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and prices.
Born in Israel in 1982, Vanessa Garwood trained for three years in Florence at Charles Cecil Studios; learning the traditional approaches to fine art drawing, painting and sculpture. In 2005 she exhibited at the National Portrait Gallery BP award, where she won the visitors choice award. Primarily a portrait painter, in 2009 Vanessa was given an apprenticeship with the acclaimed South African bronze Sculptor Dylan Lewis. Vanessa has previously exhibited at the Cosa Gallery and the Talisman Gallery in London.
Vanessa Garwood's work is an exemplar of the traditional renaissance painting techniques in the hands of a fresh, emerging artist. The Other Side of Green will be Vanessa's first solo show of her dynamic figurative and landscape paintings, drawings and sculptures inspired by her time in South Africa.
This exhibition, like Darwin's natural selection, has evolved from rhythmic line drawings to highly expressive oil paintings, through a diverse and vibrant palette.
Inspired by Paula Rego's belief that "the pictures are open; the meanings have to be able to move about", Garwood combines the female nude within her landscapes almost as if a suggestion. These landscapes are painted as though relics of a literal and personal search for answers, which she has sought.
She believes "this leads to an understanding of how subjective my paintings are and how they encapsulate more than a view - but how I saw myself there and what I hoped the new environment and surroundings could give me."
Influenced by artists from Sergeant, to Goya and at times Schiele, Garwood's paintings consider the human desire to seek an environment, which is most conducive to our needs to settle in and how this is often strongly linked with nature and our connection to it as a species.
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THE GATHERING WILLIAM ROPER CURZON
William Roper-Curzon’s work is an exemplar of traditional draughtsmanship in the hands of a fresh, emerging artist.
The Gathering is William’s first solo show. The collection comprises dynamic figurative and landscape drawings, displaying a strong rhythm of line and mark making, both traditional and utterly of the moment; the choice of Richard Wright as the Turner Prize winner in 2009 heralds a renaissance in skill-based use of
expressive forms. Influenced by such artists as Lucian Freud, Frank Auerbach and Maggie Hambling, William’s portraits are emotive, expressive, and tactile.
Working in pen, ink, pencil, charcoal and coloured pencil, he uses conflicting palettes to create vibrant and striking images.
William has exhibited at the Rose Theatre, The Royal Overseas League in London and in his hometown of Lymington. He has executed numerous private
commissions and acted as 'Artist in Residence' for a private client. In December 2009 his work was included in Art Barter London, alongside Tracey Emin and Gavin Turk.
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| Samson and Delilah, pencil on paper 2008 |
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A BIT PRIVATE Sabrina Rowan Hamilton
Drawn from a period of uncertainty Sabrina Rowan Hamilton’s paintings both
quantify and dissimilate our sense of home. Floating geometric forms and
benevolent versions of Bacon’s cages offer fleeting security, the viewer must
settle with the strangely reassuring yet shifting compositions. However, unlike
Bacon’s, they are profoundly non-violent works, as a Buddhist, they are rooted in
the belief of being able to transform ones environment through purification of the
mind.
Through the act of painting she attempts to make sense of the uncertain times
we live in; to find a safe place to be in an unsafe world. She is also heavily
influenced by the art philosophy of Joseph Beuys; his humanism, and his belief
in the potential for social and spiritual transformation through art works.
Sabrina undertook her first two years of training in Japan, from 85-87, going on
to gain her degree at City and Guilds, followed by an MA there eight years later.
She has exhibited all over the world from London and Los Angeles, to Hong
Kong. Despite her extensive training, for Sabrina painting is a natural and
instinctive act; an act of translation. She often continues to work on canvasses on
and off for years and will have many paintings on the go simultaneously.
Her paintings are more than the sum of their parts; they are reflections and
refractions of home. The finished canvasses are not themselves an end point or
conclusion but the transition of meaning captured in paint. They are an open
narrative and a meditation on the acceptance of uncertainty.
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