Alleland: ‘Alle’ generally translates into ‘all-‘ and ‘everyone’ but also into: ’empty’, ‘used-up-‘ or ‘ burnt out-‘. ‘Land’ translates into ‘country’ or ‘land’. Boris Born’s paintings are abstraction, relating to both nature and the use of materials. He incorporates “found materials” along with the use of various types of paint.
This series was created after a winter of depression and a trip to the sea side (Suffolk), where Born was fascinated by the contrasts between the various browns and blacks of rotten plants, the differently coloured brown rock and sand layered cliffs, the greys of the sand, the low-hanging dark grey sky, the thick clouds, the troubled sea and the atmosphere this scenario created.
Born returned to his London studio with a pile of sketches and worked with a variety of materials: emulsion, varnish, pigments, pastels, India ink, pencils using small roof tiles or small pieces of timber boards as a basis. The result are rather intense, gloomy and expressive paintings. They are abstract but in the widest sense ‘landscapy’– depicting a second nature or different planet.
In the series Pictures from Alleland Born continues to work with the topic but slightly changes the range of materials. He uses small canvases and cutouts from papers, wallpapers and newspapers as basis and a wide variety of pigments, varnish, acrylic, asphalt, pastels and pencils. The paintings appear like negative prints of an abstract and irritating world.
Alleland is where the end is over and another end has begun, where everything falls, where nothing can be understood, where there is no landscape and no life anymore or something that can be understood as such. In Alleland, all perspective is flat, spatiality is evaporated. Materiality is negative, reduced to ‘trappings’. Alleland is burnt out, burnt down, dried up, hard and grim. Scratched, bruised, torn, muddy, chipped and decayed. Alleland is a prophecy.
Born is a German born artist based in London. He started his artistic career in the beginning of the 1980s in Hanover, Germany, where he worked as an assistant and practitioner in an art studio. After graduating from the Free University of West Berlin, where he completed an MA in Philosophy and German Literature, he focused on his art. He co-founded the artist group Der Riss “the Rip” and exhibited in many group and solo shows across the UK and Germany. He has also travelled and shown in Russia; both Moscow and St Petersburg. From 2005 – 2010 he was artist in residence at Bishopsgate Institute (London), with two solo shows and a five year continuous exhibition in the concert hall.
In December 2016, the Stone Space invited artists interested in being paired with another artist to come forward and work on creating a joint exhibition. The intention was that the two artists selected for the exhibition would enter into a dialogue or work together in response to each other’s work in advance of the exhibition and the results of this process would be documented or exhibited in some way.
Counterpoint is a collaboration between Ivy Panesar and Philipa Day, two local artists unknown to each other before this exhibition, utilises contrast of colour to create contradictory and varied emotional reactions. Both artists favour abstracts and rely heavily on colour and movement, but there are notable discrepancies in their work and method which create a magical disharmony.
Ivy Panesar is a contemporary London-based Australian painter inspired by street art and abstract expressionism. By her own admission, she can be brutal with a paintbrush, but the result is always intriguing, and sometimes chaotic, with pastel candy-coloured hues fighting for recognition against engaging brights.
Philipa Day is a painter from East London and has exhibited her work across London and in Copenhagen. This work captures the reactions of mixed oil paint and white spirit on acetate. For the viewers of Counterpoint, Philipa hopes each person will keep in mind a quote from one of her own artistic inspirations, Georgia O’Keeffe: “I paint because colour is a significant language to me“.
Strategic Plan by Spanish artist Juan Carlos Meana is an installation that is part of a broader work which deals with identity tensions between the individual and society. Juan’s installation fills the gallery with rulers and set-squares tells us that the space is reduced to numbers and measurements which, in an obsessive, hoarding manner, ends up depriving the subjects and their private identities. By ‘occupying’ the gallery and preventing the public from being able to physically enter into the installation, the artist wishes to emphasise the occupation of a space that cannot be inhabited and where the subject has been expelled.
Juan studied Fine Art at the University of the Basque Country.He continued studying in Paris (ENSBA) with C. Boltanski. He is currently lecturing in Fine Art at the University of Vigo (Spain). Over the years he has had around twenty solo exhibitions and many collective ones, in cities like Bilbao, Vigo, Vitoria, Barcelona, Madrid, Berlín, Amsterdam, Paris and Lisbon. This is the first time he has shown his work in the UK. Alongside his artistic work he has developed a body of reflective texts about artistic creation.
More information on Juan’s work is available on his website: juancarlosmeana.es
The private view for his show will be on Thursday 6 April, 6.30 to 8.30pm
Scenes from a Virtual Journal is a series of paintings by Rose Parker based on language collected from the Facebook posts of her grandmother’s travels in the Arctic Circle.
Rose was intrigued by what her grandmother wrote while travelling because her use of social media was atypical. Most people use photos and captions when posting about their travels, but Rose’s grandmother was unable to do this, as she felt that her camera was repeatedly failing to produce the images she wanted to create. Instead she resorted to language, in order to convey, not just what she saw, but her emotional responses.
Rose thought it would be an interesting experiment to see if she could become a substitute for her grandmother’s camera and turn her descriptions into a visual representation of her experiences. Rose wanted a tangible link between her grandmother’s writing and her paintings and has created, in her works, a typography from words found within the original source text.
Graduated from Wimbledon College of Art in 2015, with a BA in painting, Rose lives and works in Waltham Forest.
Private view: Friday 10 March, 6.30 to 8.30pm
Barrie J Davies (born 1977) is a British artist from Milford Haven, Pembrokeshire, Wales. He graduated from the Southampton Institute with a Fine Art degree in 2000 and completed his Master’s Degree at the University of Wales Institute, Cardiff in 2004. He has exhibited nationally and internationally for over ten years and has made various playful works in painting, photography, drawing, sculpture, print making, performance, fashion and installation.
His work is owned by well-known comedian, Noel Fielding and has also featured in the second series of Channel 4 Comedy “Raised by Wolves” written by Caitlin Moran. His artwork uses a provocative, colourful psychedelic and humorous approach to expose the human condition: notions of success, money, glamour, love, death, sex, gender and religion are picked at with dry comedic use of tragedy meshed with absurdity. The paintings in the show are influenced by the internet, 24 hour shopping, trashy magazines, kitsch obsessions, bootleg songs, day glo fashion, dubstep beats all fused together in a mishmash of pop styles.
E A Everall is a founder-member of Stuckism, the infamous international ‘outsider’ art movement. Founded in 1999, Stuckism originated as a riposte to the then dominance of ‘conceptualism’ and non-painting in general and is committed to the act of fine-art representational painting. The Stuckists are probably more familiar to the general public as the colourful crowd who regularly demonstrate outside the Tate in response to the meanderings of the Turner Prize. Behind this light-hearted façade, however, there lies a group of people with serious intent; witness the scores of exhibitions they have undertaken, often at prestigious locations (The Walker, Liverpool, Mayfair and Kent University).
‘The Face of Stuckism’ is an ongoing project by E A Everall intended to create an archive of portraits of fellow Stuckists. For this exhibition, E A Everall is showing the portraits he has completed to date, which are painted in a mildly heroic manner and are often accompanied by biographical notes and poems. The paintings represent the first few years of, what the artist envisages to be, a long-term project.
The private view for this show is on Friday 13 January from 6.30 to 8.30pm.
In-habitation brings together a rich variety of media: digital, drawing, models and book art, all exploring the notion of built structure as a metaphor for the self and as a framework for belonging. Artists Helen Scalway, Claire Reed and Ali Clarke who have collaborated in thought and process over the last year, present thought provoking, engaging work on the themes of strength, fragility and belonging in ‘habitation’.
Ali Clarke’s concrete paintings and architectural sculptures embrace her journey through architecture and set design. They explore themes of enclosure, boundaries, decay and urban nature whilst playing with extremes of solidity versus the fragile and delicate.
Claire Reed specialises in edgy and powerful site-specific work using a wide range of media. She is currently exploring the theme of belonging in a context of change, using the interplay of word and image. Claire will be interweaving the digital and hand-drawn, using elements of book and typographic structures, to create a series of works in 2D and 3D.
Helen Scalway’s work is greatly influenced by her experience of working for some years as an artist within a university department of interior architecture. Her current work is based on the idea of the house or built dwelling place as expressing human identity. She explores the idea of ‘the habitation of the self’ through such elements as house facades,doors and openings as giving access to apparently outward looking spaces, but leading to walls, barriers, trapdoors, impossible stairways, guarding more inaccessible areas. She investigates this materially and metaphorically, often through drawing and book structures.