2016.
Imagery itself is Cheung’s medium, either co-opted in the creation of multifaceted paintings or manipulated via digital algorithms. Young Masters is proud to present Cheung’s The Course of Empire – The Arcadian or Pastoral State (after Thomas Cole), 1974-75, 2017. Taking Thomas Cole’s utopic scene of a preurban ancient Greece as point of departure, Cheung deploys a technological glitching effect, reordering the fabric of the landscape to create an image of unfamiliar beauty.
Cheung graduated from Central Saint Martins in 1998, completing an MA in painting at the Royal College of Art in 2001. Recent solo exhibitions include Unknown Knowns at Edel Assanti (2017), Here be Dragons at Nottingham Castle Museum (2016), Lines in the Sand at Leila Heller Gallery Dubai (2016), The Abyss Stares Back at Edel Assanti (2015), Altered States at the Arizona State University Art Museum (2010), The Four Horsemen of the Apocalypse at the New Art Gallery Walsall (2009) and The Promised Land at Jack Shainman Gallery (2009). Cheung’s work was included in Vita Vitale, The Azerbaijan Pavilion at the 56th Venice Biennale (2015). Cheung’s works are included in major international private and public collections including MoMA, The British Museum, The Hirschhorn Museum and Sculpture Garden, San Antonio Museum of Art, The Whitworth Museum, Arizona State University Art Museum, Asian Art Museum of San Francisco, Knoxville Museum, Speed Art Museum, The New Art Gallery Walsall and the Yale Center for British Art. Cheung lives and works in London.
Cheung’s The Course of Empire – The Arcadian or Pastoral State (after Thomas Cole), 1974-75, 2017, can be seen at Gallery 8, Duke Street from 19th- 24th June 2017. Click here for full details.
Featured Image: Gordon Cheung, The Course of Empire – The Arcadian or Pastoral State (after Thomas Cole), 1974-75, 2017, Giclée on canvas, 100.3 x 161.3 cm, (39 1⁄2 x 63 1⁄2 in.). Copyright Gordon Cheung. Courtesy Edel Assanti.
Lauren Nauman’s work explores the boundaries within clay through experimental processes. The work starts with the industrial methods of slip-casting in plaster moulds, used in non-traditional ways. An Additive method creates pieces with minimal amounts of clay. The suggestions of vessels start out as straight cages of wet clay and through the power of the kiln’s heat and the pyroplasticity of the clay, they move like fabric to evolve into a wire-like sculpture that still holds the materiality of porcelain. Due to this process, the final form of each piece stems from minute details in the making, but mostly depends on chance.
Nauman holds an MA in ceramics and Glass from the Royal College of Art, London, and a BA in Studio Art and Art Education from Emmanuel College, Boston. She has exhibited at NCECA, Oregon, USA; Collect, London, UK; and Korea Craft & Design Foundation Insa-dong, Seoul, Korea. She undertook the Project network Residency at Guldagergaard, Denmar, in 2014, recieved the Woo Scholarship in 2015, the Newcomer Award at Ceramic ArtLondon in 2017, and has work held in the Doddington Hall Ceramic Collection.
Featured image: Lauren Nauman, Lines, large white with brass, medium striped, small black, 2017, porcelain and brass, various sizes, photography courtesy Sylvain Deleu.
We would like to thank these industry specialists for sponsoring the Young Masters Art Prize, Young Masters Maylis Grand Ceramics Prize, and Young Masters Emerging Woman Art Prize 2017.
Together, our sponsors form a significant financial contribution, enabling Young Masters to grow and develop with every edition. Young Masters is grateful for their generous support.
TheLove Art Insuranceteam at Brownhill Insurance Group specialise in insurance for collectors, dealers, galleries and artists as well as those associated with the art world. Being avid collectors themselves, the team appreciate the strong ties that collectors have to their prized possessions. Brownhill Insurance Group have a strong record of excellent customer service and take pride in offering expert cover and being able to offer clients competitive and comprehensive policies. The wider Brownhill family also cater for personal and business insurances.
The Artists’ Collecting Society (ACS) was formed in 2006 as a not-for-profit Community Interest Company to administer Artists’ Resale Right and copyright on behalf of their members. Their membership has grown to over 1,000 artists and artists’ estates, including well-known artists such as Frank Auerbach, Howard Hodgkin, Paula Rego and Martin Creed, and the estates of Lucian Freud and Barbara Hepworth. Their members also include artists whose work has only recently started to sell regularly on the UK secondary market such as Bambi, Goshka Macuga and Eine. ACS is proud to fund bursaries for art students at leading institutions, whilst sponsoring a number of art prizes and charities.
Lamport Gilbert’s core values combine dedication to quality and environmental responsibility with a commitment to building excellent relationships with our customers and business partners. Established over 100 years ago, Lamport Gilbert now uses the latest technologies in sheet-fed litho printing to produce full-colour catalogues, magazines, brochures, menus and many other point-of-sale, marketing and publicity materials.
Art Installation Services (AIS) has many years experience of installing artwork in the public, private and commercial sectors throughout the UK and abroad. Their technicians work with discretion, quietly and quickly though with great care and are able to work at any time during the day or night. AIS are able to arrange framing, transportation, insurance and conservation of artworks as well as project management.
G4S International Logistics have shipped the most expensive artefacts in the world for almost forty years. The Fine Art division has hubs in Dubai, Hong Kong, London and New York which service their international clientele’s requirements. G4S International provides logistics services for all major auctions houses, museums, dealers, galleries and private clients that work for each of their budgets. G4S International are proud to partner with international exhibitions including Art Dubai, Dubai Design Days, Art Central and the Young Masters Art Prize in London.
Be Smart About Art’s motto is ‘Art is your life. Make it your living’. The core programme includesprofessional development courses, face to face and online:selling and marketing your creative enterprise, developing professional partnerships, running and growing a micro or small business, raising funds, using tech to save time and make more money, staying focused by making a plan and holding yourself accountable, and more. Additional services include: networking opportunities in London, New York and online via the Member community,industry talks and tours at art fairs to give insight and support creative enterprises.
Hogbens Dunphy’s passion is finding new ways to improve businesses. Established in 1921, they have over 90 years of success providing caring, professional accountancy for The Arts and creative industries, including galleries and public and private art institutions. The firm offers a wide range of services and specialist knowledge of the arts sector. Hogbens Dunphy provides vital accountancy advice including: preparation of projections, cash flow and business plans, arranging finance, bookkeeping tuition and implementing management procedures and systems, tax planning, and business software.
At PLINTHS.LONDON we offer clients a stylish and unique range of plinths and display solutions that are available for hire and purchase. We provide high quality, hand crafted structures that are ideal for displaying the finest products. Our extensive range consists of laser cut wooden plinths with beveled edges, metal powder coated frames with removable tops in a range of high quality materials, clothing rails, platforms and pedestals as well as bars and beauty stations. For a plinth with real impact and opulence then why not explore our Concept range where you can choose from a selection of unique designs crafted from solid marble, metal and resin, all of which are available exclusively through www.plinths.london
Featured Image: Charlie Moxon, Sarah in a Stage Curtain, 2015. Oil on canvas. 40 x 30 cm. 15 3/4 x 11 3/4 in.
We are delighted that two artists shortlisted for the fourth edition of the Young Masters Art Prize, Liane Lang and Isabelle van Zeijl, Young Masters Alumni, Beatriz Elorza and Dene Leigh, and Young Masters 2017 Guest Artist, Gordon Cheung, all feature in this year’s Royal Academy Summer Exhibition.
The Royal Academy Summer Exhibition is the world’s largest open-submission and offers emerging and established artists the opportunity to exhibit their work in a leading institution. Under the curatorial direction of Eileen Cooper OBE RA, who as Keeper is responsible for supporting and guiding the RA Schools, the 2017 exhibition embodies the central ethos of the Academy, exploring themes of discovery and new talent.
In addition to exhibiting at the Young Masters Art Prize Exhibition later this June, Liane Lang and Isabelle van Zeijl both have work on display, coincidentally hung side-by-side, at The Royal Academy. van Zeijl’s photographic self-portrait SHE and Lang’s mixed-media works Ink Spill and Blow Out occupy the walls of Gallery IX. With Gilbert & George’s Beard Speak as a centrepiece, the Gallery is hung by Royal Academicians Eileen Cooper and Bill Jacklin. Encompassing photographs, paintings and digital works, it celebrates the messy reality of life, intimate moments, private spaces and passions.
Young Masters alumni have gone on to practice and exhibit worldwide, their works have been published and acquired by international museums and institutions.
2017 marks Beatriz Elorza’s second consecutive year exhibiting at the Royal Academy. Her presence is certainly felt in Burlington House this summer; not only is Elorza’s Afternoon Shade hanging boldly in the Gallery I, her painting also features in the Summer Exhibition Illustrated catalogue and is included in the select poster collection of the RA Shop!
Since being shortlisted for the Young Masters Art Prize in 2014, Dene Leigh received a generous private sponsorship leading to a new body of work and solo shows in London and California. Leigh is exhibiting two pencil studies at this year’s exhibition, Triangle Face and A Prisoner to Words.
Young Masters 2017 Guest Artist, Gordon Cheung is featured in the prestigious Wohl Central Hall with his technicolour painting Minotaur 2. Young Masters is proud to present Cheung’s The Course of Empire – The Arcadian or Pastoral State (after Thomas Cole), 1974-75, 2017 at the highly anticipated Young Masters Art Prize 2017 exhibition.
The Young Masters Art Prize 2017 runs 19th – 24th June 2017 at Gallery 8, 8 Duke Street, St James’s, London, SW1Y 6BN. The Private View takes place on Tuesday 20 June, 6 – 9 pm. The winner will be announced on 21 June. Preview works ARTSY
Royal Academy Summer Exhibition 2017, 13th June – 20th August 2017, Royal Academy of Arts, Burlington House, Piccadilly, London, W1J 0BD.
Featured Image: Isabelle van Zeijl, She, 2016, C- Type Print, Dibond / Perspex face mounted in tray frame, 110 x 100 cm, 43 1/4 x 39 3/8 in. Edition of 7 plus 3 artist’s proofs.
Sheila Rock’s unusual series of horse portraits, taken in black and white, have incredible depth and intensity. The series of photographs is titled Spirit of the Horse, inspired by the great European horse painters: Stubbs, Delacroix, Gericault, Herring, Franz Marc and others who painted lyrical and sensitive portraits of magnificent horses. Myths and legends surround the horse in many cultures. In China they expressed and symbolised unrestrained freedom. In Arabic literature they symbolised divine grace. In English and French culture, horses are expressed in romantic terms reflecting dreams and memories, especially of interest to the landed gentry who both owned horses and had the financial resources to purchase high art. These photographs were taken as traditional studio portraits, in a studio created on location at the stables, isolating the horses to make them appear regal and dignified.
Rock was born in the USA and educated at Boston University and the London Film School. She has lived and worked in London since 1970. She became an influential force shaping the look of creative magazines like The FACE magazine. Her editorial portrait and fashion work have appeared in numerous magazines, including: Time Magazine, Elle, Glamour, Rolling Stone, Architectural Digest, and the Sunday Times. Her book, Sera: the way of the Tibetan Monk, published in 2004, accompanied several international exhibitions including the Photographers Gallery, London. Images from the Sera series are in the permanent collection of the William Benton Museum of Art in Connecticut, USA. The Houston Fine Art Museum has acquired a Seascape portrait for their permanent collection. A number of Celebrity Portraits are in the National Portrait Gallery, London.
Featured Image: Sheila Rock, Horse No. 57, 2000, Silver Gelatin Archival Print, 60.7 x 50.8cm (24 x 20in.)
Amartey Golding is a multimedia artist whose work explores how contradictory ideas coexist within the individual. By disregarding the lines between the malevolent and the benevolent, he attempts to explore life’s parallel truths. He addresses controversial subjects of sexism, racism and intolerance, placing himself comfortably and honestly at both extremes, as oppressor and oppressed, addressing our individual inabilities to avoid blame or apology. Exploring his own moral and social contradictions, he addresses the unavoidable shortcomings of an individual, and the acceptance of these failings as integral to the human condition, without the fallacy of a moral high ground.
Golding attended Central Saint Martins College of Art and Design, and has exhibited in the Middle East and Europe with solo exhibitions in the UK, Dubai, Germany and Denmark. He won the Granta Decorative and Fine Arts Society Award in 2007.
Featured Image: Amartey Golding, Umbrella, 2016, C-Type Print, Edition of 6 + 2AP, 90 x 70cm (35.4 x 27.6in.)
As part of Mayfair Art Weekend, Young Masters is proud to present Unpacking Gender in the Contemporary Art World, a talk celebrating and discussing gender issues around art today. This talk coincides with the inaugural Young Masters Emerging Woman Art Prize, a new strand of the prize which will profile and reward the work of a female artist at the early stages of her career.
The panel discussion will be moderated by Susan Mumford, Founder, Association of Woman Art Dealers, and will include Jean Wainwright, Art Historian, Critic and Professor of Contemporary Art and Photography at the University for the Creative Arts, Marine Tanguy, CEO MTART, Catherine Loewe, London-based curator and consultant and Cynthia Corbett, Gallerist and Founder of The Young Masters Art Prize.
LOCATION: Royal Over-Seas League, 5 Park Place, London SW1A 1LR
Young Masters: Talks includes discussions hosted by speakers from: New Platform Art, an initiative by Clyde & Clyde; Be Smart About Art, offering specialist, advice and support for artists and industry professionals; and Artists’ Collecting Society, the premium collecting society for the administration of the Artist’s Resale Right (ARR). This series of talks is accompanied by discussions led by Young Masters Art Prize Judges.
Featured Image: Liane Lang, Agnes in the Hairshirt, 2015, C-Type Photographic Print, 50 x 40 cm, (19 3/4 x 15 3/4 in.) Edition of 10.
Laura Hospes’ work is highly autobiographical, addressing herself, her life with mental health issues and her struggle with being alive. In monochrome, high contrast photos she shows the battle she fights against herself every day. Timeless, classical and without distraction, these images speak directly. Inspired by the magical work of Francesca Woodman, the black and white portraits of Stephan Vanfleteren and the dark lights of Dutch painter Rembrandt she has developed her own visual language and voice. Learning from the Old Masters is the greatest and most pure manner of bringing emotions to life.
Hospes studied at the Photoacademy and she started her career by winning the Emerging Talent Award from LensCulture. The media picked up her story and her photos were on the front page of The Huffington Post, The Daily Mail, Yahoo and many more. Ever since she works hard to maintain that high set standard, but in a leisurely pace trying to balance it besides her therapies and hospitalisations. In the mean time she graduated with honours from the Photoacademy and is represented by Kahmann Gallery, which shows her works on both national and international exhibitions and fairs. As a closure of a difficult period of time, she created the book UCP, named after the psychiatric ward she had to stay. The book is published by Lecturis Publishers and is for sale at the bookstores and online.
Featured Image: Laura Hospes, Braid, 2015, Archival Pigment Print, Edition of 7 + 2 AP, 60 x 40cm (23.5 x 15.7in.), courtesy Kahmann Gallery.
Formal elements, skill and delicacy connect Azita Moradkhani’s work aesthetically to the art of the past. In taking representation and realism to the contemporary art scene, beauty is her weapon to make political points aesthetically approachable. The female body is central to her work, specifically its exposure to different social norms. It is about the displacement experienced when we find ourselves insecure in our own bodies. The artist wants to challenge viewers to recognise the significance of beauty and the body, and how they work together in so many of the images made available to us. Moradkhani’s refined form, detail, colour palette and technique of representation allow her to find the hidden layers of complex socio-political perceptions in a global context.
Moradkhani has studied at the School of the Museum of Fine Arts/ Tufts University, Massachusetts and University of Art, Tehran, Iran. Her recent solo exhibition Victorious Secrets was held at Gallery Kayafas, Boston, 2016. She has shown in group exhibitions Four Garden (Chahar Bagh), Contemporary Arts Museum Isfahan, Iran, 2016; IdentityShared, Southern New Hampshire University, Hooksett, New Hampshire, 2015; and South Asia Exchange: Thoughts, Responses and Questions, Harvard University, Cambridge, Massachusetts, 2015. Moradkhani will exhibit in the upcoming group exhibition Masculinity, Museum of Art, University of New Hampshire, in August 2017.
Featured Image: Azita Moradkhani, Becoming (Victorious Secrets), 2016, Coloured Pencils on Paper, 30.5 x 40.6 cm, (12 1/8 x 16 in.).
Postmodern, premodern, new realist, magic realist; David Piddock’s work has been called all these things. Idiosyncratic certainly, his work presents a semi-fictional London where imagery is often plundered from the past to inform the present. Anything from a tiny early Italian carving to a monumental mannerist sculpture might materialise in unexpected places like London’s Embankment or the Thames Path adjacent to the City. In broader terms, he looks for innovation within established traditions.
Piddock studied at the Royal Academy Schools in the mid1980s. He is represented by Adam Gallery and has many works in private and public collections including the Museum of London. He was recently awarded the inaugural art prize presented by the Moth, an Irish based arts and literature magazine.
Featured Image: David Piddock, Give Me Strength, 2016, Oil on Gesso Board, 123 x 153 x 4cm (48.4 x 60.2 x 1.6in.)