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X-WR-CALDESC:Events for Bermondsey Project Space
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DTSTART;TZID=UTC:20171003T110000
DTEND;TZID=UTC:20171014T180000
DTSTAMP:20260415T180330
CREATED:20170916T122720Z
LAST-MODIFIED:20190615T152208Z
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SUMMARY:'The Hemming and Marr Show'
DESCRIPTION:The Hemming and Marr Show \nRecent Paintings  \n3-14 October 2017 \nAdrian Hemming on Andrew Marr \nI FIRST ENCOUNTERED Andrew (or rather I didn’t but used to observe him)\, rapt with attention\, painting on Primrose Hill and I knew that the last thing an artist wants in those situations is a twat like me interrupting him to say: ‘Hi\, you must be Andrew Marr’. A time and a place for everything. So\, finally I did meet him and he kindly invited me to his studio. It was a revelation. I could see and sense that it was the start of a serious\, momentous\, lifetime journey. I don’t mean the physical journey he has had to endure but I mean the journey that all artists undertake if they are truly going to call themselves artists. Yes\, it’s difficult\, of course the journey is obscure\, it’s about many\, many\, things. It’s about seeing inside one’s self and the world around us\, it’s not just surface detail. \nHe works in oil paint on canvas and board. His subjects are abstract motifs and shapes\, floating on highly coloured backgrounds. They gain their excitement and visual energy from the push and pull of object to colour\, each fighting for balance and/or dominance. However\, he doesn’t slavishly copy other artist’s; he wants to distil the imagery from his own sensibility and the world around him to create a truthful comment on himself. \nHe is pushing his own work so that the look and feel of the paint is a big part of the message. It has to be sensuous. It has to be alive. There is a sense that the painting process is almost like being in psychoanalysis\, there are deep layers of unconsciousness that you constantly try to understand it’s both deeply satisfying and deeply disturbing at the same time. \n  \nAndrew Marr on Adrian Hemming \nPAINTING IS\, necessarily\, a solitary occupation. Everything that matters most about it takes place silently\, in the brain of the painter. In the studio\, when the hard work is being done\, the silence is absolute. And yet every painter needs to talk – needs help\, needs criticism\, needs a frank and knowing friendship. So\, when I began to try to paint seriously\, after I had suffered a stroke\, Adrian Hemming’s friendship was both wonderful luck and a lifeline. He comes into the studio\, raises a quizzical eyebrow\, perhaps shakes his head about something that had pleased me\, and quietly\, gently\, suggests other directions I might follow. \nI always call Adrian\, with a slight note of jealousy in my voice\, ‘a proper painter’. Unlike me\, he has gone through a full and rigorous training. He has devoted his entire life since teenage hood\, to mastering pigment and surface\, design and meaning. And\, by God\, it shows! \n  \nAlthough when we talk we mainly talk about the craft and physicality of painting – about pigments\, bristles\, different oils and glazes – Adrian Hemming is a philosophical painter\, much concerned with myth\, the environment and the nature of perception. Above all he is trying to answer the most difficult and important question painters’ face\, which is simply: ‘what should fresh painting look like in 2017?’ \nWhen I am painting badly\, I drive myself into a rage. But when I am painting well\, I feel full of delight. A big part of that delight has come about thanks to the calm\, wise friendship\, and peaceable advice given to me by Adrian Hemming. A lesser man would have tried to encourage me to paint just is like him: Adrian has helped me to paint like me\, only better – a much harder task. As you observe these pictures\, I hope you see the story of an artistic friendship too. \n  \nExcerpts from the exhibition catalogue.
URL:https://project-space.london/event/hemming-marr-show-2
LOCATION:Gallery 1 + 2\, 183-185 Bermondsey Street\, London\, London\, SE1 3UW\, United Kingdom
CATEGORIES:Events
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DTSTART;TZID=UTC:20171017T100000
DTEND;TZID=UTC:20171028T180000
DTSTAMP:20260415T180330
CREATED:20170908T103144Z
LAST-MODIFIED:20190615T152208Z
UID:6527-1508234400-1509213600@project-space.london
SUMMARY:'Gibraltar As Seen by Five Artists' curated by Philippa Beale
DESCRIPTION:Gibraltar As Seen By Five Artists \n\n\nPaul Cosquieri | Shane Dalmedo | Nina Danino | Carolina Santos Floriano | Karl Ullger \n\n\ncurated by Philippa Beale \n\n17-28 October 2017\nPhillippa Beale\, an English artist and curator\, has chosen Paul Cosquieri\, Shane Dalmedo\, Nina Danino\, Carolina Santos Floriano and Karl Ullger\, to showcase their work on Gibraltar. \nThe exhibition highlights the individual agendas of these five artists whose work\, when viewed collectively\, reveals a highly topical and polemical narrative towards the current political and economic situation in Gibraltar after the Brexit referendum. \nFor 300 years\, Gibraltar has guarded the Straits and loyally stuck to Britain. Culturally European and Llanito speaking\, what it means to be Gibraltarian is a curious phenomenon. The language is derived from Spanish\, influenced by Andalusian Spanish and English\, with an extended vocabulary taken from Genoese\, Hebrew\, Maltese and Portuguese. Gibraltarians call themselves Llanitos\, recognising the hybridity of their culture and language\, which in the spoken form involves peppering their language with English using a code – something only they can understand. \nThe current Socialist-Labour Government leads an entirely multi-cultural society. Gibraltar has now become a byword for tolerance\, as about a third of the population are either Jewish\, Muslim or Catholic. Unity and respect for the mores of each culture prevails. \nHere\, council flats are by the sea and the richer live up the Rock. The climate is tropical but the cultural events are Anglo-Saxon; comprising of theatre\, Book-Fairs\, Royal Academy exhibitions and a National Art Gallery showing the work of great Gibraltarians with Spanish and Italian names. It is a humane place to live\, where the government truly looks after its people; the epitome of ‘small is beautiful’ and as Solomon Levi\, the first Mayor of the Gibraltar\, says it is an\, ‘example to the world’. \n[row][one_col] \n\n			\n				\n			\n			\n				\n			\n			\n				\n			\n			\n				\n			\n			\n				\n			\n			\n				\n			\n			\n				\n			\n			\n				\n			\n			\n				\n			\n			\n				\n			\n			\n				\n			\n			\n				\n			\n			\n				\n			\n			\n				\n			\n			\n				\n			\n			\n				\n			\n			\n				\n			\n			\n				\n			\n			\n				\n			\n			\n				\n			\n			\n				\n			\n			\n				\n			\n			\n				\n			\n			\n				\n			\n			\n				\n			\n			\n				\n			\n			\n				\n			\n			\n				\n			\n			\n				\n			\n			\n				\n			\n			\n				\n			\n			\n				\n			\n			\n				\n			\n			\n				\n			\n			\n				\n			\n			\n				\n			\n			\n				\n			\n			\n				\n			\n			\n				\n			\n			\n				\n			\n			\n				\n			\n			\n				\n			\n		\n\n[/one_col][/row] \nPaul Cosquieri  \nGrowing up in Gibraltar has been crucial in defining my painting style in more ways than one. Living in a closed frontier Gibraltar meant that one could not get away from the shadow of the omnipresent and imposing limestone Rock and its sheer physicality. \nCarolina Santos Floriano \nThe different perspectives offered by the landscape of the Campo de Gibraltar have always made me think about the peculiarity of this territory\, and it is precisely this reflection that has served as an inspiration for my last project. \nShane Dalmedo \nThe subject of my work is mostly I would say to be an exploration into the human condition; and toys\, dolls\, ornaments and objects are a very important part of my expressive language. I feel that these retain their own energy. They are keepers of stories and secrets and so they add their own language to mine when I use them in my work to form a new dialogue. \nKarl Ullger \nMy life is in Gibraltar\, where over 90 per cent of us voted to remain in Europe. For us living in a totally multi cultural\, multi religious society\, where we eat and drink and trade with Europe and Europeans all the time; the very idea of Brexit is perplexing. We do not understand why Britain our mentor and Alma Mater would want to leave and so my current work is all about this dilemma\, this schizophrenic situation in which we Gibraltarians find ourselves. \nNina Danino \nMany of my works draw from inter-subjective experiences\, cultural references\, geography and a sense of place. Gibraltar is an entry point to the local\, the regional and to the wider Mediterranean from where I can travel out as far out as I want. \nCatalogue Available \n 
URL:https://project-space.london/event/gibraltar-see-five-artists-2
CATEGORIES:Events
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