FLOCK Charlotte Mckee Olivia Carlsson Lloyd Mo O’Mahony Eleanor Watson Mengmeng Chen Joseph Begley Bartholomew Beal Tristan Pigott Sam Pullen Aaron Harris Tom Marriot Olivia Ladbrooke-Chatres
TRISTAN PIGOTT Piggott’s paintings are simple explorations of human characteristics as well as playing with proportion and surreal ideas. His interest in how people perform in everyday life has informed his work and he attempts to exploit these characteristics of a person’s selfprojection. A catalyst for this projection is fashion, which he makes poignant, whether in a humorous approach, or through composition. Although photography plays a large part in his preparation, Pigott wants to maintain a distance from photographic realism, Saying; I feel keeping a division between the two enables an interesting detachment from real life, yet leaves a strong sense of realism. I’m constantly striving to improve my work and see what realism I can achieve with oil paint, but searching for an interesting differentiation from traditional portraiture. In current developments technical exploration has added larger, freer brushstrokes to help deconstruct his image backgrounds allowing the viewers eye to pass around the piece more easily as well as allowing figures to bounce off of the canvas. Pigott believes it important that his paintings are personal, even when exploring something that can be as transparent as a person’s socially constructed front, such as their fashion, or the clothes they wear. He does this by carefully selecting the models he chooses to paint, whether they are friends or family. His work earns an ambiguity which draws the viewer in, allowing them to spend time working out the different connotations of the surreal narratives he has created. He has been greatly influenced by artists such as; Stuart PearsonWright, Margarita Gluzberg, Toba Khedoori and Cecily Brown.
Bad Day At The Salon, oil on canvas, 91.4x71.1centimetres, £1300
Conor, Charlie, Alex, Triptych oil on board 120 centimetres each (diameter) ÂŁ4800
BARTHOLOMEW BEAL Beal’s paintings attempt to translate mood and atmosphere through process and progress. The next step of each painting is never fully planned, and as a result, sometimes his paintings come to an early stop wheras sometimes they are rather a long drawn-out effort to realise the original intention- a quiet figure within an under-described space. Each painting begins as a pared down illustration of an Imagist poem, but there is consistently a point that the paint takes over, and each addition or subtraction that follows can be seen as evidence of its poetic mood. Beal would like his paintings to stand as a healthy tussle between the considered specifics of poetry and a deliberate surrender to the unpredictability of paint. He believes that his paintings ‘gain as much from trial, error and accident as they do from painterly proficiency.’ He wishes to involve the viewer in his work by absorbing thems in the situation of each figure, and allowing each abstracted painting to convince them of the gently ethereal spaces, which oversaturated colour and obscured shapes accentuate. He uses the lone figure in the centre of each canvas not merely as an illustration of its slightly eerie mood, but to become a compilation of several figures. In doing so Beal means the figure to represent a generalised man just as the spaces are underspecified and henceforth demonatrate an original poetic narrative and intention scuffled by paint. Empty are the Ways oil on canvas 45 x 65 centimetres £750
My Smile Falls HeavilyAmong the Bric-a-Brac oil on canvas 50 x 60 Centimetres £700
Older oil on canvas 35 centimetres diametre £600
Isaac oil on canvas 38 x 44 centimetres £600
CHARLOTTE MCKEE Charlotte’s work is largely inspired by the form, movement, character and expression of animals. Her large impressionist sculptures, capture her subjects as she sees them through her own experiences. Her latest project stemmed from the want to study one particular animal in depth. Due to her emotional ties with the countryside where she grew up, she chose the cow and the bull, animals very much linked to the country, as her subjects. Charlotte’s tie with animals started very early, being from an animal loving family she has owned and been around them from a very young age. In particular, horses are a huge part of her life and she spends most of her free time riding and travelling around the country to show jumping events. This link has given her a great understanding of what goes on inside the mind of the animal and she feels that this really helps her in her work to bring out the characters that some others may not appreciate. Research prior to creating her cow heads included observing a herd near her home in Kent. She witnessed the characteristics and personalities of the cows, and was struck by the difference in expressions and reactions between individuals. This has led to a new and continuing fascination for her, which she has attempted to pass over to the audience in her pieces.
Charolais Bull Head ceramic 30x33x35 centimetres £600
Bull with horns ceramic 30x33x35 centimetres £500
Pair Of Cows Heads, ceramic, 30x33x35 centimetres each, ÂŁ1000
MO O’MAHONY Mo paints and writes poems. He wants to tell stories in his paintings, at times ambiguous, strange, sad, funny or ridiculous. The objects that he stages in the pictures and the colours that he chooses add up to a narrative, whatever it might be. There's a line in a Jim White song, which says 'sometimes I'm glad I built my mansion from crazy little stones'. Mo hopes the paintings are the mansion and the objects are the crazy little stones. His most recent works are based largely around eroticism. He has evolved from dealing so directly with this subject to paintings and poems that he hopes are less obvious and offer greater ambiguity. His influences range from Gaspar Noé and Lars Von Trier, Samuel Beckett and Arthur Rimbaud to Dana Schutz, Morandi and Picasso.
God bless, I'm gone from places that turned slowly like trains into other ones. Heavily I wake, feel my unclean head against the pillow, my fat belly, my dirty feet at the end of the bed. Now I need a coffee, now I need to find a job. The contract was violated, I was supposed to sleep for years in vague places or in blackness. But here, I'm tired here and my eyes won't shut.
Late Last Thursday Night, oil on canvas,40x30 centimetres, £350
FriedEggs oil on canvas 20x30 centimetres £300
Drop a Light and I’ll Dry You oil on canvas 50x70 centimetres £600
JOSEPH BEGLEY As a designer, Joseph looks to create functional objects that give pleasure and are satisfying to use. His work has been influenced by a number of practical experiences,placements and projects that have impacted on his design intentions giving him a greater awareness of production methods and the possibilities for manufacture. Within his practice he aims to push and to test the boundaries of interaction, between objects and their users; liking to communicate playfulness and humour within all of his work.
“SLAP IT� simultaneously combines the stress-relieving satisfaction of slapping a bottom, with the practical application of providing light. A sense of lasting enjoyment is promoted through the unique tactile pleasure, the irresistible cheeky interaction and the aesthetic quality of the glowing buttocks! A multi-sensory experience to make you smile!
Slap It, silicone, 300x300x130 centimetres, ÂŁ960
ELEANOR WATSON Watson’s current paintings are concerned with the ergonomics of rooms which are not designed to be lived in. Working with images from a variety of sources, she uses collage to make rooms which are evocative of both the highly aspirational images of glossy interior magazines, and theatre sets. They deal in absences – leaving some objects minutely detailed and others blank. These are spaces in which the viewer is left to contemplate. These rooms are not comforting, yet not dramatically unnerving either. They leave an in-between space, like that of the theatre before the first act begins. However, there is no sign of respite to the stillness, the actors might never appear, and the introspection is left undisturbed. In this case, the actors are kitsch figurines painted on very small canvases. These further emphasise the absence of people, as well as humorously displaying the absurdity of our belongings; which is heightened by its proximity to the dolls’ house and surrounding toys in Yellow Ground. At first what feels like relief is undermined by the sneaking sense of skepticism in the “Englishness” of it all. Meanwhile, the mocking Morris dancers are small and ridiculous as they prance along England’s mountains green. Inventory, oil on canvas, 101 x 90 centimetres, £1500
Old Chap oil on canvas 21 x 17 centimetres £300
Take Your Turn oil on canvas 27 x 35 centimetres £400
The Pawn and the King, oil on canvas, 80 x 100 centimetres, £1200
OLIVIA LADBROOKE-CHARTRES Ladbrooke-Chartres’ work develops the traditional fresco genre beyond the context of painting, key elements of which are used to explore the fragility of life and our transition through it. This visual representation illustrates how connections, their associated meaning and suggested narrative, deteriorate over time. New possibilities for a contemporary take on the traditional fresco are opened up by the use of plaster panels. Creating an architectural space onto which reversed photographic images from a pre-digital era, paint and symbols can be juxtaposed, creating conflict and synergy between past and present. The inherent deterioration of the anonymous images is enhanced, emphasizing the uniqueness of these vestiges from the recent past and revealing universal characteristics. Through re-contextualizing the images by placing them into the public domain they are given new meaning and address the importance of their cultural and historical impact, as emphasised by Walter Benjamin in his essay The Work of Art in the Age of Mechanical Reproduction (1936).
Threescore Years and Ten print on plaster 160 x 190 centimetres £1500
Untitled print on plaster 63 x 87 centimetres ÂŁ700
Untitled print on plaster 63 x 87 centimetres ÂŁ700
TOM MARRIOTT The work is veiled in meaning, from having existed as an object and before that as a photograph, and even before that as an idea. What is depicted started out as triangular cut-outs of photographs of flowers, which in turn became modular elements of mini-Modernist sculptures. Each sculpture has no defined shape as it is being built, but rather just an arbitrary form that is decided at will by the artist according to a desire to experience intrusions and extrusions. Upon photographing the form, the photograph is manipulated before printing, and the sculpture becomes once again flattened. As a depiction it oscillates between the Picturesque and high Modernism. The surface is layered, as a process and as a metaphor. It attempts to reflect the mirroring and folding of information and culture of its contemporary context, except it is still just a surface. It is perhaps utterly meaningless. Meaninglessness can, however, still be an aesthetic pursuit.
Untitled Tritych (2012), backlit photo paper and neon lights and wood, 94.5 x 94.5x 94.5 centimetres, ÂŁ1000 each
MENGMENG CHEN Born and raised in China, Mengmeng Chen came to London in 2009 to further her studies at Wimbledon College of Art University of the Arts London (2009-2012). Although both her choice of materials and approach are traditional in appearance, each canvas has an individual and unique character that is irreplaceable. Her pieces attempt to capture the conflict between speed and stillness which has always inspired her creativity. Each artwork displayed by Mengmeng Chen is a combination of a myriad of art elements, symbolizing a spectrum of thoughts and emotions, making each piece individualistic. The artworks on show here are taken from a collection entitled ‘Four Seasons’.
Silk Road oil on linen 150 x 80 cm £1200
Little Love Song oil on linen 150 x 80 cm £1200
Summer Shame oil on linen 150 x 80 cm £1200
AARON HARRIS For Flock Aaron Harris will be presenting a series of works that take holidays, vampires, disco lyrics and the sets of music videos to explore ideas of desire and romance, creating seductive sculptures and paintings that fail to live up to the real thing and revel in it, highlighting the joy, disappointment, sadness and humor experienced through the creation of personal and collective fantasy.
AP01, Jesmonite, 1100 x 1100 x 21 mm, ÂŁ 2310
BP03 Jesmonite 70 x 50 x 50 cm £1900
DP01 Plywood 240 x 70 x 12 cm £3500
OLIVIA CARLSSON-LLYOD Olivia Carlsson Lloyd recently graduated from Camberwell with a BA in Painting. She produces abstract mixed media works and has taken part in six group shows since 2010. The imagery used in these works comes from patterns, shapes and objects present in our everyday environment. These forms are broken down into line drawings which shape the basis for each design. The use of graphic black outlines and bright block colour makes the images bold and dominant in appearance, creating a talismanic presence over the viewer. By removing the objects from their original habitat, simplifying them and placing them into a new environment, Carlsson Lloyd aims to give the viewer an opportunity to study the arrangement in a different and more original light.
Bastamanti The Second Has A Disco In His Head mixed media on linen 122 x 94 centimetres ÂŁ1200
His Name Was Actually Elvis mixed media on linen 122 x 94 centimetres ÂŁ1200
Cross-Eyed Joe mixed media on linen 122 x 94 centimetres SOLD (Prints Available)
SAM PULLEN Sam Pullen’s practice involves the investigation of abstract form, colour combinations and surface quality. The work is crisp, bold and graphic but upon closer inspection has an unmistakably hand-made quality, with visible imperfections and miss-registrations. The brightyet-faded surfaces evoke nostalgia, while at the same time the works maintain a contemporary vibrancy.
Sam Pullen is interested in the mixing of languages of art, graphic design and illustration; the work is informed by modernist painting as well as graphic designers from the 1960s and 70s such as Germano Facetti.
H.O.O.O.O acrylic on linen 85 x 60 centimetres ÂŁ600
T.O.O.2 acrylic on linen 85x60 centimetres £750
T.O.O.1 acrylic on linen 85 x 60 centimetres £750
T.O.O, acrylic on linen, 120 x 85 centimetres, £950
Front Cover Image: Tristan Pigott, Somewhat of a Trend, oil on canvas, 100 x 100 centimetres, ÂŁ1200 Back Cover image: Olivia Ladbrooke Chartres, Untitled, print on plaster, 63 x 94 centimetres, ÂŁ700
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