7 - 29 November 2014
PV: 4 Nov 6 – 9 pm
43 Inverness Street is pleased to announce Sampler, the first solo exhibition of Clover Peake.
Close the door to the room on the upper floor and you’re inside a private dwelling space. Scan your eyes across the wall and you get hints and whispers, fleeting thoughts and flashes of an internal life. Embroidered works of cotton thread on raw silk cover the wall composed of text and images. They vary from doodles, patterns, edited and scratched out poems, to fragments of phrases.
The content within these works, the quick, impulsive, conversational, fleeting throwaway phrases and sketchy drawings, belies the laborious process needed to create them. The flickering thoughts can not be read as a whole narrative but are glimpses of an inner dialogue that the viewer can feel included in for a moment. The embroidery process slows down the text so it becomes more pictorial than verbal.
This play between word and image resonates more strongly knowing that Peake is a poet and that the title of the exhibition Sampler is a play on words. A sampler in one sense could be the musical instrument that takes fragments of musical recordings to make something new. The word ‘sampler’ could also refer to a tasting menu in a restaurant. Most importantly, samplers are also known as the embroidered sketch pads that many needlepoint artists have made throughout the centuries, a collage of skills and ideas, consisting of lettering and patterns incorporating a variety of thread, stitches and techniques. They are often records of rites of passage such as birth, death, loss, and relationships. Peake’s embroideries function in a similar way and chronicle the private thoughts and images that accompany these themes offering moments of insight.
A booklet of Peake’s poems titled Son is produced specifically for the exhibition.
Clover Peake is an artist and writer living in London. She has done many readings and is a published poet. She also collaborates with artists providing text for their catalogues. She has worked with text and image for some time which have formed the basis for this exhibition. She offers a special thanks to Eleanor Spalding.
6 June - 5 July 2014
DRAW THE POISON
PV: 5 June 6 – 9 pm
43 Inverness Street is pleased to announce DRAW THE POISON, an exhibition of new works by Fabian Peake. This is the artist’s second solo exhibition with the gallery.
Peake’s works consist of painting, text and wall pieces. There is a sense of animation and humour, compelling us to construct order within the apparent disorder. The juxtaposition of these various elements – text, Morse code, geometry, abstract and figurative images – causes friction and awkwardness at the conflicting visual information. Words don’t add up to create a clear sentence or become veiled in layers of paint; handwritten mathematical formulae fail to provide clear answers; images are placed on the canvas as if they were a deliberate afterthought. An atmosphere of transience prevails.
The ground floor features paintings hung in an experimental fashion; pushed together, tilted or hung halfway off the wall. Surprising juxtapositions and associations are created as the compositions seesaw between abstraction and figuration. ‘Red Stare’ (2014), a rectangular wall piece of eggshell paint on plywood, portrays a grid of drilled holes. The tongue-in-cheek title implies that the work is looking at the viewer. A large mural created specifically for the gallery ‘Whispering in Sumatra’ (2014) features layers of handwritten text where some words rise to the surface while others are half-hidden and illegible. The very act of writing is raised in importance as concrete meaning is avoided.
The first floor contains two striking works facing one another that present conflicting visual information. In ‘The Back of Your Face’ (2014), words are represented by Morse code in a series of wooden dots and dashes that span across the wall. Even if one were to understand the code, one would quickly realise that while the individual words have meaning, together they don’t form a syntax. Complete understanding is elusive. On the opposite wall hangs a painted wooden work ‘SKRANE’ (2014) in the shape of a polygon. Numbers are placed in the corners of the shape as if they refer to geometric analysis while a carved text is placed on the surface. These mathematical and verbal aspects propose that the measurements correspond to the degrees of the angles and that the text conveys a message, yet the numbers do not add up and the words are invented.
These works evoke an egalitarian spirit in their use of non-logic and disorder. All viewers are capable of constructing order; there is no secret knowledge.
Fabian Peake has shown his work widely, both in the U.K. and in Europe, China, the U.S.A., Mexico and the Dominican Republic. He has been Artist in Residence in Dallas, Texas and in Guanajuato, Mexico. He has lectured and given talks all over the U.K. and in the U.S.A., Europe and Mexico. He has published pamphlets of poetry and had many poems published in magazines and journals. A comprehensive book of his poetry, ‘LOOSE MONK’ will be published later this year (2014).
25 April - 24 May 2014
Repressed Statements with some Collectibles
PV: 24 April 6 -9 pm
43 Inverness Street is pleased to announce Anthony Faroux’s second solo exhibition at the gallery.
Faroux is presenting new paintings which can be perceived as a time for careful reflection. In them, shapes refer beyond their formal qualities and appear as objects; they could be tools, guns, buildings or other architectural features. They have a function and are stripped down to the essence of themselves using basic, obvious, frontal views. Laid out on the canvas as if they were in an ethnographic study or as a plate in an encyclopedia, they are void of obvious context.
By subtly implying stony depictions, as possible in still lifes and landscapes, his paintings lightly play around genres. As much as these objects have a apparent calm to them, they are also active, interacting with one another, coming in and out of the frame in elusive movements suggesting cinema or comic books, a telling of a story.
If a painting can create a context for thought, is it about calm deliberation? These references in these paintings are not specific enough to draw one’s attention outside of the room in which one views them. The tones and hues of the grey of the paint is an abstracting element, and does not refer to things or objects outside of the painted works themselves. In this way, one’s attention is constantly re-directed inward toward the material of the work. Though it is risky to lack any specific exterior references for viewers to grasp onto, the aesthetics of the paintings are wagered against this risk and win out because they look so good.
Anthony Faroux’s ground is a standard canvas. Brushed on to the surface of this ground are areas broken and fit together and are recognisable as such in the most specifically generic manner. Because of this, they reward with the possibilities of dissolution made solid.
Anthony Faroux works and lives in London. He graduated in 2007 from the Royal Academy Schools in London and most recently exhibited in the Jerwood Painting Fellowship touring show (2013-14); Jerwood Visual Arts, London, BayArt Cardiff, Aberystwyth Arts Centre, The Gallery at NUCA Norwich. Other exhibitions include “Enjoy the Squares&Triangles you know. Discover the Squares&Triangles you don’t Know”, Arcade, London (2013), “I like what you do”, 43 Inverness Street, London (2013), “Artist in Residence”, DLI Gallery Durham (2011), and “Bakkar Island” at Five Years Gallery in London (2010).
21 February - 22 March 2014
PV: 20 February 6 -9 pm
43 Inverness Street is very pleased to announce HaYoung Kim’s second solo presentation.
Kim’s work is cheerfully colourful and painted with fluency and although the work is thinly painted, a depth is created through duration and emergence. Imagery which is partially buried or semi-obscured in Kim’s work requires a second lingering examination. For example, in the painting Modern Soup, 2014, the bombastic inclusion of breasts serves as an indication of other stranger, less identifiable body parts, which cascade in a continuum of painterly body-food confusion.
On the ground floor at 43 Inverness Street, the artist has hung six 50x50cm acrylic paintings on polyester. These works evince the strangely open world of the animation cell. Powered by brushed black outlines and bold flat colour, each of the paintings is a study of some soft material: food, furnishings, body parts, and other murky portrayals of mushiness. These new paintings such as Boom Shakalaka, Becoming Head, and Bon Appetit! are a study of the cast-offs of a tried-on identity, the paraphernalia of our modern world.
Opacity and transparency reverse their usual roles in a painting which bisects the gallery on the first floor. Do Humans Dream of Growing Electric Plants?, 2014, is a 3 meter wide painting on drawing acetate (a clear sheet of flexible plastic), in which the see-through, glossy underside reveals the underpainting, and the cloudy painted surface shows the last compositional decisions made by the artist. Suspended on lines hung from the ceiling, the work is a rollicking colourful cornucopia of manga inspired movement where the action is generated through formal delight rather than the population of characterless characters in the scene.
In the basement, Chikichiki Chakachaka Choco Choco Cho, an intimate presentation of a video animated from the artist’s sketchbook, provides a glimpse into the formation of the paintings. Polymorphic figures dissolving into spaghetti-lines and tubes and back again to a soundtrack of minimally-produced vocalisations made by the artist. The work is not only beautiful because of its fragile fluidity, but because it also has the seemingly improbable directness which permeates all the work on show at 43 Inverness Street.
Born in 1983, HaYoung Kim lives and works in London, She attended the Royal Academy and has been awarded the Jerwood Prize (2010), the Soloman J Soloman Prize (2010), the Dunover de Segonzac Award (2010). In 2011 she participated in the Vytlacil AIR program in New York. Selected solo exhibitions include Virtualium Window Gallery, Gallery Hyundai in Seoul (2013), Eat All You Can, Hoxton Art Gallery, London, (2012) and HaYoung Kim, 43 inverness-Street Gallery in London (2011). Selected group exhibitions include Ironic Mythologies, Amelia Johnson Contemporary in Hong Kong (2012) and Penumbra, the Bermondsey Project Space in London (2012).
15 November - 14 December 2013
PV: 14 November 2013 6 -9 pm
43 Inverness Street is pleased to present a solo exhibition by Robert Rush.
Paintings are hung on the ground floor: figurative, still lives, or peopled with swervy bio- discombobulated-morphic characters. They’re called Best Friend, Tyrant, or simply, Bum. In fact, all the titles are simple. Other paintings are called Still Life (trippy) and Painting. These oil paintings are done with attention to speed. They’re not done particularly fast, but rather speed is a component — the speed of the brush and the speed of thinking. Colours are mostly muted, but an occasional flush of a stovetop element-red or magenta pink lends potency to dry surfaces. In the still lifes, objects only exist as outlines; priority is given to the tension of the canvas, the viscosity of the paint, the effect of gravity on a drying medium, lightly playing with effortlessness and over determined beauty. The colours are subtle and sit thin upon the surface. Rush’s work has a beefy, laconic attractiveness.
Speaking of work, upstairs on the first floor, an installation of ceramics with musical accompaniment puts a groove on recent objects and context of the artist’s labour. Anthropomorphic ceramic objects of the Jug /Mug Series, spin upon specially constructed plinths. Rush’s playlist fills the room. Related ceramic flat works hang on the walls. Jug-like objects made with plops and pokes and pinches, oozing with earthy glazes rotate mechanically to the soundtrack. In any case, the ceramic pieces are fit to sit or spin, depending on the mood of the music, which in this case, remains upbeat.
Whether the material is clay or oil paint, the subject of Robert Rush’s work is manipulated within a practised economy of process. What arises from these washes and wisps and globs is the tip of an iceberg. Here, the impossible mix of speed and elegance betray the hidden power of practice, repetition and craft. These objects carry a convincing recipe of thick and thin, organised in proportions which speak to a history of formalism. Plainly said, they are about seeing. He invites us to see.
Robert Rush (born 1978) studied at Central St Martins and the Royal Academy Schools (1999–2006). He has been in numerous group and solo shows including the Bloomberg New Contemporaries, the John Moores 25 at the Walker Art Gallery, Liverpool and the Jerwood Contemporary Painters. Robert Rush lives and works in London.
43 Inverness Street is an art gallery within a private home. It is conceived as an accessible, intimate space to present challenging exhibitions of contemporary art.
4 October - 9 November 2013
PV: 3 October 6 -9 pm
43 Inverness Street is pleased to present a solo exhibition by South Korean artist Jungho Oak.
Jungho Oak will be presenting photographs and one single channel video. The works contain a profound elegance usually unexpected from the humorous content.
Oak’s video In the Barley Field, 2013, is a subverted confrontation that makes use of the aggressive accoutrements and posturing in traditional Kendo swordsmanship. A protagonist in full battle armour pits himself against a scarecrow. Repeated thrusts and swings are met by nothing but a blank immobile straw man. The only shift takes place in the beauty presented by the grand scale of the sky overhead. The attacking slashes of the swordsman is subordinated by the meditative mutability of the weather. It is a comical rendition of futility in a culture of aggression. The work was originally shot in Scotland during the artist’s recent stay in the U.K.
Also on display are a series of photographs portraying various yoga poses. In Supported Headstand Pose- Salamba Shirshasana, 2011, and Standing Bow Pulling Pose- Dandayamana Dhanurasana, 2011, while wearing a smartly tailored suit, Oak performs slow movements in a muddy field with a shopping trolley. The combination of the unlikely location with inappropriate clothing and useless props contribute to a feeling of frustration and pathos in his work.
The Holy Landscape series consist of photographs of urban public spaces, including a baseball stadium, a horse race track, a shipping harbour, and a distant view of a city built on top of a natural landscape. The large format photograph The Holy Landscape-Hadandong, Sahagu, Busan, 2013, shows a panorama of this unplanned and overdeveloped city. Busan was once populated by refugees from the Northern part of Korea during the Korean war. Hinting a human-constructed folly, the image presents a crowded urban complex, whose hazy beauty is matched by its impressive sprawling scale. This work, as with others from the series, consists of vertical frames made through an editing process of trimming and synthesizing consecutive shots. The eight vertical sections reveal the multiple layers and hierarchical structures within these urban sites and landscapes.
Jungho Oak lives and works in Seoul, Korea. His solo exhibitions include The Holy Landscape at Art Space Pool in Seoul, Korea (2011), and Free Plastic at Gallery 175 in Seoul, Korea (2006). He has been included in group exhibitions at Leeum, Samsung Museum of Art in Seoul, Korea (2012); the National Museum of Contemporary Art in Seoul, Korea (2009); Museo Nacional de Bellas Artes Buenos Aires in Buenos Aires, Argentina (2008) ; BizArt in Shanghai, China (2008); Museo de Arte Contemporaneo in Santiago, Chile (2007); and The Walsh Gallery in Chicago. He most recently took part in the Glenfiddich Artist in Residency Program in Duff Town, UK.
6 - 28 September 2013
PV: 5 September 6-9 pm
“Just because someone says, “I like what you do” or something: They might like it today and tomorrow they might not.”—Ornette Coleman
43 Inverness Street is pleased to present I Like What You Do, a group show of paintings by Michel Castaignet, Anthony Faroux, Tommaso Nelli and Sherman Sam. Faroux has invited the other artists to show with him.
I Like What You Do is predicated on personal relationships and discursive collaboration among the artists. Did the friendships begin because of mutual appreciation for each other’s work or did comradery and affection come first? If the latter is the case, does that make the pleasure and admiration of the work valid and legitimate? The works by the four painters in this show share in the specific characteristics of paintings. Their frozen gestures, produced through the action of making may also all have similar references to historicity. But in the end, it may not be necessary for Faroux as curator to like the final product of his friend’s labour. He might like what you do, but not what you did. Primary in this case, we can now see what doing has produced.
Anthony Faroux works and live in London. He is currently exhibiting in the Jerwood Painting Fellowship touring show; Jerwood Arts Space London, BayArt Cardiff, Aberystwyth Arts Centre, The Gallery at NUCA Norwich. Exhibitions include Artist in Residence, DLI Gallery Durham (2011), and Bakkar Island at Five Years Gallery in London (2010).
Michel Castaignet lives and works between Paris and Champagne. He graduated in Arts, Aesthetics and Art Theory at Middlesex University in 2001. Recent solo and group exhibitions include La Rime et la Raison at L’Escaut in Brussels, Belgium (2013), Jardins Clos at Red Bridge Gallery, Vologda, Russia (2012) and Transit at Maksla XO Galerija in Riga, Lithuania (2012).
Tommaso Nelli graduated in history from Oxford University in 1994, and continued his studies in literature and philosophy at University College London. He worked in writing, journalism and photography up until 2007 when he became a fulltime painter. He has exhibited at Sideshow Gallery, Brooklyn (2013), the Pencil Factory, Brooklyn (2012), the Morris-Jumel Mansion, Manhattan (2012) and the TILT collective, London (2012). He was a grantee of the Northern Manhattan Arts Alliance for 2013. He lives and works in New York.
Sherman Sam is an artist and writer based in London and Singapore. He has exhibited his paintings and drawings internationally, including solo shows at The Suburban in Chicago, the Rubicon Gallery in Dublin, Lugar do Desenho in Porto and the Centro de Arte in San Joao de Madeira, and most recently at Some Walls in Oakland, CA. His work has also been included in numerous group shows in Europe, including M6: Around London in Majorca, Sight Mapping (Sweden, Scotland, Spain), Plan D, an exhibition which he curated (Portugal, Ireland), Rhyme not Reason at the Janet Kurnatowski Gallery in Brooklyn, Paper: A-Z at the Sue Scott Gallery in Manhattan, Connected at Feature Inc, and most recently The Theory and Practise of Small Paintings at Equator Art Projects in Singapore.
28 August 2013
43 Inverness Street is pleased to announce Reality Check, a one-day event presenting artworks that involve sound, performance and installation on 28 August with artists Yoonsuk Choi, Ingeun Kim and Locco.
A ‘reality check’ is normally thought of as a confrontation with reality as it actually is and not how it is perceived. The three works in Reality Check question our perceptions of reality. In their diverse approaches, they contemplate how we understand the world around us by playing with notions of the uncanny. The half gallery and half home environment of the space at 43 Inverness Street is a perfect location for these works and emphasizes the habitual gestures of the everyday and interweaves concepts of familiarity and unfamiliarity.
Soapbox where I can shout it (2013)
Yoonsuk Choi’s performance piece Soapbox where I can shout it takes place on the ground floor on a stage where the artist conducts an auditory experiment by playing recorded sounds gathered from commonplace experiences to the audience. Choi uses a sound looping device that musicians use called Loop Station which enables sounds to be recorded and then repeated on its own. By playing back these familiar sounds, the artist is curious what kinds of associations the sounds trigger in the audience. The playback of familiar words and sounds brings unfamiliarity to the collective experience.
Ingeun Kim’s sound installation work Throat plays with the idea of the fabrication of habitual and familiar noise in post-sound production and consists of recordings that focus on the ambiguous, uncanny and illusionary aspects of the sonic experiences that he encounters in his surroundings. He has recorded mundane noises (such as a whirring fan or the rubbing of fabric) and manipulated them in post-production to the point where the edited sounds seem like they reflect memories of his experiences. The narrative is built around the core of the piece which is identifiable by the reproduced sound of a dog’s deep growl that stems from the artist’s recollection of an occurrence in the park.
An Abstract Journey (2013)
In his mixed media work An Abstract Journey displayed on the first floor, Locco shares his walking journey from his studio/home in Southwark to 43 Inverness Street. Using the canvas and his admiration of spontaneity, he collected abandoned items on the street that he found along the way and assembled them in the gallery by fixing the pieces onto the canvases. In addition to the canvases, a shopping basket filled with found objects is installed in the room. Amongst the items in the basket is a small screen that shows video footage of the journey.
14 June - 13 July 2013
PV : Thursday 13 June 6-9 pm
43 Inverness Street is pleased to announce Structure, a solo exhibition of Ben Nathan’s paintings. Known for his exploration of urban infrastructures and his reflection of past and present human technologies, Nathan’s latest series continues his exploration into painted abstraction of the vernacular built environment. With large areas of unmodulated saturated colour, the images flatten the familiar, remaking and rendering these sites – the seawall, the water tower, and the bridge — in a manner which brazenly treads between abstraction and figuration.
Seascape, 2012 is an image of a seawall. The sea itself is not present in the image, yet oceanic force and power is communicated through scraped arcs of contrasting colours surging upwards and out of the picture. The painting is a study of stasis and motion. The scraped areas are contrasted with rectilinear forms of hard-edged stripes and craggy shapes of bold red, black and white. These dynamic forms and colours combine to create a landscape of permanence and upheaval. The show also features another image of almost indeterminate source on first inspection, Gateway, 2013, is a simple composition which hides a complexity of spatial and social architectural constructs. Composed from an image taken of a part of a bridge in New York City, Gateway presents an imposing, almost threatening array of spikes and gnashing bars, but is paradoxically seductive because of the unfamiliar perspective and abstracted flatness. Chateau d’Eau, 2012, a painting whose original inspiration was a water tower nestled in a rocky French landscape, is constructed in two parts. The tower itself and the surrounding space are separated structurally, by means of a specially mated set of supports onto which the canvas is stretched.
The boldness of colour and line are only superseded by this renting of figure and ground. Beacon-like, this water tower has achieved iconic status through aesthetic decision making. These and other recent works, presented over two floors display a depth of commitment to the painted surface and its ability to shift between sensuous depth and representational allusion.
Ben Nathan, a graduate of The Slade School of Fine Art, Bezalel Academy of Art and Design, Jerusalem and The Prince’s Drawing School. He lives and works in London. In 2012, he was awarded the International Jewish Artist of the Year award, The Ben Uri Gallery.
please visit http://www.bnathan.co.uk
11 May - 8 June, 2013
PV with Live Performance: 10 May, 6-9 pm
Rochelle Fry has paired two new large wood and clay sculptures with sounds created by the band Squares and Triangles for her first solo exhibition in London.
On each of 43 Inverness Street’s floors is placed a 1 meter square wooden box filled with clay and an amplifier. Fry has dug by hand to nearly the bottom of the clay to create a horn-like clawed-at hole. With an intensity of material surface, each of these clay absences is mated to a soundtrack provided by Squares and Triangles.
This exhibition continues Fry’s interest in pushing the basic properties of sculptural mediums to the extreme. In The Idiot, a solo exhibition at The James Hockey Gallery in Farnham, sculptures were cast in bronze using a technique which pushed the ability of casting to its limits; leaving spindly melted-looking post-geometries of metal as a testament to failure. Yellow silk banners recently shown at Young London, at V22 in London displayed the lightness of colour and material, where faded sections of taped together textile competed to reach ephemeral buoyancy.
Titled The Story of the Eye 1 and 2, the new works for 43 Inverness Street have a coarsity of procedure; the digging with the hands creates textures, marks and the holes. Clay is a material mined from the earth through digging. This first digging that makes the material available for use is mirrored in the second digging; the marks and scrapes of digging by hand reinforce this ‘earthy’ materiality. The void left by the hole is refilled with the sounds produced by Squares and Triangles. Sheer weight and the physicality of grappling hands provide the conical cauldron for sonic broadcast.
Rochelle Fry, a graduate of The Royal Academy, lives and works in London. Her work has recently been included in Young London at V22 in London. In 2012, she had a solo exhibition at the James Hockey Gallery at UCA Farnham.
Squares and Triangles is a band founded in 2007 in Andersabo, Sweden. It was initiated by a group of artists who were interested in the possibilities of improvised music. The core of the group is Jason Dungan, Dustin Ericksen, Anthony Faroux, Sam Porritt, and Maria Zahle.
This exhibition runs in collaboration with Five Years, as part of the trans-disciplinary project Fragments (also on view at Five Years, from 4th-26th May). Fragments is an interdisciplinary project with national reach, involving 10 artists and a publication with the support of the Arts Council.
1 March - 27 April 2013
PV : Wed 27 Feb 6 – 9pm
Friday – Saturday 12 -6 pm
Closed for the Easter holiday – 24 March – 14 April
Cultivate your curves – they may be dangerous but they won’t be avoided.-Mae West
43 Inverness Street is extremely pleased to announce Intreccio Mirage, a solo exhibition by Milly Thompson. Two new series of wall-based works are presented across the two floors of the gallery.
On the ground floor, luxury branded shopping bags are hung on the walls. Hung on hooks, in groups of seven or eight, each stack curves upward and outward, becoming phallic constructions of commodity accumulation which literalise the phrase ‘passion for consumption’. They are called by Thompson, ‘Muse Privé’, and each has a unique subtitle, for example, ‘Air de le Rêve.’ The multicoloured rising curved collections of comparative shopping prowess are aestheticised through formal rigor. The works pose a question — is this material the result of pleasuring one’s self, or is someone being screwed?
Upstairs, a group of works entitled ‘Desert Siren’ are constructed using elements of traditional painting supports and draped, sheer fabrics, with the addition of two melon-sized balls sitting near the top and very out-front. With a figurative proportion, the works vertical rectangular format produces a kind of contemporary Venus of Willendorf. Though the ‘clothing’ of these works might appear to be the work of a contemporary fashion stylist, just like Richard Prince’s ad-excerpted cowboys, these emblematic frieze like objects aren’t supplemental to the message. They are the message.
The rise of consumer culture in the west is often associated with the downfall of the political program of the left. The proliferation of individualistic consumer culture coincided with the emergence of the concept of the personal being political. In these works, desirable aesthetic constructions at first indicate the intractability of these two histories. But the slowly turning humour and formal invention of the art in Intreccio Mirage weave a story much more compelling, and ultimately more important than a consumerist bogeyman or his discursive regime, and it is sexy.
A publication has been produced on the occasion of Intreccio Mirage. Featuring original essays by Michael Archer and Suzie Jung-Eun Lee. There is a small uniquely printed limited-edition of 50 books and 50 posters signed by the artist available.
Milly Thompson lives and works in London. She was a member of the influential collaborative art-group BANK from 1994 – 2003. Since then she has shown widely – solo shows have included Savoir Faire (2009), Focal Point Gallery, Southend-on-Sea; Late Entry (2008), Peer UK, London; Quixotic Sausage Scenario (2010), Caribic, Hamburg; Saucisson Chiffonaire (2011), Caribic, Lisbon and Summer Picnic (2011), at locations including I-land, Bransford Bridge, Worcester/Supernormal, Braziers Park/Piscita, Stromboli. Group exhibitions include ÉVASION (2012), LPG, Coventry; Nothing is Forever, (2010) South London Gallery and Les Biennales, 187 Wilton Street, Glasgow (2012).
please visit http://www.millythompson.co.uk/.
11 January - 16 February 2013
11 January– 16 February 2013
PV : Thursday 10 January 2013 6-9 pm
Friday and Saturday 12-6 pm or by appointment
43 Inverness Street is pleased to announce a solo exhibition by London based painter Hideatsu Shiba.
For this exhibition, Shiba has installed four large oil paintings on canvas in the domestic spaces at 43 Inverness Street. Each is at once a meditation on the sublime and a practice of broken up space in the vertical format. Three of the paintings represent a natural environment and a fourth, Daybreak, 2011, is a brooding view through a canyon-like gap between two skyscrapers. Dark proximal tonal shades of night pervade this work, broken only by the small glow of the arrival of the sun. But, as in the other three large paintings in this exhibition, the viewer is confronted with a grand representation of a spectacular vista in scale.
The background in Shiba’s works functions as both atmosphere and essence of the subject matter. The lines depicting trees, flowers, rocks and buildings are only suggested representations of the subjects while the background works in tandem with the brush marks to produce the full effect of the landscape. The rhythm and directions of the brushstrokes build the pictorial language of space. In Big Tree, 2010, the height of an immense redwood tree is cannily constructed of an oblique triangular shape. The tree, rooted in the center of the painting, is solid and immense, but it somehow disappears into an atmospheric perspective above the heads of the figures below, and because of the height of the painting, it also fades out of view over the head of the viewer. This trick of size and scale — real human scale, gives the work a double life. The believability of the images is subtly abstracted between different zones of the painting. Looking up and down creates a change in perspective and time, and this is achieved through careful compositional movements.
With influences as diverse as Muromachi period Japanese landscape painting and American figurative painting from the ‘60s and ‘70s, the paintings communicate a fresh openness with a clean decisive rendering of imposing elements of our surroundings. In the Hikers, 2012, three small figures are dwarfed by an immense forest. The forest is a diverse world of muted colours and textures. Closer to the bottom of the painting, tree forms are hinted at and subtly teased out of the soft natural palette in lights and darks. But the inevitably gently climbing rhythms of branches and leaf forms give way eventually reaching a massive crescendo of solidity and abstract masses of woven brushstrokes at the top of the canvas.
This quartet of pictures comprise a natural extension of Shiba’s previous works, whose casual beauty and effortless compositions were often captured on a small scale. In the Flowers series, the subject is suggested by the colour of the background. In Flowers (Roses) (2003), the discontinuous outline of the roses creates a silhouette of the flowers against the background, causing the flowers to be submerged into the dusty rose colour. His latest works bring the modest promise of those earlier paintings of flowers to an awesome statement of painterly ambition.
Hideatsu Shiba (b. Japan 1973) lives and works in London. He studied at Byam Shaw School Of Art (BA Hons/ Fine Art), Goldsmith College (Postgraduate / Fine Art) and Chelsea College OF Art (MA / Painting). He has had solo exhibitions at Laurent Delaye Gallery in London and One In The Other Gallery in London. His work has been in international group exhibitions in Scotland, Prague, and Iceland as well as venues in England.
5 October - 17 November 2012
5 October – 17 November
PV : Thur 4 October 6-9 pm with a music performance by Baik.
Friday and Saturday 12-6 p.m. or by appointment
43 Inverness Street presents the first solo exhibition in London of the acclaimed artist and musician Hyunjhin Baik.
Hailed by Chan-Wook Park, the director of the film ‘Old Boy’ as ‘a genius of Korea’, Hyunjhin Baik is a well known musician and has produced and directed film and video. Though he studied sculpture in his native South Korea, his current visual art output concentrates on paintings. This show includes 9 works from the past 2 years.
Ranging from serene to chaotic, Baik’s expressive range is created through modulations in brush handling and colour. ‘Quantity’, 2011, is a large figurative image. However, the clarity of facial features is replaced by a virtual catalogue of frenetic mark making. Hints of features — nose, eyes, perhaps wrinkles, are present but not clear. Similar to the movement blur in Francis Bacon’s work, the effect is of recognisability disfigured to near obliteration. This variety of paint strokes is employed to a different effect in ‘Module 01-06’, 2011. In this work, the different methods of application are joined laterally in a near-monochromatic green trail of dips swings and scrapes. The effect is a calm meditation on the theme of landscape.
Other works contain elements of draughtsmanship, which also tend toward dissoluteness. On the first floor, in ‘0/61’ and ‘1/61’ lines which look like map contours are covered with collaged elements which at once partially obscure and highlight the original referents in the drawing.
Intended as a modest introduction to Baik’s work, this exhibition presents a selection of works, which outline his main concerns in the medium. Selected to suit the context of 43 Inverness Street, works are positioned in a domestic space that has been slightly adapted for public exhibition in a way to highlight their individual differences.
Hyunjhin Baik (b. 1972, Seoul Korea) lives and works in Seoul, South Korea. He studied at Hongik University, Seoul. Recent solo exhibitions in Seoul, Korea include ‘Paintings Next Door’ at Ccuull Ccuull pool, ‘Thirteen Pieces + bonus’ at Doosan Gallery, and ‘The End: The Linear Version’ at PKM Gallery and at Bartleby Bickle and Meursault. Recent group exhibitions include “Ancient Futures” at Culture Station Seoul 284 in Seoul, Korea and ‘Plastic Garden’ at Minsheng Art Museum in Shanghai, China. Additionally, his music albums include Break-Even Point (1997), 21st Century New Hair (2000), Time of self-reflection (2008) and Foundation for Instantaneousness (2011). He has also provided soundtracks and musical accompaniment to the work of director Chan-Wook Park and his voice was used for three of the late works of Pina Bausch. He is a lead singer of ‘Uh-Uh-Boo’ project.
43 Inverness Street is an art gallery within a private home. It is conceived as an accessible, intimate space to present challenging exhibitions of contemporary art.
Director Suzie Jung-Eun Lee 07813041070
Assistant Director Giovanna Coppola 07983277104
Opening hours : Friday & Sat 12-6pm or by appointment
43 Inverness Street, London, NW1 7HB
7 June - 7 July 2012 (from 9 July - 27 July by appointment only)
at 43 Inverness Street
7 June – 7 July 2012
Private View: Wednesday 6 June 6-9pm
Poetry Reading and Q&A: 7 July 1030 a.m.
43 Inverness Street is proud to announce a partial survey exhibition of the work of Fabian Peake.
Covering a span of 41 years, this exhibition fixes upon Fabian Peake’s bold aesthetics and performative content. Paintings, woodcuts, garments, photography, performance, and poetry are included in this tight sampling of Peake’s polymorphous practice.
An anthropomorphic wood-pigeon with a red-bra gazes past an inquisitive tapir in the exhibition’s earliest work, The Tapir’s Companion; oil paint on canvas, 1971. The action takes place on a stage set. complete with backdrop and theatrical columns. Another painting, Little Mountain, 2010, takes as its subject the familiar early-renaissance stylistic representation of mountains, which are quite like little props, and are often seen in the background of religious paintings. Both works highlight self consciousness and performative staging in painterly representation.
Peake’s quirky aesthetic methods dissect common functional items which are the very material boundaries between public and private, for example, signs and clothing. Peake has studied tailoring in order to create a series of works based on clothing construction. Untitled, a pair of oversized garment-like wall works hang on either side of a fireplace in a kind of double act. In their oddly enlarged and semi-finished state, they manifest a refined performative humour of material relations in the vein of Jacques Tati.
The first work to be encountered in the current exhibition, a sign cabinet, of the type one would see above a shop in London or any other town for that matter, is represented in wood and red paint. But this sign is missing its letters and perspex face and reveals its insides. In reality, this work is a painted monochrome relief. But as such, this work portrays the random-looking guts inside the most ubiquitous of public commercial art. It can be seen as a metaphor and introduction to the exhibition.
The exhibition will also feature two black and white woodcut monotypes. In What do I call your shadow, 2009, The left side of the print asks, ‘What do I call your shadow, when you are a Shadow yourself?’ On the right, a man’s head, roughed-out in woodcut draughtsmanship is surrounded by words of unknowable meaning. The woodcut foregrounds the randomness and absurdity of asking such questions, soliciting an incomprehensible utterance. In an active and mutable dialogue with several mediums, Peakes work is wide-ranging, active and obtuse, but in all manifestations, it always fleshes out the un-straightforwardness that lurks behind the quotidian.
Fabian Peake lives and works in London, England. He studied painting at Chelsea College of Art and at The Royal College of Art. Recent solo exhibitions include ‘Shops, Airports and Blatherskite’ at The Cut Arts Centre, Halesworth, Suffolk, 2011, Fabian Peake at Chelsea Futurespace, London, 2008 and ‘The Suitcase’ at FIAC, Leon, Mexico in 2007. Recent group exhibitions include ‘Ruby’, at Gallery Vela, London. 2012, and ‘Twist’, at Baltic 39, 2012. Peake’s work is included in many public and private collections in Great Britain, Europe, U.S.A. and South America. Fabian Peake taught painting as a Senior Lecturer in the Fine Art Department of Manchester Metropolitan University.
please visit http://www.fabianpeake.co.uk/
16 March - 20 April, 2012
A group drawing exhibition in which lines are the featured element.
Marc Hulson,Bryan Ingham,Chinwook Kim,Jieun Kim, Paul Noble, Victor Pasmore, Mike Rogers, Sherman Sam, Charlotte Thrane
PV : Thur 15 March 6-9pm
In art, drawing is the original expanded field. Drawing is the mark of simultaneous thinking and action. In this sense, the elemental register of drawing is line. This exhibition concentrates on the use of line in drawing
It is a conduit between the actions of the draftsperson and one who sees her work. In this way, it can be seen as reflexive. the movement of the pen on paper, for example, from one spot to another, has not only caused ink to be applied to a surface, but also, like a groove in a vinyl record album, provides some hint for a reconstruction of physical movement of another. The physical and literal linking becomes less and less tangible as the metaphors develop and flow from this original stroke. A visual relationship to the line is a thread, with a potential to stitch endless chains of experience and representation. Lines are at once pragmatic and fantastical, grids of line can refer to structural design or imply infinity.
In a category related to horror vacuii drawing, some works are generous in their mark-making. But this movement traces the making of a procession towards a locked compositional structure. This show includes the uses of line that extend, through repetition exaggeration, toward a realm of hysterical drawing.
The lines in these drawings are rhythmic, structural or procedural. They are used to fill space, as a latticework or grid, or they provide a vector for movement. Lines stand in for formal elements in representation as in topographical lines. They might represent edges, but they can also represent sides fronts and backs, if arranged properly. Above all, the lines in these drawings show an intention to complete a picture, they communicate a mental state; one of determination towards inevitable completion in the concrete realm.
11 November - 8 December, 2011
Private View : Thursday 10 November 6-9pm
43 Inverness Street is proud to announce a solo exhibition by Saki Satom.
For her first exhibition at 43 Inverness Street, Satom is showing video works and drawings, which identify the constraints, awkwardness and freedoms of the individual in relation to society.
A series of ink and watercolour drawings on the ground floor, Apologies (2009-2011) represent Japanese political figures and businessmen performing the rites of public apology. Inscribed with constraint, these public offerings are a high-theatre of disgrace. Also on the ground floor are 4 videos from the series Greetings, 2005. Shown on a single monitor with headphones, the videos are interviews with a variety of experts, which include a protocol advisor and an anthropologist. They discuss the subject of the etiquette of greeting: How and when do people kiss? Who kisses, who doesn’t? At the core, the discussion reveals the shifting cultural boundaries of the social contract.
On the lower landing, Satom’s A Space of One’s Own (2003) is installed. In the silent single screen video, a woman spins, kicks and struggles in a stainless steel tub, which seems embedded inside the monitor itself. Her frenetic action at first seems a struggle to escape, but over time the frame might be thought of as the field for a type of limited creative freedom. The work portrays the essential relationship between constraint and creativity.
Upstairs, two videos shot in the halls of the Tokyo subway give contrasting perspectives on the dynamic relationship between the individual and the group. Satom’s M Station Backwards (1998) uses the reversal of video time to perform an opposition to the restrictions of convention. The protagonist mysteriously moves contrary to the flow of commuters. Is this protest for emancipation or a simple trap of non-conformity? In M Station Run(1997-98), Satom highlights the herd behaviour of crowds in the subway –by joining them. Commuters seem drawn by a force of nature to sprint down hallways. Through repetition, rhythm and noise, the run becomes an act of expression and life.
Saki Satom lives and works in London, England. She has shown at Tate Modern, London, and at the Museum of Contemporary Art Tokyo. Her recent solo exhibitions include Alternative Stories, Taigh-Chearsabhagh Museum & Arts Centre, Scotland in 2009, and Saki Satom at Gasworks, London in 2005. She has had residencies at Delfina Trust, Camden Arts Center, and at De Fabrik in the Netherlands. She holds a PG Diploma and MA in Fine Art from Goldsmiths College, London.
43 Inverness Street is an art gallery within a private home. It is conceived as an accessible, intimate space to present challenging exhibitions of contemporary art.
Director Suzie Jung-Eun Lee 07813041070
Assistant Director Giovanna Coppola 07983277104
Opening hours : Wed-Sat 12-5pm or by appointment
43 Inverness Street, London, NW1 7HB
Tel 0207 482 3594
12 January - 10 February, 2012
Group show with artists:
Ma Kwang Soo, Chad McCail, Lee Jae Woo, Klega
at Ggooll, 683-31, Hannamdong, Seoul, Korea.
Private view: Wednesday 11 January 6-10 pm
Poetry reading & a mini lecture by Ma Kwang Soo:
2pm, Sat 14 January at Ggooll
4 artists from different culture and generation will exhibit paintings, drawings, animation & installations on the theme of sexuality. The title refers to the poem written by the controversial writer in Korea,
Ma Kwang Soo.
3 June-15 July, 2011
at 43 Inverness Street
3 June – 15 July 2011
PV : Wed 8 June 6-10pm
Artist Talk: Sat 2 July 11 am
43 Inverness Street is proud to announce a solo exhibition by Chad McCail.
On the ground floor of the gallery, McCail is exhibiting a new work, Rites of Spring (A story for adolescents in 12 pictures), 2011, a series of twelve gouache paintings about the sexual initiation of a boy and girl. Before setting off on a journey, they are each given a knife by an elderly couple. Their destination is a tree with flowers which look like human genitals. When they find the tree, they copulate with the flowers. But as they begin, a root rises from the ground and threatens to strangle them. Using their knives, they cut themselves free and escape with the root. Afterwards, as they wash themselves in a pool, snakes emerge from the severed roots and they return home with these emblems of their awakened sexuality.
McCail explains, “Our first experience of sexuality is vertiginously dislocating. We meet a force which uses us and threatens to overwhelm us. Recognising it as a time of vulnerability and danger, other cultures surround puberty with story and ritual.” With Rites of Spring, the artist offers us a story which evokes the essential strangeness of sexuality.
Upstairs at 43 Inverness Street, McCail will be presenting Monoculture, 2010, a large-scale digital c-print. Monoculture is a cutaway drawing of a school. The work describes how the school system processes children en masse and in age-related batches through a highly standardized and closely monitored system involving a compressed range of largely bureaucratic activities. It proposes that compulsory education conditions the majority for largely uncreative work with minimal responsibilities, while weakening relations among children and encouraging the development of a competitive ethos, which limits their ability to cooperate with one another. In the picture, this authoritarian quality is impressed upon the children so that as they progress they begin to acquire a shadowy block identity, composed of the repressed anger and frustration caused by the system’s inflexible, divisive nature. This debilitating and isolating block identity mirrors the world of highly refined mass produced units into which they eventually graduate, a world which is both the expression of this identity and one for which they are fitted.
In the past, Chad McCail’s distinct figurative style has produced works in which two strands have been evident – one idealistic, affirming our potential to radically alter the way we live and organise ourselves, and the other critical and polemical, challenging existing institutions. Both threads are represented here as the artist continues to raise questions about the politics of childhood and adolescence. Rites of Spring employs an illustrative form to tell a story which embraces the compelling and urgent nature of adolescent sexuality, while Monoculture emphasises the flat, graphic quality of the computer-generated image to examine how the educational system stifles and isolates.
Chad McCail lives and works in Scotland. Recent exhibitions include, Systemic, a solo show, and Rank: Picturing the social order 1600-2009 at the Northern Gallery of Contemporary Art, Sunderland and Sh(OUT) Gallery of Modern Art, Glasgow. His work is included in many public collections including the British Council Collection; MAMCO, Geneva; MOMA, New York; Museum of Modern Art, Glasgow; Scottish National Gallery of Modern Art and Musée d’Art Moderne Grand Duc Jean, Luxembourg.
please visit http://www.chadmccail.co.uk/
24 Feb - 31 Mar 2011
London based South Korean artist Ha Young Kim’s paintings and drawings will be shown from 24 February till 31 March 2011.
Private View : Wed 23 February 2011 6-10pm
On the ground floor, two large paintings on canvas and a drafting film introduce themes that dominate Kim’s work. Tropical Punch and Only a Little Push (both 2011), are bold images active with high-keyed colours. While the light is shallow, layers of translucent paper give an atmospheric depth. The subject matter is violently visceral. Punches are thrown repeatedly from all directions at once. The brute physicality of the images penetrate the surface, suggesting an emotional and psychological space beyond the picture plane. Kim’s use of colour relates to “Dan Chung”, a palette used on traditional wooden buildings in Korea and fabrics used in Korean shamanistic rites. Smaller paintings in the same room elaborate on similar forms, but are painted on sheer polyester. Eat In and Out, Mop, Diagnosis and Guinea Pig center on corporeal abstraction; these representations of the body are rollicking. Some part of some person is constantly being crimped or curled or digested, perhaps all three at once.
Upstairs, Lying to Myself, a grid of 49 paintings on paper expand Kim’s subject through variation and repetition. In each painting, two characters appear to harangue a third. What at first seems cute is slowly revealed to be more problematic. Is the face one face, three faces, forty-nine faces, or one hundred and forty seven faces? Chromatically punctuated, and economical, these pictures are individually enigmatic and engrossing in their totality.
Ha Young Kim’s paintings and drawings conjure a hallucinatory space. The rendering in these works is allied to a cartoon sensibility, but the images are intractable. There are no doll-eyed characters primed for projection and desire. Here, Kim offers food and regurgitation or facial distortions and other manipulations of body. “Wish-fulfillment is the meaning of each and every dream,” just as painting materialises the desire of the artist to produce an image. Parallels to dreamwork are evident in Kim’s conflations of uneasy body representations with ambiguous pictorial qualities. In them, action occurs in time which seems to go both forward and back. Simple autonomous characters of manga have been replaced by a zone populated by an uncanny coterie of blank test subjects and floppy globs of stringy tangles. Like peering through the eye-holes of a mask, these works offer an inside-out view of relentless grabbing, poking, prodding, devouring and expelling; cartoonishness that paradoxically invites empathy.
5 November – 10 December, 2010
43 Inverness Street, a new gallery space located in a private residence in Camden, is pleased to announce its inaugural exhibition of works by Anthony Faroux.
On the ground floor, the artist has placed abstract oil paintings on glass in relation to the house’s existing decor. The result is that Faroux’s interspersed paintings become highlighted, as things out of place. The paintings have bold, sometimes jagged shapes, composed of pure colours of reds and oranges, and in one painting, of blues. The paint has been applied to the back of the glass, which heightens the colour saturation. Over-keyed colours and the chiseled quality of the shapes make the forms appear to hover in front of the picture plane. The glass removes all surface texture, leaving only two-dimensional traces of graphic marks and colours and the smoothness invites an almost clinical examination. The shapes are neither organic nor machine made, but rather occupy a category of the strangely handmade, like a rough cut-out of coloured paper. In this way, the works foreground the intimate language of painterly craft using an elegant distancing device, a thin sheet of glass.
The first floor is devoted to one single channel video, Bakkar Island, 2010. Faroux has loosened the meandering lens of the camera upon a small island off the coast of Tripoli, Lebanon. In the video, the pace of life is echoed by the repetitive sweeps of the slow panning camera. Trompe l’oeil wipe-cuts mimic the rising and falling waves lapping the shore in a virtuosic rhythmic orchestration. On the island, boys play in a dilapidated playground, an old man shuffles around a dirt plot which was once the site of a house that has long since lost its structural integrity. A place of beauty and sadness, Bakkar Island proposes to strip bare all the pretences which obscure life’s significance. Faroux has composed a location which seems to offer three modes: age and decay, youth and play, and, as portrayed by a fisherman who finishes his day’s work with a languid pose and a slow walk back to the mainland, the task of living itself.