über vista at ArtMoorHouse London

Ăźber vista Helen Ballardie James Bradley Wiktoria Deero James Alec Hardy Chris Hawtin ArtMoorHouse I Moor House Building I 120 London Wall I London UK

über vista AN EXHIBITION OF PAINTING AND VIDEO ART INSTALLATION BY: HELEN BALLARDIE - JAMES BRADLEY - WIKTORIA DEERO - JAMES ALEC HARDY - CHRIS HAWTIN

15 TH S EPTEMBER 2016 - 20 TH O CTOBER 2016 ARTMOORHOUSE | MOOR HOUSE, 120 LONDON WALL, LONDON EC2Y5ET

EXHIBITION CONCEPT: JAMES ALEC HARDY Exhibition Curated by: JAMES ALEC HARDY AND ELISA MARTINELLI BROCHURE CONCEPT:

ARTMOORHOUSE LONDON

All Images ©James Alec Hardy First published in 2016 by ArtMoorHouse All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by means, electrical, mechanical or otherwise, without first seeking the permission of the copyright owners and publishers.

All images in this catalogue are protected by copyright and should not be reproduced without permission of the copyright holder. Details of the copyright holder to be obtained from ArtMoorHouse.©2016 ArtMoorHouse




CHRIS HAWTIN - The Protest Engine, 2016, Oil and Acrylic on Canvas, 198 cm x 198 cm




CHRIS HAWTIN - The Tethering, 2016, Oil and Acrylic on Canvas, 198 cm x 198 cm




JAMES ALEC HARDY - 160911, 2016 , 4 Video Monitors and Video System, 225 cm x 90 cm x 50 cm




WIKTORIA DEERO - Morning Whispers, 2016, Acrylic on Canvas, 100 cm x 100 cm

WIKTORIA DEERO -Gazardiel’s Breath, 2016, Acrylic on Canvas, 100 cm x 100 cm

HELEN BALLARDIE - Blob, Blob 2 , Blob Yellow, 2016 , Oil on Canvas,120 cm x 91 cm




JAMES BRADLEY - Untitled, 2015, Oil on Canvas, 122 cm x 75 cm x 4 parts

JAMES BRADLEY - Untitled, 2016 , Oil on Canvas, 100 cm x 100 cm x 4 parts




Artists on Show




Chris Hawtin




Chris Hawtin Chris Hawtin creates narratives that do not follow conventional sequences of events; his work is reminiscent of a post apocalyptic scenery inhabited by science fictional machines; hybrids constructed or grown from organic and mechanical parts. Their personalities interact with the various characters that they share their habitat with. The characters/beings appear in different landscapes in different works to create and recreate personal stories that interact with each other dependent on the viewers interpretation.

Hawtin uses computerised imagery and sometimes sound waves as his starting point, woven with painting and sculptural processes he ‘wraps and re wraps’ creating hybrid worlds of ‘in-between’ states.

www.chrishawtin.com




James Alec Hardy




James Alec Hardy 1979 : Born Colchester, England 1999 - 2002 : Camberwell College of Arts, London Present : Warrior Studios, London Represented by Kristin Hjellegjerde Gallery London The essence of James Alec Hardy’s practice is a process concerned with the impact of technologies on our experience of life.

Since 2002, he has focused on analogue video systems, manifesting ideas through performance, sculpture, installation and print. By using obsolete devices from a former analogue age to reproduce digital functions, Hardy’s practice is challenging and engaging; Ranging from building sculptural totems of video monitors, to 3 month long shamanic residencies in fields with I-Cabin, to 3 day long noise and feedback performances at The Tate Modern.

 

Artist Statement 160714 In a world led by media propaganda, at a time where our minds and morals are being constantly bombarded with corruption and terror, Human-spirit seems to be near exhaustion.

Hardy is adverse and sceptical of new technologies being harnessed to entrap minds with specialised and sophisticated techniques. Hardy attempts to create a positive direction forward and try to maintain meditation of thought, by subverting the use of discarded technologies, reworked and exposed.

Video is highly suitable to powerfully display suggestion, in the age where our video-literacy is highly proficient, as it is immediate, sensitive and available.

Having worked with analogue equipment since the early 90’s, Hardy has an affinity with the physical element and sees the video as being an object rather than just an electronic portrayal of image and sound.

The video sequences are produced by physical manipulation of machines, which is the performative action that accepts noise, error, redundancy and amplification of phenomenon.

Using feedback, the complex systems of connected machines are stimulated to create the video signal, mixing with audio and physical resistors.

He pursues the most simplified displays, using the primal symbolic forms of circles, lines, triangles and squares. Through physical-gesture, forms are interrupted and modified in order to create elaborate ‘landscapes’ and ‘textures’.

Performance acts as a live creation of content, meaning the video becomes event, and the installationform becomes its monument.

The installations are compositions of video loops, void of sequential narrative, having no beginning or end, and merge with the technology to produce the solid sculptural form.

“With the truth being understood as subjective, the video sculptures I create do not limit freedom of thought, but stimulate choice. I aim to avoid manipulating the viewer by presenting ‘video as truth’, my work allows the video to function ultimately as the meditative stage for the mind, which unravels its own truth.”

www.sitbackandrelapse.com




Wiktoria Deero




Wiktoria Deero Built in colourful layers of vibrant acrylic, her paintings explore the idea of “somewhere spaces” appearing as escapist worlds or wanderlands.

The dreamy landscapes "float" between the sky and the forest, lakes and gardens, involving the viewer in the play between what is familiar and that which is unknown, only to settle in and confuse the viewer's eye.

Coming through the materiality of the paint, the compositions conceal rather than reveal their subject – that creates the paradoxical polarity which is the main source of Deero’s work

www.wiktoriadeero.com




Helen Ballardie




  Helen Ballardie Painter Helen Ballardie (born 1966, Devon) graduated from Canterbury College of Art with a 1st class degree in Fine Art Painting (1991).

In her paintings themes of identity persistently re-occur, as do

explorations into perception, memory, misjudgement and misconception.

In this collection of paintings she addresses notions of belief and judgement; seeing what is not necessarily there. The original impetus came from seeing images and faces in the bathroom floor. The pink human figures represented in the paintings have been painted from forms made in dough, representing images of characters playing Blind Man’s Buff. They have been transposed, out of context, into flower arrangements. The resultant arrangements of these innocent characters form new suggestions to be judged at will.

Helen Ballardie has won various prizes and awards including First Prize at The Dulwich Picture Gallery Open, 2014. The theatrical nature of her early work led to an offer of a residency at The Royal Shakespeare Company in 1994. She has shown internationally in Belgium, Germany, France, Italy, and Britain. Venues include The Royal Academy, Dulwich Picture Gallery, Royal Cornwall Museum, Club at The Ivy, Plymouth City Arts museum, and Rich and Famous Gallery. Her work is in many private collections including Peter Gabriel.

She is currently represented by CavalieroFinn, and lives and works in London.




James Bradley




James Bradley James was adopted in Hampshire in 1974 The words daydreaming were used frequently, his childhood was spent drawing while sitting at the back of church. Fascinated by perception, hallucinations, pattern recognition, the structure of belief, pareidolia, apophenia, hierophany, madness and escapism.

He decided he wanted to be an artist from an early age.

James lives in London and Studied at Central Saint Matins He has worked as a set designer in Film, Theater and Dance which has greatly influenced his working practice.

James has won The Alvin Bettarage prize , Linbury prize, Londoners for London and Millenum awards for his works His mixed medium paintings present a eclectic vision of the world that shifts and pulses between realities, algorithmic symmetry, repetition and rhythms juxtaposed with abstract expressive gestures that escape the structure of homogenized pattern and evolve Independently.

His mixed medium paintings present a eclectic vision of the world that shifts and pulses between realities, algorithmic symmetry, repetition and rhythms juxtaposed with abstract expressive gestures that escape the structure of homogenized pattern and evolve Independently. His artwork transcends classical notions of composition, freeing singular narratives and interweaving them between works, extracting subjects from their original context and replacing them with in a new augmented visual environment.

Challenging our perceptions and certainty of our control over our own reality in a semio capitalist climate Inspired by a Broad spectrum of painting from Joan Mitchell, De Kooning ,Oskar Ko Koschka through to Degas.

James is an avid tea leaf and coffee grounds reader

Resent Shows include 2016 Corridor, Group show curated by James Alec Hardy 2016 EMBASSY TEA GALLERY, Ultima. Group show organised by ASC 2015 Morley Gallery, Morley new Contemporaries. Group show 2015 ASC STUDIOS, Open studios, Union Street, London

Jamesbradleyartlondon@gmail.com Www.Jamesbradley.london




 

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