JD Malat Gallery is proud to present ‘Under the Moonlight’, the first solo exhibition by Japanese artist Masayoshi Nojo, on display from 16 January 2020 until 15 February 2020.  Masayoshi Nojo, Mirage#48, 2019, Cotton on panel, acrylic, silver foil, aluminium foil, 250cm x 600cm ‘Under the Moonlight’ presents a new series of work entitled “Mirage”. Inspired by natural phenomena and Japanese landscapes, Nojo fuses contemporary visual languages with Japanese aesthetics to explore the themes of memory and the passage of time. His use of silver foils on top of a marbled acrylic base creates an array of dark and reflective passages, deeply resonating with the atmospheric mirage one may feel when under moonlight.
Nojo’s new series is highly motivated by the relationship between light and dark in natural scenery. The multi-layered images with both dark and light shimmering passages present an array of grayscale tones in constant flux, allowing the viewer to traverse the complexity of the surfaces and be transported to a landscape in the distant memory of the viewer. Born in 1989 in Kanagawa, Japan, Masayoshi Nojo completed his MA in Japanese Paintings in 2015 from the Kyoto University of Art and Design. Rooted in Japanese art history, Nojo’s use of silver is reminiscent of Ogata Kōrin’s celebrated work during the Edo Period in seventeenth-century Japan. Drawing upon contemporary methods of creation and traditions in Japanese art and culture, ‘Under the Moonlight’ explores themes of memory and time. ‘Under the Moonlight’ is Nojo’s first solo show outside of Japan. Nojo has shown in many galleries in Japan, such as Tokyo Arts Gallery, Tokyo and the Gallery Art Composition, Tokyo. The widespread acknowledgement and admiration of his work has been marked by his awards, most notably the Grand Prize, Tadasu no Mori Dessin Contest (2009) and the Grand Prize Turner Award (2013). JD Malat Gallery in conversation with Masayoshi Nojo JD Malat Gallery: What is this exhibition about? Masayoshi Nojo: This exhibition shows, “Mirage”, a unique series of works inspired by natural phenomena and Japanese art. In this series I explore the relationship between the perception of time and memory and visualise such themes through disassembling and reconstructing my photographs with metal foils on panels. This way, the photographs, affected by both light and space transform into forms of faint existence, abstracting the factuality of photography. The viewer can feel immersed in this scenery in the grand-scale works, most notably in Mirage#48, my main piece which measures 250cm by 600cm. The stillness and silence evoked in each work may generate an eerie feeling of loneliness. Like the relationship between light and shadow, I hope viewers find beauty in such feelings, beauty found under the moonlight. JD: How is this different from what you have done in the past? MN: I majored in Japanese painting at Kyoto University of Art and Design. It was a very meaningful period of my study as I became familiar with Japanese culture and its tradition in Kyoto. However, I began to feel that what I wanted to express was a little different from what I had learned there. During my studies, I started to become interested in contemporary art, which was completely different from the art world I knew. I visited galleries, museums and art fairs in London and Hong Kong as a student. It was an exciting and unforgettable experience which contributed to the current style of my work which fuses contemporary Western artistic techniques and Japanese cultural references. JD: Can you go through your technique in detail? MN: The method I use is unique, informed by academic methods and a combination of contemporary visual languages with Japanese aesthetics. When I create new works, I start by imagining the complete vision of the work. I then work towards this vision through thinking about the materials and methods that are required for the work. The artworks in “Mirage” are predominantly made of silver and aluminium foils. First, I create a layer of marbled acrylic paint on the panel. Secondly, I reconstruct my photographs and imprint them onto the base layer through silk-screen printing. The overall effect creates multi-layered depth on the screen. I came up with this process following my interest in traditional techniques used for creating patterns and design on kimono. Through my process, a range of grayscale and multiple forms expand across the screen, resulting in “mirage”, a phenomenon in which areas of photographic realism and flat reflective surfaces coexist. JD: How would you situate your work in the history of art? Both Asian art and Contemporary art in general. MN: This is a challenging question as it would take a long time to situate my works in the history of art. I believe my work presents a connection between the Japanese and Asian context of art and its trend, with a wider contemporary scene. JD: What and who are your main influences? Artistic or otherwise? MN: The Japanese environment and its culture resonate deeply with my current works and is often the starting point of my creation. I incorporate elements influenced by the environment to some extent. I have been influenced by many artists. For example, Olafur Eliasson, Rudolf Stingel, Anselm Kiefer, Michael Borremans, Hiroshi Sugimoto, and On Kawara. JD: How do you feel about exhibiting here in London at JD Malat Gallery? MN: I feel very honoured to have a solo exhibition. This is my second time visiting London. I first came here as an art student six years ago. But this time, I am happy to come back to London as an artist. This exhibition is the biggest one I’ve ever had and will be an important milestone in my career. JD: Your work is very focused on time and memory. Can you elaborate more on this? MN: As a series influenced by natural phenomena, the images can change depending on the environment, lighting and weather. For instance, the images on the screen can vary from morning to night and rainy to sunny days. It means that the artwork is under the influence of time passage as we all are, making the time specificity of each image blurred. Viewers can project their memory of nature unconsciously onto the image as their eyes wander across the screen. JD: Does silver hold a particular significance as a colour for you? It is by far the most predominant colour in your work. MN: The images on the screen are all made of foils. For me, these are not “colours” but “shadows”. Light and shadow are like two sides of a coin, their relationship is inseparable. Sometimes that “shadow” accentuates the presence of the work, but other times its presence can be more ghostly. JD: Can you discuss the absence of colour in your works? MN: As the marbling of acrylic and creation of grayscale imagery is inspired by sceneries only I’ve ever seen, the marbling on the panel represents the ambiguity of memories and our unsettling mind. Grayscale and absence of colour serves a complimentary role for the viewer’s immersive experience. The absence of colour and varying tones of the grayscale emphasise the relationship between light and dark as well as the ambiguity of time in each piece, allowing the viewer to contemplate the passage of time and reflect on their memories of different landscapes. JD: Do your landscapes reflect anything about Japanese culture? MN: The atmosphere emulated by my works evoke the idea of “wabi-sabi”, a view in Japanese aesthetics centred on the acceptance and beauty of transience and imperfection of form. Nothing in this world is permanent. Therefore, the appreciation of impermanence and change is reflected in my materials and process. JD: Your landscapes appear idyllic. Is this your desired interpretation? MN: Many people find beauty in my artwork, but some people may feel scared of the silence evoked by the absence of people, flowers and other living creatures in my pieces. I would be delighted if viewers discover this duality in my artwork. JD: What can we learn from this exhibition? MN: I hope that my series “Mirage” embodies and evokes the shifting moods one may feel when under the moonlight. By immersing oneself in the shifting tones of my grayscale and shimmering pieces, I hope that one can also explore the ambiguity of time and memory while being simultaneously transported to these mysterious landscapes. Discover More www.jdmalat.com
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Acts at the Crossroads by internationally acclaimed, Nigerian-born artist, Otobong Nkanga11/29/2019 Video credit: Zeitz MOCAA ZEITZ MOCAA PRESENTS FIRST MUSEUM SOLO EXHIBITION IN AFRICA BY ACCLAIMED NIGERIAN-BORN ARTIST OTOBONG NKAANGA Thursday 21 November 2019, Zeitz Museum of Contemporary Art Africa (Zeitz MOCAA) opens an exhibition titled Act at the Crossroads by internationally acclaimed, Nigerian-born artist, Otobong Nkanga. Nkanga has been the recipient of numerous awards, most recently the inaugural Lise Wilhelmsen Art Award (2019) from the Norwegian Henie Onstad Art Centre, and the Sharjah Art Foundation Prize (2019) in the United Arab Emirates. Acts at the Crossroads is a significant survey exhibition, and the first museum exhibition on the African continent of the artist’s work. It includes works from the last two decades - a multidisciplinary practice that considers humanity’s connection to the environment in complex ways. Rather than present us with an instructive method of documentation and observation, Nkanga grounds her work in a familiarity of encounter between viewer, artist, and object and asks us to consider the earth as an extension of the physical human body, to understand that it too is undeniably alive. “Exploring environmental damage and the politics of land, her practice becomes a conduit, a voice for these raw, organic materials. Acts of labour, mining, commodification and trade have an impact on the earth that is also mirrored in the ways we treat the body,” says Curatorial Assistant, Precious Mhone. Acts at the Crossroads explores a host of potential outcomes that present themselves at points of convergence. An agreement or understanding between two parties, a merger of ideas, thoughts, belief systems, cultures, histories and narratives. Connections become created, bonds are formed and solidified or broken. Differing ideologies are confronted, things are torn apart or brought together. The exhibition invites viewers to connect with themselves and each other at these points of awareness and reflexivity, through a range of media including drawing, painting, photography and video works, geological matter and decayed minerals. “I thought it was interesting to be able to think about these ideas, especially in South Africa, which for me has been a kind of crossroads. Or the acts or pacts that have been very much related to land and landscape,” explains Nkanga. “So, when I was really thinking about the title, I wanted to allude to entering into the realm of matter and material and its effect on different groups of people.” “I am thrilled – and honoured – to host Otobang at our museum. I have known and worked closely with her for many years and celebrated her success each step of the way, says Zeitz MOCAA Executive Director and Chief Curator Koyo Kouoh. “Her far-reaching practice echoes a globalisation that suggests we bear a true and honest connection with each other that transcends the notion of borders and emphasises the shared human condition. She gives voice to a need to reconnect and rethink our relationship to the earth, both personally and globally – a message that is never more pertinent than right now.” Nkanga’s most recent solo exhibitions include From Where I Stand at Tate St. Ives (2019), A Lapse, a Stain, a Fall at ar/ge kunst, Bolzano (2018), and To Dig a Hole that Collapses Again at MCA Museum of Contemporary Art, Chicago (2018). Exhibition name: Acts at the Crossroads Exhibiting artist: Otobong Nkanga Venue: Level 2, Zeitz MOCAA, Silo District, V&A Waterfront Run dates: 21 November 2019 – 23 February 2020 Exhibition curator: Koyo Kouoh, Precious Mhone  Image credit: Anel Wessels A conversation betwwen Otobong Nkanga and Precious Mhone Precious Mhone – Curatorial Assistant, Zeitz MOCAA (PM): I’d like to start by talking about the title of the exhibition, Acts at a Crossroads. A crossroads, an intersection of two or more roads. A lot of connotations come to mind as well when thinking of crossroads. I think of gestures of action, being active physically, mentally or verbally. Otobong Nkanga – Artist (ON): I thought it was interesting to be able to think about these ideas, especially in South Africa, which for me has been a kind of crossroads. Thinking of the pacts and acts that have happened here, with or without a certain group of people. Or the acts or pacts that have been very much related to land and landscape. So, when I was really thinking about the title, I wanted to allude to entering into the realm of matter and material and its effect on different groups of people. PM: Then you also think of the mythology of crossroads and this idea of meeting a spirit, a figure, something or someone ancestral. Being part of something other than yourself and giving yourself over to that. ON: [Laughter] Yeah, like making a pact. Sometimes, or most times, those acts that happen at the crossroads are intimate experiences that don’t involve other people, they involve you and the other entity. So, I was thinking it could be interesting to think about a space where many things meet, but it’s not a fusion yet, it’s just a place where... PM: ... they can come together but not necessarily be symbiotic... ON: Not necessarily. It’s almost like you are entering into a realm of the spiritual world and of giving your soul, but you know that certain parties have given something away and something which belongs to them has been taken away from them and they are not part of the pact, they are just around it. They’re almost like the landscape, which is dug out, which is used, which is extracted in many ways. So, I think it was a title that could have very subtle ways of being read, but has a very strong relationship to acts that have happened within a certain space. But, I mean, you can go in many directions. And that’s why I didn’t chose pacts, cause when we talk about pacts... PM: ... it seems so finite and mutually agreeable... ON: Yes, and acts enter into the kind of gestures of the performative... act one, act two. There’s a kind of systematic structure which leads you into the next space or way of thinking. That’s why I thought it could be interesting to use acts instead of pacts. It still works to bring you to places, take you on a journey. I remember when I was discussing it with Koyo [Kouoh, Zeitz MOCAA Chief Curator and Executive Director], she preferred pacts, but I decided on acts instead and it’s because it brings you to think of pacts without me explicitly having to say it. PM: I think it’s natural that when one thinks of a crossroad, you think you have to make a decision, to go left or right, this idea of opposites in a sense or this tension between... ON: ... right, wrong, forward, back... PM: Exactly. This idea of being conscious or present, you can’t just observe, you have to participate, even if it is involuntarily. ON: You’re still participating even though you don’t have a say, but you’re participating because in a way you’re involved, the consequences of those acts touch you. So that’s the idea around the title and it has a great way of being about to touch on different works in the exhibition. PM: I was thinking about that today, after we went over the exhibition floor plan and the narrative it creates. This idea of stitching things together or destroying things to make something new. This violent act that takes place in order to create a union. It’s beautiful, but its violent, certain things shouldn’t be together but you force them to be. ON: You can look at various works from Double Plot (2018) or you can look at Taste of a Stone (2010). PM: Yes, you bind them. I was thinking about that earlier and how bodies, people in the same way are bound by histories. ON: Landscapes, borders, different groups of people are forced together within one boundary. So, the earlier works that I did were really looking at that. We can also see it in the video Surgical Hits – The Needle (2003), where the needle is trying to puncture the body. And that’s why we have this very complex grappling with the ways in which perceptions are understood. Depending on perspective, one group of people can believe that their intention is to create something with another group of people. Seeing it as though they are putting things together and making something good, meanwhile the other group feels as though it is being punctured. And yet you don’t realise that that needle - that bond - is also the thing that is destroying everything, and you don’t necessarily want to have it on your body but it’s going through you. It’s cutting you, it’s making you bleed and it’s forcing you to enter into a kind of coalition with another, which you didn’t ask for. But now your paths and your histories are interwoven. So, it was interesting really thinking about the work in that way. PM: Do you feel as though you are speaking to yourself? To your audience? Reflecting maybe on how the world moves through you or how you move through the world? ON: I feel that it’s more or less a reflection, let’s say a vision, sometimes of something that becomes discernable within the exhibition space and then it’s translated into a work. Maybe to render that a bit more obvious through a visual material, through sounds, through performances and things like that. Because I feel like within an African context, there are all kinds of partial fragmented histories, many things we are not aware of. I find that interesting in the context of food, for example. If you consider many places and its people, Nigeria as an example, there’s always been a direct relationship to the plants, to the material that’s there and the food that they eat. But over time, you start seeing national dishes that are not endemic to that place. So, what happened to the plants and materials that you could eat that are endemic to it? Then you realise that those stories are forgotten and lost somewhere along the line. So, for me, it’s always interesting to try and understand and excavate different histories. It’s not only that but to find ways that one can work with it in the present and think through it for the future. PM: Speaking about the textile work Kolanut Tales – Dismembered (2010) and specifically about the performance Contained Measures of a Kolanut (2012), can you elaborate on how you use food as a way of investigating fragmented history? ON: Maybe it’s good to have the picture in front of me. The work Contained Measures of a Kolanut was first conceived in 2012. A lot of my research investigated tropical plants, what they symbolise, their economical values and how certain plants become so banalised or so normal, entering into the stock market, while some resist. So, kola nut was one of those that had for me a very strange way of resisting and not resisting. In Nigeria we use it a lot in different ways, from the spiritual, to ceremonies and connecting with people, the spirits and different ancestors. I also discovered when doing the research that a lot of the people that were taken out of West Africa would take the kola nut with them, carrying it in their hair, and that is how it arrived in Southern America and also the United States. When eaten, kola nut gives you energy, but at the same time also cuts your appetite and cuts your thirst. So, for me it was interesting to understand the notion of energy and what it meant in times of industrialisation and in times of slavery. Coca from South America and kola nut from Africa became ingredients in early Coca-Cola. The combination between these two energy giving plants enters back into our palate, into our memories. So, we drink Coca-Cola and it’s already engraved somewhere in our DNA and we’re connected to those plants, which connects us to our ancestries and all that. PM: One thing I feel about your work is this idea of taking something as an object but imbuing it with a human quality or a physical, bodily quality and this idea of seeing something and having a personal relationship to it, but also understanding the larger, global context. OM: I think it’s really interesting to work with local materials as with this installation of Taste of a Stone. Materials that people are familiar with, but don’t see in a certain kind of constellation together. So even during this Cape Town visit, going to the botanical gardens, having a sense of the atmosphere – the air, the fog, the wind, the trees, the colours, the tones – these are things that should resonate in the installation’s aesthetic. In its form but also in relation to its history, to local people, to people that have come in here and also out of the space because it’s important that it doesn’t stay claustrophobic or incestuous, let’s say, and to have a resonance to other parts of the world. But most times, a Taste of a Stone is seen as a place of contemplation, where different worlds meet and where it calms you down and it allows you to think, if you give it that space and that time. PM: I think what makes your work so interesting for the space is the way you’re aware of all these different elements that come together. Even the way we’re moving through the exhibition space, we have a starting point and an ending point, there is a connectedness. What is the importance of creating connection in your work? ON: They have to weave together, one way or the other. They have to find a way of resonating. So even the way I’m thinking of the wall drawing for the exhibition has to connect the space before and the space after. So, it’s almost like the tunnel or the area in which your brain is being recalibrated. So, I had to think of recalibration in certain spaces and other spaces that will be bodily immersive and other spaces that will make the brain work. I have to think of the whole exhibition as different parts of the body, that are being subtly and sometimes maybe more aggressively brought in to the space. A lot of times we make separations, we’ve learned to enter into a place of thinking of things in a separate way. Say nature or culture and we’re so distant from it. But if we look at it where exactly or close to all the components that we find in our surroundings and so how do we separate that? Even our bones are made of calcium, you see, we have iron, we have water. We’re all of that. And then we completely separate from the landscape that we’re working in and I think that’s one of the most dangerous points of how we treat the landscape. Because if we have a child we try to protect them, if we have a family we try to protect them. We’re born to protect those that we give birth to. But we seem to have distanced ourselves [from the land] because we have science and this and that...which takes you away from an intuitive way of feeling and doing. So, I think that is the core to be able to change and to be able to think of climate disasters, a fundamental shift in a way of thinking. So even if we say let’s stop doing this or stop doing that, it’s not that. It’s more about understanding that we should be in sync with the earth, so that if you do something you have to appease it, not just destroy it. PM: When you’re thirsty you have to drink water. When you’ve injured yourself you must rest. Being an extension of the very space that we embody or occupy and knowing that you’re connected to it. ON: I hope that the work is able to open up these kinds of spaces of thinking or understanding or at least trigger a part of that in a way. I hope. Discover More https://zeitzmocaa.museum/  THE GAME
13 November — 12 December Personal exhibition of Anna Miheeva Truth is a process, not a one-time act of comprehending an object immediately in its entirety. Truth is one, but it distinguishes the objective, absolute and relative aspects that can be considered as relatively independent truths. Objective truth is a content of knowledge that does not depend on a person or on humanity. Absolute truth is an exhaustive reliable knowledge of nature, man and society; knowledge that can never be refuted. Relative truth is incomplete, inaccurate knowledge, corresponding to a certain level of development of society, which determines the ways of obtaining this knowledge; this knowledge, depending on certain conditions, place and time of its receipt. The difference between absolute and relative truths (or absolute and relative in objective truth) in the degree of accuracy and completeness of reflection of reality. Truth is always concrete, it is always associated with a particular place, time and circumstances. Not everything in our life can be assessed in terms of truth or error (lies). Sometimes this is a game … What is your step? And for what? Location: 3, Tverskaya street, Moscow, Russia, 125 009 The building of The Ritz-Carlton, Moscow hotel, -2 level Cube is located on the -2nd level of the building of The Ritz-Carlton, Moscow hotel, you could get to us: through the hotel’s parking and take the elevators up, or through the hotel’s lobby and take the parking elevators down, as well as through the street entrance from the Ermolova Theater side and take the elevator to the -2 floor from there.  Isaac Julien_Papillon, No 2, Fontome Creloe Series B Zeitz Museum of Contemporary Art Africa (Zeitz MOCAA) has revealed the details of an exciting new exhibition, presenting works from its collection in a new and reimagined format.
The Zeitz MOCAA Collection houses a unique and extensive body of works by some of the continent and its diaspora’s most exciting established and emerging artists. The exhibition, which includes a selection of these works, will open on 7 November 2019, taking up all gallery spaces on Level 4. This forms part of a recent reimagining of the museum’s galleries and spatial organisation, with exhibitions in this space changing annually. Titled Two Together, the show is built around major themes explored by artists from Africa and its diaspora represented in the collection, and each gallery contains a pair: either two objects, or multiple works by two artists, or two major themes – either in dialogue, as counterpoints or in complementary ways. As couples do, in comedic duos or in romance, the exhibition embrace a rigorous engagement between objects and ideas. “We wanted to explore what happens when two things come together,” explained Senior Curator, Storm Janse van Rensburg. “Two photographers can subvert a gaze, while probing issues around representation, presence, omission, authorship and voyeurism. Speaking from contrasting geopolitical vantage points, two can highlight the perpetual and impeding undertone of violence still manifesting in present-day psyche. The numerous lines between collective memory, imagination and folklore are blurred when two artists use material to make visible intangible heritage.” The exhibition includes a diptych by Isaac Julien, as well as pairings of and conversations between works by Zanele Muholi and Mouna Karray; Njideka Akunyili Crosby and Joël Andrianomearisoa; Nicholas Hlobo and Taiye Idahor; Sethembile Msezane and Glenn Ligon; Leonce Raphael Agbodjélou and Athi-Patra Ruga, as well as Mishack Masamvu and Lungiswa Gqunta. “This exhibition presents works from the Zeitz MOCAA Collection in a new way. Whilst some works will be familiar to regular visitors to the museum, the curation of the exhibition allows them all to be experienced anew,” explains Koyo Kouoh, Executive Director and Chief Curator at Zeitz MOCAA. “It feels like a fresh and exciting way to relook at our permanent collection. The goal of the museum has always been to build a cohesive collection that is as representative as possible of Africa and the diaspora, with strong political, social, environmental and personal messaging. This is demonstrated in this exhibition,” she adds. Exhibition title: Two Together On view: 7 November 2019 – 25 October 2020 Venue: Level 4, Collections Galleries Curators: Storm Janse Van Resnburg, Tandazani Dhlakama, Sakhi Gcina, Tammy Langtry, Precious Mhone Discover More www.zeitzmocaa.museum  Flow by Nina Pandolfo Gratitude
Opening: 8th November 2019 I create with my soul, I let [my] ideas flow… JD Malat Gallery is proud to present their first solo exhibition by internationally recognised artist Nina Pandolfo, best known for the wide-eyed characters who inhabit her fantastical canvasses and graffitied murals worldwide. Opening on the 8th of November 2019, Gratitude is a joyful celebration of life and the kaleidoscopic emotions associated with being ‘grateful’. “So many people say that they are grateful for something but don’t live the feeling, they just go through the motions”, Pandolfo says, “[when painting] the strongest thing is the feeling, the feeling is what makes my heart beat faster and my eyes smile as I put it on the canvas…the sound of life, the sound of freedom, the sound of gratitude and simplicity.”. This exhibition, a project that has been over a year in the making, is closely connected with Pandolfo herself – a reflection of her personal experiences and the vibrantly multicultural world around her. Heavily inspired by women who embrace and embody different cultures, the women in her works are greater than their race-specific traits and instead are more universal. One thing unites these women, their strength and delicacy which form an integral role in Pandolfo’s signature style. Through Gratitude Pandolfo presents a Universe with no negativity, instead viewing the world around her with a dichotomy of childlike innocence and adult awareness that is so prevalent within her works; displaying the same fascination and enchantment that a child feels whilst discovering something new, and revelling in the small details. Pandolfo’s golden universe includes animals, such as the flamingo in Gratitude, who present an anthropomorphic view of what it truly means to be ‘grateful’. This symbolism, sometimes only discovered once a work is completed, brings each canvas to life, with new layers slowly revealing themselves to the viewer upon further reflection. Born in 1977, Nina Pandolfo grew up in São Paulo, Brazil, drawing and painting from a young age before discovering graffiti and fully dedicating herself to art at just 14 years old. A student of Visual Communication, Pandolfo followed her bliss in the search for new media and creative freedom, and began tagging on the streets of São Paulo, soon becoming an integral part of the Brazilian graffiti scene in the 90’s and pioneering the way for the more widespread inclusion of graffiti in Museums and Galleries. Since her first exhibition at the age of 22 (a collective show with the Funarte National Arts Foundation) , Pandolfo has exhibited internationally to incredible success whilst still creating monumental urban projects for Public spaces. One particularly notable commission was a collaboration with Os Gemeos, and Nunca in 2007 to paint the façade and turret of the 800-year-old Kelburn Castle – an endeavour so successful that this ‘temporary’ project was named one of the Top 10 Examples of Street Art by Tristan Manco in 2011 and protected for future generations. With Gratitude, JD Malat Gallery is proud to announce its exclusive representation of Nina Pandolfo throughout the United Kingdom. JD Malat Gallery is one of London’s most exciting galleries, showcasing a broad spectrum of international artists and working closely with both private clients and public institutions worldwide. A bastion of taste, eponymous founder Jean-David is often cited as ‘one of the most well -connected men in London’, internationally recognized as a curator and prominent art dealer. Through his vast experience, JD has discovered, promoted and established over a dozen formerly-unknown artists, launching his Mayfair Gallery in June 2018 to great acclaim. Discover more www.jdmalat.com   Cittadino Nel Mondo is an art collective and art residency program that hosts a small group of artists from around the world. Cittadino Nel Mondo residencies are 'pop-up residency's', created in different locations around the world from the far east like Japan to Italy and other locations. The founder of Cittadino Nel Mondo, Natalia Bieganska, is an artist who has travelled the world extensively and has been deeply inspired by local cultures. As a result of her travels, Natalia has a strong mission to connect artists from different countries and backgrounds. Art for her is a new language, universal in nature, breaking down any cultural differences. This year's residency will take place in Italy, the birthplace of some of the most famous artists in history. The Italy program will support the artist to disconnect from city life and work on their art in a warm and rustic setting in the Italian countryside. The program is based in the small village Campagnano di Roma, which is located roughly 45 minutes from Rome and easily accessible by car or train. Campagnano di Roma was on the Via Francigena in medieval times, an ancient road running from France to Rome. The area is filled with ancient Roman and Etruscan history; the energy of painters, sculptors and other makers of the past can almost be smelt in the air. Each Cittadino Nel Mondo program implies a theme that fits well with the surrounding region and culture. Besides the creative aspect, a core mission of Cittadino Nel Mondo in Campagnano is to take care of nature by teaching artist about sustainability, raising awareness of the local environment, and the production of healthy local foods. Artists will participate and learn about olive oil farming and production from the local Italian family. The residency will be hosted at a property that provides a quiet, comfortable and rustic setting for artists to create and focus their energies. Overlooking the Italian countryside and olive oil trees, the property offers ample room for the artist to work in a very private setting. During the month-long program, the artist will not only retreat from the routines and pressures of everyday life but will also meet new art collectors and enjoy farm to table Italian food and, of course, wine. ARTISTS SIGNE PIERCE |
 | Natalia has been in the fashion and art world for the last 9 years. Most recently she worked at Postmasters Gallery in Rome. Prior to Rome, Natalia was living and studying in New York where she took Marketing and PR courses at Sotheby’s NYC. Natalia has exhibited her work as an emerging artist in Japan, New York and Italy. Beforehand, she was working in high fashion for international agencies such as Elite and Next Models; and has experience working for some of the top brands including Vogue Magazine, D&G, and GAP. Natalia holds a BA from Wladyslaw Strzeminski Academy of Fine Arts in Lodz, Poland majoring in design in 2012. |
PAULINA BEBECKA
ADVISORY BOARD, SALES AND EVENTS
 | After 11 years as NYC gallerist at Postmasters Gallery (est. 1984) and curator the Polish born Paulina Bebecka moved to Rome in 2017 and established the Italian branch of the gallery, PostmastersROMA, with a permanent location situated next to the colosseum. Following the tradition of the mothership gallery the Roman space exhibits works that are representative of our time embracing all mediums, classical and new ones from paintings to Virtual Reality. Her curatorial projects include a NYTimes reviewed exhibition “this one is smaller than this one” of 35 artists which traveled from New York to Vienna and Istanbul. Bebecka holds a masters degree from Sotheby’s Institute of Art in London and bachelors degrees in economics and international business administration from the American University of Paris. |
ANITA BENN
WELLNESS THERAPIST
 | Anita Benn was born in a multicultural family in Switzerland. For various health issues of her loved ones she started looking deeper into alternative medicine. At age of 22 she travelled to India discovering Ayurveda and Yoga. Later Anita decided to broaden her horizons and chosen her school of life to be Shiatsu. Three years of education at the International Shiatsu School of Kinetal taught her, that while we are all responsible for our own body mind and soul, she is able to give her patients the support to activate the self-healing process. |
Leonardo da Vinci, The head of Leda, c.1505-8 Credit: Royal Collection Trust / (c) Her Majesty Queen Elizabeth II 2019
Leonardo da Vinci: A Life in Drawing is at The Queen’s Gallery, Palace of Holyroodhouse,
22 November 2019 – 15 March 2020.
In November 2019, to mark the 500th anniversary of the death of Leonardo da Vinci, 80 of the Renaissance master’s greatest drawings will go on display at The Queen’s Gallery, Palace of Holyroodhouse, in the largest exhibition of the artist’s work ever to be seen in Scotland.
Leonardo da Vinci: A Life in Drawing explores the full range of Leonardo’s interests – painting, sculpture, architecture, anatomy, engineering, cartography, geology and botany – providing a comprehensive survey of Leonardo’s life and a unique insight into the workings of his mind. Many of the works in the exhibition will be on display in Scotland for the first time.
Revered in his day as a painter, Leonardo completed only around 20 paintings; he was respected as a sculptor and architect, but no sculpture or buildings by him survive; he was a military and civil engineer who plotted with Machiavelli to divert the river Arno, but the scheme was never executed; he was an anatomist and dissected 30 human corpses, but his ground-breaking anatomical work was never published; he planned treatises on painting, water, mechanics, the growth of plants and many other subjects, but none was ever finished. As so much of his life's work was unrealised or destroyed, Leonardo's greatest achievements survive only in his drawings and manuscripts. The drawings by Leonardo in the Royal Collection have been together as a group since the artist’s death in 1519, and entered the Collection during the reign of Charles II, around 1670.
Leonardo firmly believed that visual evidence was more persuasive than academic argument, and that an image conveyed knowledge more accurately and concisely than any words. Few of his drawings were intended for others to see: drawing served as his laboratory, allowing him to work out his ideas on paper and search for the universal laws that he believed underpinned all of creation. In the breadth of his interests, Leonardo was the archetypal ‘Renaissance man’, and his work is characterised by a multitude of artistic and scientific pursuits that cross-fertilised each other over many years.
22 November 2019 – 15 March 2020.
In November 2019, to mark the 500th anniversary of the death of Leonardo da Vinci, 80 of the Renaissance master’s greatest drawings will go on display at The Queen’s Gallery, Palace of Holyroodhouse, in the largest exhibition of the artist’s work ever to be seen in Scotland.
Leonardo da Vinci: A Life in Drawing explores the full range of Leonardo’s interests – painting, sculpture, architecture, anatomy, engineering, cartography, geology and botany – providing a comprehensive survey of Leonardo’s life and a unique insight into the workings of his mind. Many of the works in the exhibition will be on display in Scotland for the first time.
Revered in his day as a painter, Leonardo completed only around 20 paintings; he was respected as a sculptor and architect, but no sculpture or buildings by him survive; he was a military and civil engineer who plotted with Machiavelli to divert the river Arno, but the scheme was never executed; he was an anatomist and dissected 30 human corpses, but his ground-breaking anatomical work was never published; he planned treatises on painting, water, mechanics, the growth of plants and many other subjects, but none was ever finished. As so much of his life's work was unrealised or destroyed, Leonardo's greatest achievements survive only in his drawings and manuscripts. The drawings by Leonardo in the Royal Collection have been together as a group since the artist’s death in 1519, and entered the Collection during the reign of Charles II, around 1670.
Leonardo firmly believed that visual evidence was more persuasive than academic argument, and that an image conveyed knowledge more accurately and concisely than any words. Few of his drawings were intended for others to see: drawing served as his laboratory, allowing him to work out his ideas on paper and search for the universal laws that he believed underpinned all of creation. In the breadth of his interests, Leonardo was the archetypal ‘Renaissance man’, and his work is characterised by a multitude of artistic and scientific pursuits that cross-fertilised each other over many years.
Leonardo da Vinci, The cardiovascular system and principal organs of a woman, c.1509-10 Credit: Royal Collection Trust / (c) Her Majesty Queen Elizabeth II 2019
Leonardo’s research into the human body stemmed from a desire to be ‘true to nature’ in his painting, and in time anatomy became his greatest scientific pursuit. Though he never completed his planned treatise on the subject, Leonardo’s later anatomical studies mark him out as one of the great scientists of the Renaissance. The exhibition includes some of the finest examples of the artist’s anatomical drawings, including The skull sectioned (1489), The fetus in the womb (c.1511) and The cardiovascular system and principal organs of a woman (c.1509–10).
Drawings of horses abound throughout Leonardo’s work, including studies for three equestrian monuments that were never realised. The sculpture that would have been his masterpiece, a monument to Francesco Sforza, the late Duke of Milan, fell victim to the turbulence of politics and warfare that was a constant shadow over Leonardo’s career. Studies for the monument, which would have been the largest bronze cast in western Europe since antiquity, include A design for an equestrian monument (c.1485–8) and Studies of a horse (c.1490).
Drawings of horses abound throughout Leonardo’s work, including studies for three equestrian monuments that were never realised. The sculpture that would have been his masterpiece, a monument to Francesco Sforza, the late Duke of Milan, fell victim to the turbulence of politics and warfare that was a constant shadow over Leonardo’s career. Studies for the monument, which would have been the largest bronze cast in western Europe since antiquity, include A design for an equestrian monument (c.1485–8) and Studies of a horse (c.1490).
Leonardo da Vinci, Studies of a horse, c.1490 Credit: Royal Collection Trust / (c) Her Majesty Queen Elizabeth II 2019
The natural world is explored by Leonardo through detailed landscapes, studies of water and in numerous botanical studies, the finest of which were developed in preparation for the now lost painting Leda and the Swan, including A branched bur-reed (c.1506–12). Leonardo’s Leda was the only female nude that he ever painted, and the nakedness of her body was emphasised by her elaborate hairstyle of braids and coils, the focus of the preparatory study The head of Leda (c.1505–8).
Leonardo gained a reputation as a skilled map-maker and engineer, and in August 1502 he was appointed military architect and engineer to Cesare Borgia, son of Pope Alexander VI and Marshal of the Papal Troops. Over the next few months Leonardo surveyed Borgia’s strongholds to the north and east of Florence, and created his most impressive surviving map, A map of Imola (1502). He continued to make maps on his return to Florence, several of which were connected with his proposed projects in civil engineering, including A map of the Valdichiana (c.1503–6) and The Arno valley with the route of a proposed canal (c.1503–4).
Leonardo gained a reputation as a skilled map-maker and engineer, and in August 1502 he was appointed military architect and engineer to Cesare Borgia, son of Pope Alexander VI and Marshal of the Papal Troops. Over the next few months Leonardo surveyed Borgia’s strongholds to the north and east of Florence, and created his most impressive surviving map, A map of Imola (1502). He continued to make maps on his return to Florence, several of which were connected with his proposed projects in civil engineering, including A map of the Valdichiana (c.1503–6) and The Arno valley with the route of a proposed canal (c.1503–4).
Leonardo da Vinci, A map of Imola, 1502 Credit: Royal Collection Trust / (c) Her Majesty Queen Elizabeth II 2019
Towards the end of his life, Leonardo left Italy forever and moved to France. His body was failing, and in his late drawings and writings he became obsessed by the subject of a cataclysmic storm overwhelming the earth and sweeping away all matter. But far from being chaotic, these deluges were drawn and described with the dispassionate eye of a scientist. The most elaborate is A tempest (c.1513–18), in which wind-gods hurl thunderbolts amongst dense clouds, while a landslide peels away from the remains of a mountain and falls into the rushing waters below.
The exhibition in Edinburgh is the culmination of a year-long nationwide event, which has given the widest-ever UK audience the opportunity to see the work of this unparalleled artist. In February 2019, 144 of Leonardo’s drawings from the Royal Collection went on display in 12 simultaneous exhibitions at museums and galleries across the UK, attracting more than one million visitors. In May 2019 the drawings were brought together at The Queen’s Gallery, Buckingham Palace to form the largest exhibition of Leonardo’s work in over 65 years.
Martin Clayton, Head of Prints and Drawings, Royal Collection Trust, said, ‘The drawings of Leonardo da Vinci are both incredibly beautiful and the main source of our knowledge of the artist. As our year-long celebration of Leonardo’s life draws to a close with the largest exhibition of his work ever shown in Scotland, we hope that as many people as possible will take this unique opportunity to see these extraordinary works, and engage with one of the greatest minds in history.’
Discover More
www.rct.uk
The exhibition in Edinburgh is the culmination of a year-long nationwide event, which has given the widest-ever UK audience the opportunity to see the work of this unparalleled artist. In February 2019, 144 of Leonardo’s drawings from the Royal Collection went on display in 12 simultaneous exhibitions at museums and galleries across the UK, attracting more than one million visitors. In May 2019 the drawings were brought together at The Queen’s Gallery, Buckingham Palace to form the largest exhibition of Leonardo’s work in over 65 years.
Martin Clayton, Head of Prints and Drawings, Royal Collection Trust, said, ‘The drawings of Leonardo da Vinci are both incredibly beautiful and the main source of our knowledge of the artist. As our year-long celebration of Leonardo’s life draws to a close with the largest exhibition of his work ever shown in Scotland, we hope that as many people as possible will take this unique opportunity to see these extraordinary works, and engage with one of the greatest minds in history.’
Discover More
www.rct.uk
SHINY COLOURFUL AMUSEMENTS FOR THE WALLS OF THE BOURGEOISIE
Robert Montgomery at JD Malat Gallery
Scottish-born and London based artist and poet, Robert Montgomery, brings his solo exhibition, Shiny Colourful Amusements for the Walls of the Bourgeoisie, to JD Malat Gallery Tuesday 1st October - Saturday 2nd November 2019. Coinciding with Frieze London, the highly anticipated exhibition is set to captivate Montgomery’s worldwide following. Through Shiny Coloured Amusements for the Walls of the Bourgeoisie, Montgomery, renowned for his large, public light installations and distinctive black and white billboard works, presents a selection of lightworks
made especially for the exhibition. The show also combines his illustrious lightwork technique that is well known to viewers, with new works that celebrate the artist’s return to other mediums such as painting and an electrifying exploration of colour. The globally acclaimed artist is set to fuse together these unique, imaginative approaches to his craft and bring to fruition one of his most ambitious solo exhibitions to date.
JD Malat Gallery is proud to cultivate Montgomery’s comprehensive exhibition history, having had numerous solo exhibitions across the world, most recently at the Aspen Art Museum in January 2019. Not to mention, Montgomery has presented many important exhibitions in the United Kingdom, such as being shortlisted for the UK Holocaust Memorial, showcased at the Victoria & Albert Museum, London. Montgomery has also had a strong Biennale presence
worldwide, representing Britain at Kochi Biennale in 2012 and the Yinchuan Biennale in 2016.
Whilst many artists become synonymous with one artistic medium, Robert is rather synonymous with a particular kind of poetic phrasing — loosely applying the principle of "concrete poetry" across an array of media, he brings words alive in watercolour, fire poems, solar powered light installations, woodcut panels, billboards and paintings. His work sits somewhere in-between a tradition of contemporary language art seen in artists like Tracey Emin, Jenny Holzer and Lawrence Weiner, and an older tradition of concrete poetry that goes back to Guillaume Apollinaire and in Britain to Ian Hamilton Finlay and Edward Lucie-Smith.
Speaking of the upcoming exhibition, Montgomery commented, “I am thrilled to be showing at JD Malat Gallery. These rooms have a great heritage, Jean-David has breathed new life into Mayfair with the space at 30 Davies Street and he has very good taste, his is one of the most exciting new galleries in London for sure. The great space here gives us a scale in which we are able to present a show that is both slightly retrospective on my work alongside a series of new paintings."
JD Malat Gallery will exhibit a selection of Montgomery’s newly made lightworks, which echo his important installations of the past at the old Tempelhof Airport in Berlin, the Kochi Biennale in 2012 and his installation of "THE PEOPLE YOU LOVE BECOME GHOSTS INSIDE OF YOU, AND LIKE THIS YOU KEEP THEM ALIVE” at the De La Warr Pavilion in 2010. This piece became one of the most talked about artworks of the last decade, with its image having been shared more than 24 million times online.
Speaking of Robert’s work, author Dane Weatherman explains that, “to encounter the work of Robert Montgomery is to make a tender encounter whose tenderness is enhanced by the public, communal quality of his work. To encounter his work is to have your body filled with a sad thunder and your head filled with a sad light. He is a complete artist and works in language, light, paper, space. He engages completely with the urban world with a translucent poetry. His work arrives at us through a kind of lucid social violence. No one has blended language, form and light in such a direct way."
Shiny Colourful Amusements for the Walls of the Bourgeoisie by Robert Montgomery
Tuesday 1st October - Saturday 2nd November 2019
JD Malat Gallery, 30 Davies Street, W1K 4NB
Discover more
https://jdmalat.com
Robert Montgomery at JD Malat Gallery
Scottish-born and London based artist and poet, Robert Montgomery, brings his solo exhibition, Shiny Colourful Amusements for the Walls of the Bourgeoisie, to JD Malat Gallery Tuesday 1st October - Saturday 2nd November 2019. Coinciding with Frieze London, the highly anticipated exhibition is set to captivate Montgomery’s worldwide following. Through Shiny Coloured Amusements for the Walls of the Bourgeoisie, Montgomery, renowned for his large, public light installations and distinctive black and white billboard works, presents a selection of lightworks
made especially for the exhibition. The show also combines his illustrious lightwork technique that is well known to viewers, with new works that celebrate the artist’s return to other mediums such as painting and an electrifying exploration of colour. The globally acclaimed artist is set to fuse together these unique, imaginative approaches to his craft and bring to fruition one of his most ambitious solo exhibitions to date.
JD Malat Gallery is proud to cultivate Montgomery’s comprehensive exhibition history, having had numerous solo exhibitions across the world, most recently at the Aspen Art Museum in January 2019. Not to mention, Montgomery has presented many important exhibitions in the United Kingdom, such as being shortlisted for the UK Holocaust Memorial, showcased at the Victoria & Albert Museum, London. Montgomery has also had a strong Biennale presence
worldwide, representing Britain at Kochi Biennale in 2012 and the Yinchuan Biennale in 2016.
Whilst many artists become synonymous with one artistic medium, Robert is rather synonymous with a particular kind of poetic phrasing — loosely applying the principle of "concrete poetry" across an array of media, he brings words alive in watercolour, fire poems, solar powered light installations, woodcut panels, billboards and paintings. His work sits somewhere in-between a tradition of contemporary language art seen in artists like Tracey Emin, Jenny Holzer and Lawrence Weiner, and an older tradition of concrete poetry that goes back to Guillaume Apollinaire and in Britain to Ian Hamilton Finlay and Edward Lucie-Smith.
Speaking of the upcoming exhibition, Montgomery commented, “I am thrilled to be showing at JD Malat Gallery. These rooms have a great heritage, Jean-David has breathed new life into Mayfair with the space at 30 Davies Street and he has very good taste, his is one of the most exciting new galleries in London for sure. The great space here gives us a scale in which we are able to present a show that is both slightly retrospective on my work alongside a series of new paintings."
JD Malat Gallery will exhibit a selection of Montgomery’s newly made lightworks, which echo his important installations of the past at the old Tempelhof Airport in Berlin, the Kochi Biennale in 2012 and his installation of "THE PEOPLE YOU LOVE BECOME GHOSTS INSIDE OF YOU, AND LIKE THIS YOU KEEP THEM ALIVE” at the De La Warr Pavilion in 2010. This piece became one of the most talked about artworks of the last decade, with its image having been shared more than 24 million times online.
Speaking of Robert’s work, author Dane Weatherman explains that, “to encounter the work of Robert Montgomery is to make a tender encounter whose tenderness is enhanced by the public, communal quality of his work. To encounter his work is to have your body filled with a sad thunder and your head filled with a sad light. He is a complete artist and works in language, light, paper, space. He engages completely with the urban world with a translucent poetry. His work arrives at us through a kind of lucid social violence. No one has blended language, form and light in such a direct way."
Shiny Colourful Amusements for the Walls of the Bourgeoisie by Robert Montgomery
Tuesday 1st October - Saturday 2nd November 2019
JD Malat Gallery, 30 Davies Street, W1K 4NB
Discover more
https://jdmalat.com
Following a record-breaking fair at The OXO Tower this past April, Roy’s Art Fair is excited to present its 5th edition, increasing in size and ambition. With a determined effort to grow faster and stronger, the fair will be host to over 90 emerging and established artists at the renowned Truman Brewery in Brick Lane, London during the annually anticipated Frieze week. Roy's Art Fair is proud to be the largest FREE entrance art fair in London.
The Old Truman Brewery, 91 Brick Lane, London, E1 6QL
3rd-6th October
www.roysartfair.com
Roy’s Art Fair is fast becoming an established event in the art lover’s diary with our last 4 shows drawing thousands of visitors and buyers. 92 carefully selected artists will be personally showcasing their artwork to the public during this free four-day event.
Roy’s Art Fair is excited to announce a partnership with the mental health charity CALM in promoting awareness on the importance of creativity and expression for positive mental health. Free workshops will be running throughout the event by special guest artists aimed at all ages and abilities. There will be many opportunities for all to explore their own creativity with the varied art supplies sponsored by GreatArt.
Throughout the event a unique installation of live art will take place at the entrance of the fair giving public the opportunity to see artists creating large scale artworks right in front of their eyes. This will start at the private view evening on 3rd October and continue throughout the entire event.
The team at Roy’s Art Fair are all artists in their own right and offer their invaluable expertise and support to both emerging and established artists as they navigate the art world. Their focus is primarily on developing a community led spirit initiated by artists to connect directly with the public and promote both the artists' and buyers' interests first.
“Roy’s Art Fair will reach new heights with our new location of the iconic Truman Brewery. We are also very excited to be running our fifth fair at the same time as the Frieze international Art Festival, with so many events running in London at this time, Roy’s gives the customer a fresh way of enjoying Frieze with approachability, affordability and fun. With thanks to the steady success with each fair we are now able to extend our support to a wider group of artists and ensure our community provides them with the right knowledge and tools to make the fair a triumph.” – Roy’s Art Fair
Highlights include:
Address:
The Old Truman Brewery, 91 Brick Lane, London, E1 6QL
Thursday 3rd October 17:00-21:30 (Private view)
Friday 4th October 12:00-20:00
Saturday 5th October 11:00-19:00
Sunday 6th October 11:00-18:00
Discover more
www.roysartfair.com
The Old Truman Brewery, 91 Brick Lane, London, E1 6QL
3rd-6th October
www.roysartfair.com
Roy’s Art Fair is fast becoming an established event in the art lover’s diary with our last 4 shows drawing thousands of visitors and buyers. 92 carefully selected artists will be personally showcasing their artwork to the public during this free four-day event.
Roy’s Art Fair is excited to announce a partnership with the mental health charity CALM in promoting awareness on the importance of creativity and expression for positive mental health. Free workshops will be running throughout the event by special guest artists aimed at all ages and abilities. There will be many opportunities for all to explore their own creativity with the varied art supplies sponsored by GreatArt.
Throughout the event a unique installation of live art will take place at the entrance of the fair giving public the opportunity to see artists creating large scale artworks right in front of their eyes. This will start at the private view evening on 3rd October and continue throughout the entire event.
The team at Roy’s Art Fair are all artists in their own right and offer their invaluable expertise and support to both emerging and established artists as they navigate the art world. Their focus is primarily on developing a community led spirit initiated by artists to connect directly with the public and promote both the artists' and buyers' interests first.
“Roy’s Art Fair will reach new heights with our new location of the iconic Truman Brewery. We are also very excited to be running our fifth fair at the same time as the Frieze international Art Festival, with so many events running in London at this time, Roy’s gives the customer a fresh way of enjoying Frieze with approachability, affordability and fun. With thanks to the steady success with each fair we are now able to extend our support to a wider group of artists and ensure our community provides them with the right knowledge and tools to make the fair a triumph.” – Roy’s Art Fair
Highlights include:
- See artists create Live Art in the entrance hall of the fair
- CALM Art Collective FREE Workshops hosted by special guest artists
- Fine art printmaking studio Hippo Screenprinters will be live demonstrating the art of screen printing with exclusive artwork releases by a number of special guests
- Visit the GreatArt area where we will have artists lead workshops and the opportunity for all to get involved in exploring their own creativity.
- Our friends at Vintage Event Bars will be serving up teas and coffees as well as luxurious vintage styled cocktails and craft beer.
Address:
The Old Truman Brewery, 91 Brick Lane, London, E1 6QL
Thursday 3rd October 17:00-21:30 (Private view)
Friday 4th October 12:00-20:00
Saturday 5th October 11:00-19:00
Sunday 6th October 11:00-18:00
Discover more
www.roysartfair.com
The debut exhibition for up-and-coming artist Amy Beager will launch in East London’s Dalston Junction this week. The weekend-long showcase, which commences from 7pm on Friday, August 2, will give Londoners the opportunity to view Amy’s contemporary works which draw inspiration from the world of fashion, female iconography and uses a social media gaze of modern notions of women’s beauty.
The debut exhibition will also premier East London’s newest art gallery, BSMT Space located in the heartland of East London’s creative community, Dalston Junction.
Amy Beager commented on the opening “The work which will be displayed over the weekend was really inspired by the constant stream of images that are flashed before us on social media, I’ve also taken some aspects of my own life experiences and my previous career in the world of fashion”.
Amy’s mixed media pieces are composited of acrylics, inks and watercolours which capture a look, a single feeling or an expression through fluid brushwork. Since leaving the world of fashion as a women’s wear designer, Amy has built a successful social media business allowing her to sell her artworks independently and directly with customers around the world.
In early 2019 Amy’s work caught the attention of the fashion industry, being personally invited to sketch and illustrate backstage and live from the catwalks for some of London’s most exciting names and up and coming designers.
Date: August 2-4, 2019
Timings: Friday August 2nd (opening night) 7-10pm, Sat & Sunday 10am -8pm
Location: BSMT Space, 529 Kingsland Road, London E8
Event Link: https://www.eventbrite.com/e/blue-woman-tickets-64977468357
Price: Free
The debut exhibition will also premier East London’s newest art gallery, BSMT Space located in the heartland of East London’s creative community, Dalston Junction.
Amy Beager commented on the opening “The work which will be displayed over the weekend was really inspired by the constant stream of images that are flashed before us on social media, I’ve also taken some aspects of my own life experiences and my previous career in the world of fashion”.
Amy’s mixed media pieces are composited of acrylics, inks and watercolours which capture a look, a single feeling or an expression through fluid brushwork. Since leaving the world of fashion as a women’s wear designer, Amy has built a successful social media business allowing her to sell her artworks independently and directly with customers around the world.
In early 2019 Amy’s work caught the attention of the fashion industry, being personally invited to sketch and illustrate backstage and live from the catwalks for some of London’s most exciting names and up and coming designers.
Date: August 2-4, 2019
Timings: Friday August 2nd (opening night) 7-10pm, Sat & Sunday 10am -8pm
Location: BSMT Space, 529 Kingsland Road, London E8
Event Link: https://www.eventbrite.com/e/blue-woman-tickets-64977468357
Price: Free
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