
‘How to Go’: Paul’s ART STUFF ON A TRAIN 209
The well-respected Ibid, Limoncello and Vilma Gold galleries have closed their London spaces, in what may be a watershed moment for the art business.
The well-respected Ibid, Limoncello and Vilma Gold galleries have closed their London spaces, in what may be a watershed moment for the art business.
Most days art Critic Paul Carey-Kent spends hours on the train, traveling between his home in Southampton and his day job in Surrey. Could he, we asked, jot down whatever came into his head?
‘Every day I took a seashell and recorded it as though it were the ocean with words swimming in it. At the same time I practiced ‘She sells seashells on the seashore’. Then I thought what would happen if you turn the ‘she’ into ‘he’ and remove the letter ‘h’ from all the words’.
‘I was interested, thinking about Brando, in whether you could make a sexy painting. It’s something I wanted to try and do in some way.’
BUFF is Hannah Knox’s first solo exhibition with Ceri Hand Gallery, featuring a series of new works that utilise fabric as a ground. Reducing painting to its primary components of colour, cloth and support- they range from pink linen and black PVC to day-glo orange raw silk. The works are folded, stitched, sprayed and draped, these are paintings barely and painted barely – this is painting in the buff.
Ceri Hand Gallery are launching their inaugural annual Summer Fete at the gallery this Saturday featuring a spectacular table top sale with original art works for under £250, by over 50 artists.
‘I think I’ve always had my ears open for snatches of stories about people (hearsay, and little half-truth stories)’.
Implausible Imposters is a group exhibition that brings together new work by seven artists who invent fictional narratives for objects or people, giving voice to the inanimate, imaginary or dead.
‘I tried to have a title and concept for the show that is very physical and about a sensory relation to our time: in that way all the artists connect’.
‘If one doesn’t struggle with painting now then what’s the point of doing it. You’ve got to fight with it. There is always a struggle in my work with old and new’.
Everyone has their own history within the bigger picture. I tend to use things or appropriate things, fit them to my own imagination and personal history.
In some ways the huge burden of painting, its historical baggage, has been part of its attraction for me.
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