Karolina Albricht - Howard Dyke - Bob Gibson Lily Hargraves - Tom Norris - Puna Yanima
JGM GALLERY
Published by JGM Gallery, on the occasion of the exhibition
Make me a Sacrifice
12th December - 26th January 2018 Exhibition curated by Jennifer Guerrini Maraldi and Alice Wilson Publication designed by Alice Wilson Exhibition photography by Damian Griffiths JGM Gallery 24 Howie Street London SW11 4AY info@jgmgallery.com ISBN 978-1-9998458-8-9 Š 2018 JGM Gallery and the artists All rights reserved
12/12/18 - 26/01/19
Karolina Albricht Howard Dyke Bob Gibson Lily Hargraves Tom Norris Puna Yanima
Leaf Image: Untitled Self Portrait by Howard Dyke Oil, Acrylic & Collage on Canvas 121.5 x 152cm
JGM GALLERY
Introduction JGM Gallery is proud to bring together this eclectic group of artists’ work for our ultimate 2018 winter show. Chance and circumstance brought artist and art professional Alice Wilson (our gallery manager) to work with me at JGM Gallery over a year ago. We collaborate to combine our areas of expertise and ultimately present a fascinating and unique annual exhibition schedule. Contemporary Australian Indigenous art is my passion as well as British and international contemporary abstract art. This passion combined with Alice’s own art practice, and her close association with many of the best artists working in Britain today, has magically transformed our gallery space, constantly evolving with this curatorial approach and a unique dynamic. In “Make me a Sacrifice” we again present a group of British artists showing alongside Indigenous Australian artists. Karolina Albricht’s painting, “Make me a Sacrifice” gave us the title for this exhibition. Alice initially discovered Karolina’s work on social media and was directed instantly to Albricht’s website and a subsequent body of impressive work. I thought her paintings were trying to tell me something. The title of the exhibition “Make me a Sacrifice” is taken from the title of Karolina’s painting of the same name, itself a direct instruction. The development of signs and motifs that Karolina derives from a referencing she associates with personal and universal mythologies and rituals, reminds me of watching ‘Cave of Forgotten Dreams’ a film by Werner Herzog, that catalogues and interrogates the oldest known paintings in the world, found in the Chauvet Cave in Southern France. Herzog pontificates about what he’s being told, in a similar way Karolina is laying out the clues but stopping short of providing all the answers. Alice Wilson
Howard Dyke at work in his studio
After visiting Karolina’s studio earlier this year, Alice and I were both convinced her work was amazing and we are consequently thrilled to include her paintings in this exhibition. Lily Hargraves Nungarrayi’s large painting titled Wati Jarra Jukurrpa (Two Men Dreaming) employs a group of signs and motifs taken from her remote, traditional life. These marks are used to tell cultural stories that have been passed down through multiple generations. Lily’s painting depicts the journey of a father and son during a initiation ceremony performed for young men. Lily Hargrave’s paintings are full of traditional motifs in a visual language that has been honed throughout her career, with elements of her mark-making in the landscape evident, where footprints are depicted by crosses and show the movement of the two men moving across the landscape described with clever use of colour and her unique marks. Lily Hargrave’s life is far away in both time and distance from Karolina Albricht’s painting practic, which references an eastern European ancestry. A comparison of these two womens’ work and their circumstances is thought provoking in the context of this exhibition. Howard Dyke’s dynamic paintings are at once physical, radiating with energy through pouring paint directly on to utilitarian canvases. Dyke physically manipulates, literally man-handles his work with astonishing results. Showing alongside Howard Dyke is Indigenous Australian artist, Bob Gibson Tjungarrayi with his bold, energetic paintings that count him among the most sought-after emerging artists in the contemporary indigenous art world. Gibson’s powerful style and gestural mark-making broadly representing “country” (a word that refers to landscape in his ancestral homeland) demonstrates an energetic, wild and imaginative exploration of colour and form.
Commenting on Gibsons’ work Henry Skerritt (Art historian & Senior Curator of Kluge Ruhe Collection, University of Virginia, USA) says … They (his paintings) are a celebration of individual expression within the cultural continuum. They ask us to question the nature of the aesthetic, the very ways in which ancient iconographies can be re-modeled and innovated, and show us how one artist can create a unique artistic statement while remaining true to their ancient cultural knowledge. Puna Yanima at work in her studio with dog
We are proud to also include the ceramic works of Tom Norris. Norris is young and incredibly energetic, and says of the influences on his work - ‘my practice is also led by circumstance, pace and maybe even transport. I’ve frequently found myself encumbered by the procession to facilitating the necessaries that the material demands and how this has only resulted in a tangible relationship between myself and the material’. “I worked with Tom Norris, that is how we met, so my knowledge of his work is a result of circumstance. When I visited him again recently, I was impressed to see how he has made his ceramics fit into every possible space. The balcony of his flat has been turned into a throwing studio, then Tom’s time after work in a school is spent instructing parents and pupils on the wheel, at the same time managing ceramic firings and other developments for his own practice. On top of this Norris has embarked on a Masters degree where he has access to more specialist equipment and can test and develop his work further. Tom has designed his life so he is never more than 10ft from a bag of clay.” Alice Wilson Tom Norris’ painting on ceramic bowls and vessels demonstrates a freedom and fluidity similar to indigenous artist Puna Yanima. When Puna recently started to use ink to make her large canvases as opposed to acrylic paint, she discovered this ink allowed more flow and freeness in her gestures across a large canvas. These sweeping lines are in contrast to the tighter but still impressive forms seen in monochromatic acrylic work here. Make me a Sacrifice is a celebration – the exhibition is an instruction to the viewer to look, enjoy and appreciate the dedication and passion of the group of artists brought together for this dramatic exhibition.
Jennifer Guerrini Maraldi November 2018
Antara Acrylic on Canvas 152 x 120cm
Karolina Albricht’s paintings derive from a private imaginative space. Narratives unravel by referencing personal and universal mythologies and rituals. The use of colour and handling of the paint create overlapping layers of meanings and are central to her practice. The painterly language is directed towards escaping and reducing the object. Each painting is composed by shapes inhabited by various characters, which become alive and interact with each other in different combinations. Often reoccurring, these shapes become a personal code inviting the viewer in, while withdrawing from providing clear answers.
Night Vision Dancer, 2018 Oil on Canvas 50 x 60cm
Make me a Sacrifice, 2018 Oil on Canvas 102 x 147cm
Fountain of Youth, 2018 Oil, Sand and Pencil on Canvas 102 x 147cm
Howard Dyke works with found imagery, collage and materials; including a wide range of different substrates to make paintings based around the figure. Drawing on references from western painting and an interest in eastern figuration, Dyke relocates imagery through enormously physical and gestural processes, sometimes by pouring the figurative shape using gallons of paint to allow the figure to literally flow through his own movements. The other side to Dykes process is collage on a colossal scale, often utilizing remnants that are the byproducts of the enormous truck tarpaulins that act as his canvas.
Handle With Care Oil, Acrylic & Collage on Canvas in Aluminium Frame 114 x 155cm
Painters Graveyard Oil, Acrylic & Gloss Paint on Dyed Cotton 190 x 300cm
Bob Gibson’s practice has developed to become one of the most dynamic and independent mark makers in Indigenous contemporary art. Confident and clean brush strokes generate canvases that demand the viewers attention. Gibson is in some ways the definition of an outsider artist. Aboriginal owned art centres across remote Australia are typically a hive of activity and social interaction, and together the artists’ works are informed by their peers as well as ancestral traditions. Gibson remains disengaged, living and working in solitude in the Gibson Desert. His completed works are abruptly left at the art centre as new art materials are collected – engine still running he quickly departs to his desert country.
Patjanta Acrylic on Canvas 146 x 121cm
Patjanta Acrylic on Canvas 146 x 120cm
Lily Nungarrayi Hargraves loved to paint and loved her culture. She was driven to record and preserve cultural knowledge and traditions, knowing she was fighting against the power of time and the new impeding culture. Hargraves loved colour and expression. In her later years her style changed slightly showing more freedom and use of colour, while years of experience with brushes show skilled execution and technique. Hargraves produced some truly stunning work with heavy, bold, confident brush work while manipulating a broad range of colour. This artist’s depth of character and life experience is reflected in her work. Hargraves was one of the old desert walkers born in the Tanami Desert. She was a senior law woman, highly respected in Lajamanu.
Two Men Dreaming Acrylic on Canvas 146 x 180cm
Tom Norris articulates his passion for ceramics citing the vessels capacity to facilitate a hybrid exploration between object, culture and subject. Moving from the playful to the serious; from the simple to the sacrosanct, Norris presents these ideas as a layering of figuration and abstraction enveloping the surface of the vessel. At a developmental and exciting stage in his practice, Norris’s exploration of mark making hints at a narrative directed by the use of symbol, line and colour. The lack of a ‘full stop’ on the ceramic vessel allows for stories, characters and marks to make way for each other across and around his forms.
Techno Bull, 2018 Ceramic Earthenware 38 x 26cm
Chicken River, 2018 Ceramic Earthenware 58 x 30cm
Face Below, 2018 Ceramic Stoneware 44 x 27cm
Elephant, 2018 Ceramic Stoneware 51 x 27cm
New Pink, 2018 Ceramic Stoneware 41 x 27cm
Puna Yanima paints her story, Antara, an important women’s ceremonial site near Mimili. She tells the story of the significant maku (witchetty grub) tjukurpa from this site. Puna Yanima’s shift from acrylic paint to ink in recent years has allowed a fluidity in her strokes when marking out the ngura (country) of this sacred place with its kapi tjukula (rock holes), apu (rocks) and murpu (mountains). The use of ink led her away from a vibrant palette and into a monochromatic one, from which she now introduces singular, additional colours such as the royal blue we see in this work. Her ability to dilute and mix the inks enables her to achieve nuanced variations in tone across the surfaces of the paintings.
Antara (detail) Ink on Canvas 198 x198cm
Antara Ink on Canvas 198 x198cm
Karolina Albricht
Education
2018-19 Turps Studio Programme, London, UK (in progress) 2008 MA Painting, Jan Matejko Academy of Fine Arts, Krakow, Poland 2007 Socrates-Erasmus at ArtEZ Institute of Fine Arts in Arnhem, the Netherlands
Selected Group Exhibitions 2018 2018 2018 2018 2018 2018 2017 2017 2017 2017 2017 2016 2016 2015 2015 2015 2014 2014 2013 2013
C’est de la Peinture, Bankley Gallery, curated by Gareth Kemp & Nick Sykes, Manchester Paper Cuts, Saatchi Gallery, curated by Kristian Day, London, UK Girls Just Want To Have Fun, Unit 3 Projects, London, UK (co-curated with Sara Dare) Summer Exhibition, The Concept Space, curated by KB Stowe, London, UK Marching Through the Fields, Warbling Collective, London, UK Third Order, Unit 3 Projects, London, UK (curator) Winter Salon, curated by Victoria Howarth & Paula McArthur, Rye Creative Centre, Rye 31 Celsius ASC Gallery, curated by Paul Carey Kent, London, UK As It Stands; Unrefined, Muted, Abandoned, Hundred Years Gallery, London, UK Small is Beautiful More and Less, Unit 3 Projects, London, UK (co-curated with Jillian Knipe) Antennae, Lubomirov/Angus-Hughes, London, UK Shortlisted for 20th National Open Competition Summer Salon, Lubomirov/Angus-Hughes Gallery, London, UK Shortlisted for 2015 Royal Scottish Academy Open Exhibition, Edinburgh Art Gemini Prize and winner of Art Gemini Public Choice Award, Menier Gallery, London Shortlisted for the RA Summer Exhibition Now in Reverse, Hundred Years Gallery, London Finalist of the Secret Art Prize, Curious Duke Gallery, London Shortlisted for the Threadneedle Prize, London, UK Arte Laguna Prize, finalist of the 7th edition , Venice Arsenale, Venice, Italy
Press
2017- Cultural Kapital Magazine online feature 2017- Curate Art online feature 2016- Art Upon online feature 2016- Fresh Paint Magazine, curated by Rebecca Wilson, Chief curator at Saatchi Art 2015- Pallete Pages online interview
Howard Dyke
Education
2000- 02 MA, Fine Art, Goldsmiths University, London 1990-93 BA Painting, Central St Martins, London
Selected Exhibitions
2018 DOUIN tent paintings (Solo Show)– Thames-side studios gallery, Greenwich 2017 Biennale – Drawing Room Gallery, London 2017 Self Storage – Ridgeway Road, London 2017Residency – Bon Volks, Margate,Kent 2016 The British Society of self depreciation , Cheng centre for contemporary art – Beijing 2012 Kerosene (Solo Show) - Charlie Dutton Gallery 2012 London 12 – City art gallery Prague 2011 Law Of The Jungle - Lehman Maupin, New York
Collections
Saatchi Simmons and Simmons David Roberts Beth de Woody
Bob Gibson
Solo Exhibitions
2009 Bob Gibson Tjungurrayi: The First Solo Exhibition, Mossenson Galleries, Perth
Selected Group Exhibitions
2017 Bob Gibson and Artists From The Gibson Desert, JGM Gallery, London, UK 2013 The Wild Ones, RAFT Art Space 2013 Desert Mob Exhibition 2013- Aruluen Arts Centre Alice Springs 2013 Telstra NATSIAA 2013 2013 Seeing Beyond, Marshall Arts 2010 Tjarlirli Group Show, Merenda Gallery Fremantle 2010 Desert Mob Exhibition - Araluen Arts Centre Alice Springs 2009 Desert Mob/ Araluen Gallery Alice Springs 2009 Tjarlirli Group Show/ Tunbridge Gallery Margaret River 2009 Western Desert Mob Emerging Artists/ Outstation Gallery Darwin
Collections
Acquired for the Artbank Collection in 2013 via Telstra NATSIAA W & V McGeoch Collection
Lily Hargraves d.2018
Selected Group Exhibitions
2012 ‘Touch the Ground’ – Brits Art, Germany 2012 Galerie Yapa Paris, France 2012 Brave Festival Wroclaw Poland 2011 ‘Warnayaka Jukurrpa’, Merenda Gallery, Perth 2009 Framed Gallery, Darwin 2009 Lajamanu NT ‘ Milipirri’ 2008 Dawrin Entertainment Centre Holiday Inn 2001 Tandanya Adelaide 1996 ‘The Meeting Place’ touring exhibition, Australia 1994 Gabriel Gallery, Melbourne 1994 Gallery Gabriella Pizzi, Melbourne 1992 Araluen Arts Centre Alice Springs 1991 High Court Canberra 1991 TAFE Darwin 1991 Australian Embassy, Washington USA 1991 Ecole Des Beaux Arts Grenoble France 1990 TAFE Darwin 1990 National Gallery of Victoria 1989 Dreamtime Gallery Perth 1987 Gallery Gabriella Pizzi Melbourne 1987 Hogarth Gallery Sydney
Collections
AAMU - Museum of Contemporary Aboriginal Art, Holland Collection Roemer, Germany Museum & Art Gallery of Northern Territory, NT Australia National Gallery of Victoria Melbourne VIC, Australia United Nations, Darwin NT Australia Peter Boehm Collection, Sydney NSW Australia
Tom Norris
Education
2018 - present MA, Ceramics, Kingston University 2010-13 BA Fine Art Ceramics. Loughborough University School of Art and Design 2009-10 Foundation Studies, Loughborough University School of Art and Design
Solo Exhibitions
2014 Percy House Gallery, Artist in Residence
Selected Group Exhibitions
2018 Stanley Picker Gallery, Interval Show 2018 The Swan, Part Trap 2018 Percy House, Meanders Art Trail Show 2017 Artemis Gallery, For Arts sake 2016 Artemis Gallery, ICA group Show 2015 Artemis Gallery, Residents show 2013 MadeBy – 3D Design Building 2008 F Show – Edward Barnsley
Puna Yanima
Selected Group Exhibitions
2017 Sharing Country, Olsen Gruin Gallery, New York 2017 Finalist, Hazelhurst Art on Paper, Hazelhurst Regional Gallery, Gymea, NSW 2017 Malatja-malatja Tjutaku Kulu: For the Future Generations, Outstation Gallery, Darwin, NT 2016 Nganampa Kililpil: Our Stars, Hazelhurst Regional Gallery, Gymea, NSW 2016 Desert Mob, Araluen Art Centre, Alice Springs, NT 2016 Salon des Refuse, CDU Art Gallery, Darwin, NT 2016 Kantilya ngaranytjaku. Kuranyukutu nyakunytjaku, Outstation Gallery, Darwin, NT 2016 Tjilpi munu Pampaku Tjukurpa Kunpu Kanyintjaku, RAFT Artspace, Alice Springs, NT 2015 Tjukurpa Kunpu – Strong Culture, Harvey Art Projects, Idaho, USA 2015 Desert Mob, Araluen Art Centre, Alice Springs, NT 2015 Putinguru Urukuta - Desert to the Sea, Short Street Gallery, Broome, WA 2015 Mimili Maku Arts Ngunytju Kurunpa – Mother Spirit, Outstation Gallery, Darwin, NT 2014 Desert Mob, Araluen Art Centre, Alice Springs, NT 2014 Mimili Maku- Nganampa Wangka (our voice), Gabrielle Pizzi, Melbourne, VIC 2014 Uwankara Nganana Mimili Maku Arts, Outstation Gallery, Darwin, NT 2013 Pira-Mimi, Outstation gallery, Darwin, NT 2012 Ngura Puti (Bush Home), Redot Gallery, Singapore 2012 Desert Mob, Araleun Gallery, Alice Springs, NT 2012 Wapar – Yankunytjatjara Dreaming, Gallery Gabrielle Pizzi, Melbourne, VIC 2012 Mimili Maku Alinytjara, Outstation Gallery, Darwin, NT 2012 Tjukurpa Kunpu, A.P. Bond Gallery, Adelaide, SA 2011 Waltjapiti Mimili Maku exhibition, RAFT Artspace, Alice Springs, NT 2011 Mimili Maku Mirinpa exhibition, Chapman Gallery, Canberra, ACT 2011 Tjukuritja kunpu kanyitjaku exhibition, Aboriginal and Pacific Art, Sydney, NSW 2011 Mimili Maku Arts, A.P. Bond Gallery, Adelaide, SA 2010 Mimili Maku, Gallery Gabrielle Pizzi, Melbourne, VIC 2010 Piiny- Piinypa Tjukurpa Exhibition, RAFT Artspace, Alice Springs, NT 2010 Desert Mob, Araleun Gallery, Alice Springs, NT 2010 Recent works APY Lands, RAFT Gallery, Alice Springs, NT 2010 Mimili Maku recent works, Bond Aboriginal Art, Adelaide, SA
Collection
Art Bank Collection
JGM GALLERY
Leaf Image 2 Men Dreaming by Lily Hargraves Acrylic on Canvas 146 x 180cm
12/12/18 - 26/01/19
JGM GALLERY