Lawrence Calver - Indonesia Exhibition

C A L V E R

Contact gallery to receive a catalogue

Gallery artist Lawrence Calver has recently exhibited and documented a collection of his woven artwork In Indonesia. DM to receive a catalogue of artworks. The main location was an 18th century building in the city of Jogja. A city on the Indonesian island of Java known for its traditional arts and cultural heritage. Other locations were found along the way based on colour, texture, and architectural structures. The old bakery is over 100 years old, and very little has changed since the 1920s from the furniture down to the trays and utensils. It seemed fitting to show the work titled ‘1841’ to open up a transient dialogue between the work and its environment. The largest work ‘untitled’ was shot in the entrance to a tofu factory. The ageing and worn effect of the wall shared a strong resemblance to the energy of the artwork. Even the chalk handwriting on the wall draws on similarities from previous works.

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Drawing series - Chancho

drawing 01. 60,5x91 cm. conté on japanese paper

Chancho’s work has always been abstract, and often minimalist. But its variety is astonishing. There is no sense of randomness, or a butterfly mind. Rather, Chancho’s explorations of colour, geometry and shape seem like stopping-points in a life’s journey through different artistic territories, with each being given a proper period of concentration, and each producing its own harvest
Chancho was born Riudoms, Tarragona, Spain, 1943 / He exhibited internationally in galleries and museums worldwide. With exhibitions at La Fundación Joan Miró, el Centre d’Art Santa Mónica, el Museo de Arte Contemporáneo de Ibiza, el Museo de Arte de Tarragona, el Museo Rufino Tamayo, México, and this year, a major retrospective at the Sala Tecla in Hospitalet de Llobregat (Barcelona). His work can be found in the permanent collections of many important institutions, such as the Fundación La Caixa, the Museo de Arte Contemporáneo of Barcelona and the Generalitat de Catalunya

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In the studio Joaquim Chancho Spring 2019

Chancho’s work has always been abstract, and often minimalist. But its variety is astonishing. There is no sense of randomness, or a butterfly mind. Rather, Chancho’s explorations of colour, geometry and shape seem like stopping-points in a life’s journey through different artistic territories, with each being given a proper period of concentration, and each producing its own harvest
Chancho was born Riudoms, Tarragona, Spain, 1943 / He exhibited internationally in galleries and museums worldwide. With exhibitions at La Fundación Joan Miró, el Centre d’Art Santa Mónica, el Museo de Arte Contemporáneo de Ibiza, el Museo de Arte de Tarragona, el Museo Rufino Tamayo, México, and this year, a major retrospective at the Sala Tecla in Hospitalet de Llobregat (Barcelona). His work can be found in the permanent collections of many important institutions, such as the Fundación La Caixa, the Museo de Arte Contemporáneo of Barcelona and the Generalitat de Catalunya

Joaquim Chancho 2019 in his studio Richeldis Fine Art

Barcelona Studio Visit: Hernan Ardila

Contact gallery for catalogue of available collection

Hernán Ardila’s (Colombia 1964) artwork is composed of non-figurative pieces; drawings and canvases characterised by the pre-eminence of form and line, fragmented composition and bordered sections of strong colours. His work not only focuses on the spatial values of the form, but also the tempo within repetition and variation of line, colour and materials. Ardila’s artwork is largely regarded as an installation. Although spatial dimensions have already been present in the artists earlier oil pieces, these dimensions have become more important throughout the assembly experience. The objective; to adhere to the union and disposition of lines, forms, fields of colour and fragments of wood, plastic or metal. The unitary character of the work is evident through the use of computer within its development. The digitalisation of materials, whether by means of photography or digitally simulated form, allowing the artist to pre visualise the relations among the elements. The montage of the digital replicas is derived from the material and at the same time constitutes its development, its modification and its integration with other elements within a deep relationship. Ardila’s work consists of a deep and sensitive investigation, whilst remaining light, sensible and specific in regard to meaning and feeling. For this reason the search of precision within the relations goes hand in hand with a lack of certainty that not only demands the absence of significance but also a determined disposition of the elements, making legibility difficult. Matter and instability — could summarise his artwork. What really interests Ardila is the possibility to manipulate a form and alter it in multiple ways. In this sense he is always trying to work from a point where the things still haven´t acquired their direction. His work is fulfilled by intervened forms and elements in crisis that are placed in relation to the order of things which maintains them on their limits, unbalanced; on the verge of being put in movement, to stop being, and that which is the same, to become something else. 

Hernan Ardila in his Barcelona Studio, 2019 photo credit @datduder / Arman Naji

Hernan Ardila in his Barcelona Studio, 2019 photo credit @datduder / Arman Naji

Terri Brooks

Exploring the physicality of paint and surface textures, Dr Terri Brooks formally investigates natural mark making. With a leanness of technique and an innate feeling for surface textures, Brooks utilises her materials to produce rich and complex works that speak of creating art out of something humble and ordinary. Brooks states of her practice ‘My current challenge as an artist is to make paintings via the simplest means possible. Over time the content of my works has reduced so they are now mostly constructed with fundamental elements - black, white, dot and line, horizontals and verticals.’ 

Her paintings arise from an intuitive, repetitive process of mark making and layering informed by observations of natural environmental processes, including weathering, ageing, and renewal, coupled with an inner quest to find new solutions and visual expressions. Architectural elements observed during her regular inner-city walks also inform the work as does a love of patterns and the Australian tradition of ‘making do’, which has fascinated her since childhood.

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Lawrence Calver

Young emerging British artist Calver constructs minimal compositions using collected fabrics. Carefully placed, stitched, stained and marked to build up each unique composition all with a strong minimalist focus on form and colour.

Referencing traditional art forms such as the parred back and poetic British modernist abstraction. Observing the gentle palette and natural texture of the British countryside and regard for labour and re-using raw materials. Found wooden objects are repeatedly woven and wrapped, once rough agricultural hessian bags sacks, or thick weaves are constructed until they become balanced works of art.

Another reference is the Japanese school of thought 'Mono-ha' allowing juxtaposed materials to 'speak for themselves' and 'drawing attention to the interdependent relationships between these ‘things’ and the space surrounding them.'

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Jakob Gasteiger new works in Vienna

Gallery artist Jakob Gasteiger is exhibiting his latest large- scale works currently in Vienna with Panarte Gallery....open now! ‘in which the experimental play with material and colour finds expression through the use of blue paper and lacquer, bringing a reduced but expressive visual world to the screen’

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Jakob Gasteiger - one of the most renowned representatives of Austrian painting since the 1980s.

The Salzburg-born Jakob Gasteiger has been one of the most renowned representatives of Austrian painting since the 1980s. In 2017 The Salzburg Museum dedicated a solo exhibition to him in the Kunsthalle of the Neue Residenz. The curatorial concept combined a retrospective selection of works since the 1980s with exemplary emphases in the field of colour, painting and the object. 

'Gasteiger's notoriety is the result of images that emerge in a consistently pursued form. In an interview in 1999 Jakob Gasteiger described his work as a process-oriented thematization of painting per se. For him, art is the creation of a system of storylines in which images without any iconographic claim are created. The repeated activity of applying paint and structuring the material color would also refuse any image content. Although Gasteiger's complete works meanwhile include not only painting but also other media and today include temporary forms of work, installations and objects, this painting-oriented attitude is still valid. All works formulations are always set from the perspective of painting. For Gasteiger it is crucial to work on a picture idea. In addition, it is important to him to design painting as a pragmatic process and subject it to a structured process of creation.

Richeldis Fine Art are delighted to represent Jakob Gasteiger and offer a collection of paintings and work on paper by the artist.

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Daniel Chadwick Indoor and outdoor mobiles

“Generally speaking, the more light, the more movement. I have a disc mobile in the living room and initially one is not aware of it until it starts to move as the sun comes out – then there is a double pleasure. My workshop comes alive on a sunny day, some of the pieces start to move on the floor and I have quite literally lost a few as they have escaped out of the doors!” Daniel Chadwick

"His principal works are mobiles – kinetic solar systems that revolve in complete and complex balance (both literally and metaphorically), providing the exhausted employee with a perfectly ordered universe where everything has a place. Each mobile changes and adapts to the amount of light streaming in through the windows, something that Chadwick is passionate about." Roshni Radia

GALLERY ARTIST ARJAN JANSSEN IN BONN APRIL 2018

VERTICAL / Karlheinz Bux | Lutz Fritsch | Marina Herrmann | Arjan Janssen | Annebarbe Kau | Alice Musiol | Stefan Papčo / Opening:   Sunday, April 22, 2018, 11:30 am

Greeting:   Prof. Andreas Denk, Chairman of gkg / Introduction:   Dr. Susannah Cremer-Bermbach, curator / Closing:   Sunday, June 17, 2018 at 11:30 am with a lecture on "Vertical" by Prof. Edgar Guzmanruiz, Bogotá / Opening hours:   Wed - Fri 15 - 18 I Sat 14 -17 I Sun and day 11 - 17 h

Events:   Sunday, May 13, 2018, 14 am: Opening of the sound collage headstand by Anne Barbe Kau on August Macke place as part of the August Macke district festival

 Wednesday, May 23, 2018, 18 am: Excursion to Potsdamer Platz (roundabout Bonn) with Lutz Fritsch (to his work site in mid-2008 - Meeting: Society of Art and Design

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J A N S S E N

English potter Gordon Baldwin OBE - Available works

Available artwork by one of the world's most distinguished ceramic artists English potter Gordon Baldwin. Gordon Studied at the Lincoln School of Art and Design and was teacher at the Lincoln School of Art and the Central School of Art and Design.  Also teacher at Eton College. 

please contact the gallery at ernorth@richeldisfineart.com for further details and pricing. 

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November / Max Richter

West German-born British composer who has been an influential voice in post-minimalist composition piece November 

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MARKERS - 93 Piccadilly

The Encounter Contemporary and Richeldis Fine Art are pleased to present   ‘Markers’   ,      a   significant exhibition of contemporary painting, launching on the 11  th   November at 93 Piccadilly, Mayfair.     This compelling curatorial project marks the first collaboration between two of London’s leading nomadic galleries and art consultancies. Directors Emma Richeldis North and Alexander Caspari bring together a collection of emerging contemporary painters, each making their mark on the international art scene.     Following individual appearances at notable institutional venues such as Kunsthal Aarhus (Denmark),  Breda’s Museum (Netherlands), and Lepsien Art Foundation (Germany),  ‘Markers’  offers a unique opportunity to view the work of five internationally acclaimed artists at the pivotal moment of their careers.    Not simply the question of ‘what’, but ‘how’ to paint has taken on a renewed critical urgency.  ‘Markers’  brings together a small focussed group of contemporary artists who are carving out distinct visual languages, which self-consciously and playfully reference the weighty history of painting, whilst continuously interrogating new spaces of inquiry emerging on its periphery.  The varied and innovative processes of artistic production each employs have become important sites for critical investigation in themselves. Williams tears and stains un-stretched canvasses before reconstructing them into refined compositions, the result is nuanced works, which in their very materiality complicate the perceived edges of the painterly frame. In his pared back monochromatic studies, Janssen skilfully traverses the intimate line between minimalist composition and expressive mark, creating meditative works that continuously tremble on the edge of movement. After deconstructing found images and patterns through digital printing techniques, Davies then painstakingly refigures them on canvas, a multifaceted process of layering and overlapping, adding and subtracting, which at every step problematises issues of authorship and image-production. Through his use of industrial materials such as tar, fibreglass and acid, Kragelund’s striking coded works both preserve and attack the object-hood of painting. And while their raw materiality clearly dialogues a post war European approach to making, their charged conceptual underpinning remains thoroughly rooted in the present. Teague’s unique visual language at once consciously and unconsciously addresses issues of painterly process, the minimal yet erratic gestures which drift across his canvasses are precariously balanced in an ambiguous position on the edge of restraint and release.  Despite emerging from fundamentally different creative trajectories, at play in each is a shared sensibility for creating multi-layered objects, which at once disguise and reveal the physical and conceptual labour through which they have come into being. The work scrubs out the pictorial and explores what’s left. At the core of the show is a conflicting impulse between accumulation and erasure, a delicate balance between intuitive gesture and deeply considered subject.    “Markers” will run from 11th to 21st November. This powerful exhibition marks the coming together of a dynamic group of artists and curators and is certainly not one to miss.

The Encounter Contemporary and Richeldis Fine Art are pleased to present ‘Markers’, a significant exhibition of contemporary painting, launching on the 11th November at 93 Piccadilly, Mayfair. 

This compelling curatorial project marks the first collaboration between two of London’s leading nomadic galleries and art consultancies. Directors Emma Richeldis North and Alexander Caspari bring together a collection of emerging contemporary painters, each making their mark on the international art scene. 

Following individual appearances at notable institutional venues such as Kunsthal Aarhus (Denmark),  Breda’s Museum (Netherlands), and Lepsien Art Foundation (Germany), ‘Markers’ offers a unique opportunity to view the work of five internationally acclaimed artists at the pivotal moment of their careers. 

Not simply the question of ‘what’, but ‘how’ to paint has taken on a renewed critical urgency. ‘Markers’ brings together a small focussed group of contemporary artists who are carving out distinct visual languages, which self-consciously and playfully reference the weighty history of painting, whilst continuously interrogating new spaces of inquiry emerging on its periphery.

The varied and innovative processes of artistic production each employs have become important sites for critical investigation in themselves. Williams tears and stains un-stretched canvasses before reconstructing them into refined compositions, the result is nuanced works, which in their very materiality complicate the perceived edges of the painterly frame. In his pared back monochromatic studies, Janssen skilfully traverses the intimate line between minimalist composition and expressive mark, creating meditative works that continuously tremble on the edge of movement. After deconstructing found images and patterns through digital printing techniques, Davies then painstakingly refigures them on canvas, a multifaceted process of layering and overlapping, adding and subtracting, which at every step problematises issues of authorship and image-production. Through his use of industrial materials such as tar, fibreglass and acid, Kragelund’s striking coded works both preserve and attack the object-hood of painting. And while their raw materiality clearly dialogues a post war European approach to making, their charged conceptual underpinning remains thoroughly rooted in the present. Teague’s unique visual language at once consciously and unconsciously addresses issues of painterly process, the minimal yet erratic gestures which drift across his canvasses are precariously balanced in an ambiguous position on the edge of restraint and release.

Despite emerging from fundamentally different creative trajectories, at play in each is a shared sensibility for creating multi-layered objects, which at once disguise and reveal the physical and conceptual labour through which they have come into being. The work scrubs out the pictorial and explores what’s left. At the core of the show is a conflicting impulse between accumulation and erasure, a delicate balance between intuitive gesture and deeply considered subject. 

“Markers” will run from 11th to 21st November. This powerful exhibition marks the coming together of a dynamic group of artists and curators and is certainly not one to miss.

Markers 11-19th November 2017

DAVIES, KRAGELUND, WILLIAMS, TEAGUE, JANSSEN

 

“Markers” 11th - 21st November
Opening Hours: 12- 8pm
Address: 93 Piccadilly Mayfair

The Encounter Contemporary and Richeldis Fine Art are pleased to present ‘Markers’, a significant exhibition of contemporary painting, launching on the 11th November at 93 Piccadilly, Mayfair.  This compelling curatorial project marks the first collaboration between two of London’s leading nomadic galleries and art consultancies. Directors Emma Richeldis North and Alexander Caspari bring together a collection of emerging contemporary painters, each making their mark on the international art scene. Following individual appearances at notable institutional venues such as Kunsthal Aarhus (Denmark),  Breda’s Museum (Netherlands), and Lepsien Art Foundation (Germany), ‘Markers’ offers a unique opportunity to view the worK. 

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Cornelius CardeW

Cornelius widely known in Britain and throughout the world not only for his avant-garde compositions but also as a political composer and for his position in contemporary music. 

Cornelius Cardew (1936 – 1981) was a British music composer, who worked as an assistant for Karlheinz Stockhausen for three years. Apparently, after assisting to concerts of John Cage and David Tudor he turned his research towards indeterminacy and composed his most famous piece, “Treatise”. Written between 1963 and 1967, the composition is made up of a graphic musical score of 193 pages in a visual language invented by the author and completely distant from conventional music notation. Cardew never gave instructions on how to play “Treatise” and left its symbols, abstract forms, numbers and shapes open to free interpretation by the performers. Recurring graphic elements suggest the presence of a structure, but each interpretation of the piece is unique as the performer has to set his own rules when confronted with the notation. The graphic richness of the score and its resemblance to abstract composition allow the piece to exist also as a purely visual work. #sockstudio

https://www.theguardian.com/music/tomserviceblog/2012/dec/17/cornelius-cardew-music-guide