- Ian Rayer-Smith
- Ivan Taylor (b.1946)
- Jack Vettriano
- Jacob Chandler
- Jay Pingree
- Jeremy Schrecker
- Jim Dine (b.1935)
- Joan Gillcrest
- Joan Miro (1893-1983)
- Joe Webb
- John Copnall (1928-2007)
- John Dyer
- John Hoyland (1934-2011)
- Jonathan Truss
- Julian Jeffrey
- Julian Opie (b.1958)
- Juliet & Jamie Gutch
- Keith Haring (1958-1990)
- Ken Howard RA NEAC
- Laurence Stephen Lowry (1887-1976)
- Lorenzo Quinn
- Lucian Freud (1922-2011)
- Margaret Lovell
- Mark Beattie MRBS
- Mark Payne
- Mark Woollacott
- Mary Fedden
- Mary Fedden (1915-2012)
- Maurice Savin (1894-1973)
- Michael Ashcroft
- Natalie Toplass
- Nigel Hemming
- Patrick Heron (1920-1999)
- Patrick Joseph Caulfield (1936-2005)
- Patrick Venton (1925-1987)
- Paul James
- Peter Cosslett
- Peter Hayes
- Pierre Ambrogiani (1907-1985)
- Rachel Talbot
- Rob Hefferan
- Rob Leckey
- Robert E Wells RBA NEAC
- Robert Indiana (1928-2018)
- Robert Motherwell (1915-1991)
- Robert Oscar Lenkiewicz
- Robert Sadler (1909-2001)
- Robert Walker
- Ronald Ossory Dunlop
- Roy Lichtenstein (1923-1997)
Ian Rayer-SmithArtist Statement
In a world preoccupied with technology, there is something remarkable about painting. It connects us back to man’s earliest and most elemental forms of self expression.
I am not interested in painting something that already exists. My pressing urge is to use paint to explore new forms which will ultimately carry emotional weight. I try not to recreate an image. Instead, I may use it as a reference point by which to move from one painting to the next.
I am influenced by the Abstract Expressionists - for their emotional rawness and mark making, and also by the Renaissance - for composition, light and movement. Onto these I layer influences from contemporary culture and my own personal experience. I aim to instil a classical feel into my work whilst finding new visual paths, with the result hopefully being an exploration of the purpose of painting itself.
I think of my paintings as posing a series of questions rather than providing overt statements or narrative pointers towards any clear kind of answer. There would be no joy or satisfaction in doing that. Instead, the process is more about showing my search for something which, maybe, I hope I’ll never find.
Ivan Taylor (b.1946)Born in North Staffordshire Ivan showed an early interest in art and in drawing and painting. His interest developed his talent and he exhibited 40 paintings on the then popular BBC TV programme "Sketch Club". These were later sold by the BBC to raise money for UNICEF.
After studying fine art and graphics at the Burslem School of Art Ivan began his career working as a graphic artist eventually becoming Head of Graphics at Staffordshire County Council Education Department. He had his first one-man exhibition in 1972 and has been a full time painter since 1989.
Ivan is a well-known Staffordshire Artist noted for his Staffordshire Moorlands Scenes and is President of the Society of Staffordshire Artists. He also travels to paint in areas such as Norfolk, Wales, the West Country and London. His style has been described as that of the 20th century English Impressionist but influenced by earlier painters such as Turner and Constable. In 2006 Ivan won the Rowland Hilder Prize at the Royal Institute Watercolour Open Exhibition.
In 1989, he submitted two paintings to the Royal Scottish Academy’s annual exhibition; both were accepted and sold on the first day. The following year, an equally enthusiastic reaction greeted the three paintings, which he entered for the prestigious Summer Exhibition at London’s Royal Academy and his new life as an artist began from that point on.Over the last twenty years, interest in Vettriano’s work has grown consistently. There have been sell-out solo exhibitions in Edinburgh, London, Hong Kong and New York.2004 was an exceptional year in Vettriano’s career; his best known painting, The Singing Butler was sold at Sotheby’s for close to £750,000; he was awarded an OBE for Services to the Visual Arts and was the subject of a South Bank Show documentary, entitled ‘Jack Vettriano: The People’s Painter‘.
From 1994-2007, Vettriano was represented by Portland Gallery in London but the relationship ended in June 2007. In 2008, Vettriano undertook a variety of private projects, including the launch of a new book, Studio Life, and commissions to paint portraits of Sir Jackie Stewart and Zara Phillips, the latter of which was part of a charity fund-raising project for Sport Relief, the experience of which was captured in a documentary broadcast on BBC1 in March 2008.
In 2009, Vettriano was commissioned by the Yacht Club of Monaco to create a series of paintings to mark the centenary of their world famous yacht, Tuiga. The subsequent exhibition, ‘Homage a Tuiga‘, premiered in Monaco as part of Classic Yacht Week in September 2009, before touring to the UK in 2010.In 2010, an exhibition of over forty new paintings, ‘Days of Wine & Roses‘, was officially opened at the Kirkcaldy Museum & Art Gallery in Fife, by First Minister, the Rt Hon Alex Salmond SNP. The exhibition then toured to London, opening at Heartbreak in September 2010.In December 2011, Vettriano’s self-portrait, ‘The Weight‘, went on long-term display at the Scottish National Portrait Gallery in Edinburgh, when it re-opened after a major three-year refurbishment programme.
A major Retrospective exhibition to mark 20 Years of Vettriano’s career, opened at Kelvingrove Art Gallery & Museum, Glasgow on the 21st September 2013 and ran until 23rd February 2014.
London, Shropshire, Birmingham, Suffolk.
Jay PingreeJay is a Grand Rapids native and now lives in the New York area. The congestion and pace of New York are reflected in Jay's work, which usually includes masses of people and/or distilled images of figures in motion. Jay works from his own carefully exposed photographs. He is fascinated with the varied distortions achieved through long exposures. .......... Jay is an internationally exhibiting and selling artist, including shows in Scope NewYork, Gallery Twenty four Berlin, Lana Santorelli New York, and the first ArtPrize 2009 (his work hung in the old Art Museum/Federal Building). The Soden Collection is privileged to have Jay's work exclusively in the UK!
2019 July, The Soden Collection, Shrewsbury, Shropshire, UK.
2019 September, Nordic Art Agency, Gallerinatt, Malmö, Sweden
2019 October, AAF Exhibition, Nordic Art Agency, Stockholm, Sweden
2018 SoMA Open Studio Tour
2018 ArtPrize Grand Rapids, MI, USA
2017 ArtPrize Grand Rapids, MI, USA
2017 SoMA Open Studio Tour
2016 SoMA Open Studio Tour
2016 ArtPrize Grand Rapids, MI, USA
2009 ArtPrize Grand Rapids, MI, USA
2009 New York, NY Group Show
Lana Santorelli Gallery, 110 West 26th Street, New York, NY
2007 Collision Machine Group Shows, Brooklyn, NY
2007 Art Interview International Award Exhibition
Krossener Str. 34, 10245 Berlin
2006 Art Interview International Award Exhibition
Krossener Str. 34, 10245 Berlin
2006 Collision Machine Group Shows, Brooklyn, NY
2005 ScopeNY, 135 West 52nd Street, NY
2005 Starving Artist Ball, 172 Norfolk St, NY
2005 Collision Machine Group Shows, Brooklyn, NY
Jeremy SchreckerBorn in London in 1962, Jeremy Schrecker studied for a year at the Wimbledon School of Art (London) in the early 1980s, continuing his training at the Winchester School of Art, where he gained a BA Honours Degree in Fine Art. He then undertook postgraduate studies in sculpture at the Royal College of Art (London), resulting in the award of an MA (RCA) in 1988.
At the age of twenty-seven he began his professional life as a sculptor with a large commission at Hammersmith Hospital, London. Jeremy’s following year was spent working in the Antipodes where he gained experience in creating forms in forged steel. On his return to England he worked for two years as a studio-based artist in Shropshire schools and then studied at the University of Huddersfield to gain a Post Graduate Certificate in Education.
In 1996 Jeremy established his workshop in Shropshire where he has continued to hone his metalworking skills and now undertakes a large variety of commissions. As a studio-based artist he is continually developing ideas and producing high quality sculpture for gallery sale. He also works as a freelance teacher and runs workshops by request in various aspects of sculptural art.
Jeremy’s sculpture has been sold widely via one-man exhibitions and group shows. He has exhibited with leading contemporary art galleries such as Cadogan Contemporary (London), Beaux Arts (Bath) and Number 9 The Gallery (Birmingham) and regularly shows in St Ives.
Jim Dine (b.1935)Jim Dine (born June 16, 1935) is an American pop artist. He is sometimes considered to be a part of the Neo-Dada movement.
Joan GillcrestJoan Gillchrest, Artist, born November 2, 1918, died January 3, 2008
Joan Gillchrest who has died aged 89 had established herself as one of the foremost naïve artists of her time. Just as L. S. Lowry’s work depicts the life and times of the working class people of Northern England Joan’s distinctive paintings of people going about their business will be forever identified with the fisherfolk of Cornwall’s rugged Penwith Peninsula. Her work sits proudly alongside the other great Artists of the St. Ives School painting from the 1960’s.
Joan Linda Gillchrest was born on the 2 November 1918 at Bentinck Street, London W1. Her father Dr Sebastian Gilbert Scott was a pioneer of Radiology who had qualified in medicine in 1904 and who rose to be head of the radiotherapy department at the London Hospital 1909-1930. Coming from a family of eminent architects—Sir George Gilbert Scott (1811-1878) was her Great Grandfather and Giles Gilbert Scott (1880-1960) her Uncle—it is not surprising that Joan always loved the Cornish Architecture and churches, chapels and cottages feature prominently in her work. She said “buildings are in my blood”.
Joan’s Mother was Australian and an accomplished pianist.
Joan was the third of four children and the family home was at Bourne End in Berkshire. By her own admission Joan was a “difficult child” who claims to have been sent to boarding school on the Isle of Wight to give the rest of the family some peace. It is family folklore that her parents hired two Nannies, one for Joan and one for the other three siblings. Nevertheless she was the apple of her Father’s eye. He was a skilful caricaturist and recognising Joan’s talent encouraged her to draw and paint.
She was sent to Paris in 1934 to learn the language and develop her appreciation of Art. She studied in various studios often posing as a model. She remembers meeting Gwen John (1876-1939).
In 1935 she was enrolled at the Grosvenor School of Art and studied under Iain Macnab—in Joan’s words a “marvellous teacher”–. She began to exhibit and even sell her work. A painting titled “Two Girls in Lyons Corner House” was exhibited in New English Art Club 1937 and “German Scene with Cows” hung at the London Group 1938. She was only 18 when her first work was exhibited at the Royal Academy
Joan Miro (1893-1983)Joan Miró was born in Barcelona in 1893, but the emotional landscapes that shaped him as a person and an artist were principally those of Mont-roig, Paris, and Majorca, and later those of New York and Japan. The small town of Mont-roig in the Baix Camp region of Catalonia was a counterpoint to the intellectual ferment of his life with the surrealist poets in 1920s Paris, and to the stimulus of discovering Abstract Expressionism in New York in the forties. Some time later, in the midst of World War II, Joan Miró returned from exile in France and settled in Palma de Mallorca, which became his refuge and workplace and where his friend Josep Lluís Sert designed the studio of his dreams.
Miró’s attachment to the landscape of Mont-roig first and then Majorca was crucial in his work. His connection to the land and his interest in everyday objects and in the natural environment formed the backdrop to some of his technical and formal research. Miró avoided academicism in his constant quest for a pure, global art that could not be classified under any specific movement. Self-contained in his manners and public expressions, it is through art that Joan Miró showed his rebelliousness and a strong sensitivity to the political and social events around him. These conflicting forces led him to create a unique and extremely personal language that makes him one of the most influential artists of the 20th century.
Joe WebbJoe WebbJoe Webb (1976-) uses vintage magazines and printed ephemera that he has collected to create hand-made low fi collages, no computer trickery in sight. Webb re-invents the imagery taken from his collection of printed materials to create simple and elegant, yet surreal, images that explore love and longing. His work is inspired by the collage work of Peter Blake amongst others. To create original editions Webb has stayed true to the texture and feeling of collage by using real collaged elements in the silkscreens as well as embossing and glazing.
“Joe navigates a rich landscape with grace and humour. He plays visual elements against each other in a way that puts different eras in dialogue, allowing characters to travel from their 50’s Home Gardening Magazine roots to the far cosmos. He flirts with themes of nostalgia and loss but ultimately composes light-hearted images that are in dialogue with today’s sampling culture, collapsing and hacking together sources from across the universe in fun and rudely jacked up color schemes.”
Wangechi Mutu, internationally acclaimed African contemporary artist
Webb's work has become on online sensation with tens of thousands of people sharing his images on the internet. As well as going viral in the virtual world, ’Antares and Love II' has been displayed in the Saatchi Gallery, London.
Webb’s collages explore a range of ideas from the political to surreal, each piece carries a visual message to be deciphered by the viewer. The artist often displaces the central figure or object into an unusual setting, holding a mirror up to conflicting cultures and experiences. In other collages he removes the central characters altogether, leaving an empty space which reveals alternative realties in the layers underneath.
Joe has now produced limited edition silkscreen prints made at Coriander Studio based on his original collages. These apply exciting multi media print finishes such as diamond dusting, silver leaf and embossing, which make each print individual and compliment the artists’ hand-made philosophy.
"I started making these simple hand-made collages as a sort of luddite reaction to working on computers for many years. I like the limitations of collage...using found imagery and a pair of scissors, there are no Photoshop options to resize, adjust colours or undo.
My collages work to a basic rule of sourcing just two or three images... I then present them as a reinvented single image to communicate a new message or idea.
I suppose I'm fairly anti-technology although I now promote my art on websites, own an iPhone and use Facebook...I wish I had been born 100 years ago".
John Copnall (1928-2007)
John DyerJohn Dyer is Cornwall's best known and best loved contemporary artist. His work is known all over the world through his many art prints, posters and exhibitions. He has a unique way of capturing the essence of his subject and his work celebrates the song of life. John Dyer's work hangs in the UK's national art collections with Falmouth Art Gallery, The Eden Project, Save the Children, the National Trust and the NHS. His work brings a huge amount of joy to all who view. We are delighted to represent all of John Dyer's paintings, signed prints and art posters and also work with the artist on his global projects and exhibitions which have included work with the Tall Ships Sail Training International, Survival International, the Eden Project and NGOs in Costa Rica, the Philippines and Peru.
John Hoyland (1934-2011)
Hoyland’s work in his finals show so shocked the Royal Academy Schools that the then president of the RA ordered it off the walls.
Born in Sheffield in 1934, John Hoyland exhibited his first fully abstract paintings in 1960 with the influential Situation group just months after leaving the Royal Academy. Over the next decade his career took off and in 1964 he was selected as one of curator Bryan Robertson’s New Generation artists for his exhibition of young talent at the Whitechapel Gallery. It was a generation that included Patrick Caulfield, David Hockney, Paul Huxley, Allen Jones and Bridget Riley.
Established as one of the UK’s leading wildlife artists, Jonathan is known the world over for his magnificent paintings and drawings. His artwork graces the walls of private residences and corporations from New York to New Zealand, from Botswana to Beverly Hills, demonstrating the broad appeal of both his style and his subject matter.
Jonathan’s enthusiasm for the animals he portrays, and the never ending exciting trail for new ideas extends to annual trips, camping under canvas in the incredible game parks of Botswana, Zimbabwe, Kenya, Tanzania, and Zambia. On several occasions he has conducted art safaris in Africa, India and South America.
Supporting the conservation of many endangered species, Jonathan has raised thousands of pounds for wildlife causes. Frequently in the media spotlight, he has made over 100 television appearances and has been featured in many national and international magazines. He is a member of the prestigious American organization ‘The Society of Animal Artists’ and also the US-based ‘Artists for Conservation’, and his paintings have been sold through major auction houses, including Christies and Sotheby’s.
Jonathan has won an impressive array of accolades for his artwork; recently he was a finalist in both the BBC Wildlife Artist of the Year and the David Shepherd Wildlife Artist of the Year. He is also one of the co-authors of a major artbook entitled ‘How to Draw Wildlife’.
“Nothing seems more natural or enjoyable to me than painting wildlife. Nature has already painted its masterpiece… it’s all the inspiration I need!”
Julian JeffreyJulian Jeffery was born in Staffordshire in 1973 and after leaving school at the age of 16, trained to be a stonemason with Staffordshire Stone.
Following in his father’s footsteps, Julian has worked on some of the UK’s most prestigious stone projects including the refurbishment of Hereford Cathedral.
In 1993 Julian was accepted at Stafford College to study figurative sculpture, where he was renowned for his creative flair and eye for detail.
Studying sculpture enabled him to develop his repertoire and bring to life his imagination in this three-dimensional discipline.
Upon graduation, Julian was commissioned to create a range of private commissions, starting in 1997 with the life and a half bronze of Sit Stanley Matthews.
Julian Opie (b.1958)Julian Opie (British, b.1958) is a sculptor and digital artist associated with the New British Sculpture movement, and best known for portraits that reduce subjects to essential lines and color planes. Born in Oxford, he studied at Goldsmith’s School of Art from 1979 to 1983, during which time he created the series Eat Dirt, Art History of tongue-in-cheek copies of famous artworks. In his early work, Opie made steel sculptures of domestic appliances, architectural structures and abstract, geometrical shapes. More recently, he has focused on digital media such as LED projections and graphic art. His work draws on classical portraiture, Japanese woodblock prints and Pop Art aesthetics, particularly the work of Andy Warhol and Roy Lichtenstein.
Opie has created a stylized, fragmentary visual language that de-personalizes his subjects, but he includes details, such as an exotic flower in Muliati, Shop Assistant (2002), specific titles, and different colored background to distinguish each work. Opie has produced several continuous animations on LCD screens, such as Christine Blinking (1999) and Suzanne Walking (2002). A number of Opie’s works are displayed in public locations, such as Ann Dancing (2007), a sculpture of four LCD screens which was installed as part of the Indianapolis Cultural Trail. His work is included in several public collections, including the Tate Gallery in London, the National Museum of Art in Osaka, and the Museum of Modern Art in New York. He lives and works in London.
Juliet & Jamie GutchAbout us:
Jamie and I were introduced around fifteen years ago by a mutual friend who thought that the two people he knew who both made kinetic sculpture (mobiles) would probably have quite a lot in common! We have been married for 13 years and have been collaborating on art projects throughout that time alongside Jamie’s career in state education. We live and work in Ilkley with our two daughters.
There are a number of recurrent themes present in our work which we always explore through the abstract form of the ‘mobile’. These include migration, music, sound and quietness, physical and mental health, the complexity of relationships, the patterns and structures found in nature and in the animal world, questions of faith and issues relating to what is valued and what goes to waste. These themes are sometimes explored explicitly but are often also implicit and are buried more deeply in our working practices and in our motivations for continuing to create artworks.
Jamie and I believe passionately that mobiles possess a set of very specific formal and aesthetic qualities which make them relevant, compelling and unique in a number of ways. These are:
Balance – Mobiles embody the theme of balance and the ongoing search for it in all aspects of our lives and the world around us. They involve the counter-balancing of different, often heavy, elements but the points of equilibrium are miniscule. A single breath blowing on the shapes can radically change the way the mobile turns.
Freedom within a structure – The individual elements within each mobile have a limited sphere of movement but within that space they explore every possible configuration and relationship. It is impossible to predict the ever changing shapes that a mobile will create as it moves.
Mindfulness and engagement – The fluid movement of mobiles is engaging and they invite the viewer to search for the next shape, the next configuration. In this way they draw us in and ground us in the present moment, encouraging mindfulness and contemplation. As a result we have found that mobiles can perform a therapeutic function.
Secondary forms – Mobiles invite us to look at the changing spaces generated in-between the shapes and they interact with their physical context by creating shadows and framing what is behind them. These shadows and spaces can be seen as aesthetic experiences in their own right, in effect secondary artforms created by the original artwork as it interacts with its environment.
“I have always loved Juliet and Jamie’s work and admired it at exhibitions, but I never anticipated how much I would enjoy living with a mobile in my home. It has become a focal point in our living space, we watch it move, observe the shadows it creates at different times of the day and all of my family have commented on its calming nature. The oak and ash compliment the landscape beyond. It’s unique, beautifully made and a very special work of art.”
“What I love about Jamie and Juliet’s mobiles is that they give me such pleasure. I’ve hung mine in the dining area of my kitchen, and the changing light and air currents of the room reflect on the mobile under which I sit watching it change and move.”
Lady Diana Brittan
‘As a depression sufferer, to gaze at the silent, gentle movements casting weird and wonderful shadows on the wall has been therapeutic. My mobile is a beautifully crafted, moving piece of art! Thank you Juliet and Jamie.’
We have been making mobiles (at first independently of each other and then in partnership) for around 20 years and have developed a deep understanding of the artform as well as considerable expertise in a range of materials and processes.
In recent years we have settled upon a collaborative way of working in wood veneer which has distinct phases. The same process is used for large or small projects with only slight variations.
Phase 1 – Identification and exploration of theme
Phase 2 – Selection and generation of forms from initial drawings (2D)
Phase 4 – Creation of templates and cutting out the wooden veneer (2D)
Phase 5 – Creation of laminated shapes (3D)
Phase 6 – Trimming, mending and sanding
Phase 7 – Hanging of individual elements into final mobiles and selection of works that will form the series
Phase 8 – Finishing – Pieces are waxed, painted or paper/material is also sometimes used as a means of applying a coloured or textured finish.
Phase 9 – Creation of titles – The titles of pieces in a series are usually taken from a poem written by Juliet on the chosen theme. We often use or create collective nouns as the title of a series of works. The poem is often written over a period of time while the pieces are being made.
Phase 10 – Scaling up (if required) and installation
Keith Haring (1958-1990)
Keith Haring was born on May 4, 1958 in Reading, Pennsylvania, and was raised in nearby Kutztown, Pennsylvania. He developed a love for drawing at a very early age, learning basic cartooning skills from his father and from the popular culture around him, such as Dr. Seuss and Walt Disney.
Upon graduation from high school in 1976, Haring enrolled in the Ivy School of Professional Art in Pittsburgh, a commercial arts school. He soon realized that he had little interest in becoming a commercial graphic artist and, after two semesters, dropped out. While in Pittsburgh, Haring continued to study and work on his own and in 1978 had a solo exhibition of his work at the Pittsburgh Arts and Crafts Center.
Later that same year, Haring moved to New York City and enrolled in the School of Visual Arts (SVA). In New York, Haring found a thriving alternative art community that was developing outside the gallery and museum system, in the downtown streets, the subways and spaces in clubs and former dance halls. Here he became friends with fellow artists Kenny Scharf and Jean-Michel Basquiat, as well as the musicians, performance artists and graffiti writers that comprised the burgeoning art community. Haring was swept up in the energy and spirit of this scene and began to organize and participate in exhibitions and performances at Club 57 and other alternative venues.
In addition to being impressed by the innovation and energy of his contemporaries, Haring was also inspired by the work of Jean Dubuffet, Pierre Alechinsky, William Burroughs, Brion Gysin and Robert Henri’s manifesto The Art Spirit, which asserted the fundamental independence of the artist. With these influences Haring was able to push his own youthful impulses toward a singular kind of graphic expression based on the primacy of the line. Also drawn to the public and participatory nature of Christo’s work, in particular Running Fence, and by Andy Warhol’s unique fusion of art and life, Haring was determined to devote his career to creating a truly public art.
As a student at SVA, Haring experimented with performance, video, installation and collage, while always maintaining a strong commitment to drawing. In 1980, Haring found a highly effective medium that allowed him to communicate with the wider audience he desired, when he noticed the unused advertising panels covered with matte black paper in a subway station. He began to create drawings in white chalk upon these blank paper panels throughout the subway system. Between 1980 and 1985, Haring produced hundreds of these public drawings in rapid rhythmic lines, sometimes creating as many as forty “subway drawings” in one day. This seamless flow of images became familiar to New York commuters, who often would stop to engage the artist when they encountered him at work. The subway became, as Haring said, a “laboratory” for working out his ideas and experimenting with his simple lines.
Between 1980 and 1989, Haring achieved international recognition and participated in numerous group and solo exhibitions. His first solo exhibition in New York.was held at the Westbeth Painters Space in 1981. In 1982, he made his Soho gallery debut with an immensely popular and highly acclaimed one-man exhibition at the Tony Shafrazi Gallery. During this period, he also participated in renowned international survey exhibitions such as Documenta 7 in Kassel; the São Paulo Biennial; and the Whitney Biennial. Haring completed numerous public projects in the first half of the 80’s as well, ranging from an animation for the Spectacolor billboard in Times Square, designing sets and backdrops for theaters and clubs, developing watch designs for Swatch and an advertising campaign for Absolut vodka; and creating murals worldwide.
In April 1986, Haring opened the Pop Shop, a retail store in Soho selling T-shirts, toys, posters, buttons and magnets bearing his images. Haring considered the shop to be an extension of his work and painted the entire interior of the store in an abstract black on white mural, creating a striking and unique retail environment. The shop was intended to allow people greater access to his work, which was now readily available on products at a low cost. The shop received criticism from many in the art world, however Haring remained committed to his desire to make his artwork available to as wide an audience as possible, and received strong support for his project from friends, fans and mentors including Andy Warhol.
Throughout his career, Haring devoted much of his time to public works, which often carried social messages. He produced more than 50 public artworks between 1982 and 1989, in dozens of cities around the world, many of which were created for charities, hospitals, children’s day care centers and orphanages. The now famous Crack is Wackmural of 1986 has become a landmark along New York’s FDR Drive. Other projects include; a mural created for the 100th anniversary of the Statue of Liberty in 1986, on which Haring worked with 900 children; a mural on the exterior of Necker Children’s Hospital in Paris, France in 1987; and a mural painted on the western side of the Berlin Wall three years before its fall. Haring also held drawing workshops for children in schools and museums in New York, Amsterdam, London, Tokyo and Bordeaux, and produced imagery for many literacy programs and other public service campaigns.
Haring was diagnosed with AIDS in 1988. In 1989, he established the Keith Haring Foundation, its mandate being to provide funding and imagery to AIDS organizations and children’s programs, and to expand the audience for Haring’s work through exhibitions, publications and the licensing of his images. Haring enlisted his imagery during the last years of his life to speak about his own illness and generate activism and awareness about AIDS.
During a brief but intense career that spanned the 1980s, Haring’s work was featured in over 100 solo and group exhibitions. In 1986 alone, he was the subject of more than 40 newspaper and magazine articles. He was highly sought after to participate in collaborative projects ,and worked with artists and performers as diverse as Madonna, Grace Jones, Bill T. Jones, William Burroughs, Timothy Leary, Jenny Holzer, Yoko Ono and Andy Warhol. By expressing universal concepts of birth, death, love, sex and war, using a primacy of line and directness of message, Haring was able to attract a wide audience and assure the accessibility and staying power of his imagery, which has become a universally recognized visual language of the 20th century.
Keith Haring died of AIDS related complications at the age of 31 on February 16, 1990. A memorial service was held on May 4, 1990 at the Cathedral of St. John the Divine in New York City, with over 1,000 people in attendance.
Since his death, Haring has been the subject of several international retrospectives. The work of Keith Haring can be seen today in the exhibitions and collections of major museums around the world.
Ken Howard RA NEAClive. He studied at the Hornsey College of Art and the Royal College of Art He was elected RA in 1991. He is a painter noted for his handling of light and for his depictions of nudes in interiors, beach scenes and paintings of Venice. The Imperial War Museum, Plymouth City Art Gallery, The National Army Museum and other provincial galleries own his work.
Laurence Stephen Lowry (1887-1976)Laurence Stephen Lowry was born in Rusholme, Manchester in November 1887, the only child of Irish-born R S Lowry and Elizabeth Lowry. He attended a local school in Victoria Park, but took private lessons from William Fitz, before starting work as a clerk for a firm of chartered accountants in 1904.
From 1905-1915 he attended drawing and painting classes at the Municipal College of Art (later Manchester College of Art, and now part of Manchester Metropolitan University), where he was tutored by Adolphe Valette. He moved to Pendlebury in Salford with his parents in 1909, where he was to live for nearly 40 years.
During this time he attended art classes at Salford School of Art, developing an interest in the urban and industrial landscape. He exhibited with the Manchester Academy of Fine Arts from 1919, as well as entering paintings in the Paris Salon. By the early 1930s he was exhibiting at the Royal Academy in London.
He was awarded an honorary MA at Manchester University in 1945, and Doctor of Letters in 1961, elected to the Royal Academy in 1962, and given freedom of the City of Salford in 1965 – many other honours followed later.
He lived in Mottram until he died in 1976.
Lorenzo QuinnLorenzo Quinn
Italian, b. 1966
Contemporary Italian artist Lorenzo Quinn is a leading figurative sculptor whose work is inspired by such masters as Michelangelo, Bernini and Rodin. Exhibited internationally, his monumental public art and smaller, more intimate pieces transmit his passion for eternal values and authentic emotions. He is best known for expressive recreations of human hands. ‘I wanted to sculpt what is considered the hardest and most technically challenging part of the human body’, he asserts. ‘The hand holds so much power – the power to love, to hate, to create, to destroy.’
Born on 7 May 1966 in Rome to the Mexican-American actor Anthony Quinn and his second wife, costume designer Iolanda Addolori, Lorenzo Quinn had a childhood split between Italy and the United States of America. His father had a profound influence on him, both in terms of living in the limelight of the film world and with respect to Anthony’s early work in painting and architecture.
Lorenzo Quinn studied at the American Academy of Fine Arts in New York, planning to be a Surrealist painter. However, at 21 he decided that his future lay in sculpture, which could better accommodate his energy and originality. He vividly recalls the moment in 1989 when he felt that he had created his first genuine work of art: ‘I had made a torso from Michelangelo’s drawing of Adam … an artisan’s job…. I had an idea and began chiselling away, and Eve came out of Adam’s body…. It had started as a purely academic exercise, yet it had become an artwork.’
In 1988 Quinn married Giovanna Cicutto, and on the birth of the first of their three sons they decided to leave New York – a place that ‘hardens your human values’ – and settle in Spain. ‘We chose Spain for its Latin character, its fervour … the way it values people and family, and for its great artistic trajectory’, he comments.
In his twenties Quinn had a brief acting career, including playing alongside his father in Stradivari (1989) and an acclaimed performance as Salvador Dalí. However, he did not enjoy working in the profession and decided to concentrate purely on sculpture.
Quinn’s creative ideas spark quickly into life: ‘The inspiration comes within a millisecond’, he says, as he is driven to sculpt by observing life’s everyday energy. Yet a finished project takes months to realise, and it has to carry clear meaning. Quinn usually conceives each work in writing, and the poetic text is ultimately displayed with the sculpture, as an integral part of the piece, not merely explanation.
Quinn’s work appears in many private collections throughout the world and has been exhibited internationally during the past 20 years. Among his commissions is The Tree of Life, produced for the United Nations and issued by the organisation as a stamp in 1993. The following year the Vatican engaged him to sculpt the likeness of St Anthony for the Basilica del Santo in Padua, in commemoration of the 800th anniversary of the saint’s birth; the sculpture was blessed by the pope in St Peter’s Square, Rome, in front of a crowd of 35,000.
Quinn’s public art includes Encounters, a massive globe enclosing a pointing hand, which was unveiled in 2003 opposite the Museum of Modern Art in Palma de Mallorca, Spain. In Birmingham, The Tree of Life was erected outside St Martin’s Church in 2005 to commemorate those who died in the Second World War blitz on the city. Further works are on display at King Edward’s Wharf – Creation, Volare and Crossing a Millennium – with their characteristic focus on the hand, the human form and the circle.
In November 2005 one of Quinn’s largest public sculptures, Rise Through Education, was installed at ASPIRE, the Academy of Sports Excellence, in Doha, commissioned by the state of Qatar. Weighing an impressive 8 tonnes, this monument shows a pair of adult hands placing the world in a child’s hand, the arms forming a circle above an open book. The artist’s commentary on the piece states: ‘A child is the most precious asset our future has. Our obligation is their guidance…. It is only through education and knowledge that a person may master his life.’ Quinn created a second sculpture for the interior of the academy to depict striving for excellence; Reaching for Gold is a pyramid of seven arms emerging from a base of sand, the hands straining towards a medal.
Unique among his works as a living monument, Legacy (2006) was sculpted for Sant Climent de Llobregat in Spain. Quinn was fascinated by the story of the town’s cherry trees and decided to make a piece that reflected this tale. The tree-trunk is formed by a male and a female hand holding branches laden with cherries arranged to simulate human DNA. In this area famed for its juicy cherries, the sculpture carries as many fruit as there are people living in Sant Climent; each year further cherries will be added to represent new inhabitants.
In 2008 Evolution, a major exhibition of Quinn’s output, was chosen to inaugurate the new premises of Halcyon Gallery in Mayfair, London, and the gallery published an important book on his work. Many of the sculptures in Evolution featured the symbol that has become synonymous with Quinn: the human hand.
Equilibrium, an exhibition of Quinn’s monumental sculptures, followed in November 2009, coinciding with the installation of Give and Take III in Berkeley Square for six months. Included in the show were several important new sculptures, including What Came First? – male and female forms lying in egg-shaped hemispheres – and Home Sweet Home – a marble woman cocooned in barbed wire. The exhibition title reflects Quinn’s belief: ‘It is essential to find a balance in life. Many times that balance is achieved with the help of the people who surround us and hold us firmly to the ground, and without whom we would float into perdition.’
Quinn exhibited internationally during 2010, holding shows at the Rafart Gallery in Spain, the Rarity Gallery in Greece, the Hewar Art Gallery in Saudi Arabia, the Marigold Gallery in India and the Ode to Art Gallery in Singapore. His sculpture Vroom Vroom, a playful interpretation of the independence of young adulthood, was displayed at Valencia’s Institute of Modern Art in the summer and again later that year at the Abu Dhabi Art Fair. In January 2011 the work was installed in Park Lane, London, as part of Westminster Council’s City of Sculpture Festival, and Finding Lovewas unveiled at the entrance of the newly opened One Hyde Park building in Knightsbridge. Coinciding with two further prominent placements of Quinn’s monumental sculpture – The Force of Nature II in Berkeley Square and Volare in Cadogan Gardens – these pieces firmly launched Halcyon Gallery’s public sculpture trail in the city of London.
In spring 2011, Quinn was invited to participate in the first ever summer exhibition of outdoor sculpture in Rome. Planned as Rome’s Biennale di Scultura but subsequently renamed Rassegna Internazionale di Scultura di Roma, it featured a range of significant contemporary and historic artists. At the Casina Valadier in the Villa Borghese Park he exhibited La Dolce Vita, a piece representing the joie de vivre of that period and a ‘sense of total abandonment to the child within’. That summer he was also selected as the exhibiting artist for the Italian Pavilion at the Venice Biennale. His powerful and provocative anti-war installation This is Not a Game was positioned across two different sites with a commentary that observed, ‘Leaders of the world use their armies as if they were some private little toy they can commandeer and destroy as a careless kid would’.
The high esteem in which Quinn is held is borne out by his invitation to exhibit Hand of God and Leap of Faith at the Winter Palace in the State Hermitage, St Petersburg, to coincide with the 2011 international White Nights arts festival. Displayed alongside works by Henry Moore, Quinn’s sculptures reflect his creative approach to the passage of time: ‘The past is set in stone, the present is carving itself in wood, and the future is an empty goblet to fill with dreams’.
Quinn’s spring 2012 retrospective at Harrods in London – his first solo exhibition at this world-famed location – presented pieces from the ‘Love’ series, photographic aluminium wall panels and a film exploring his work. One of the highlights of the show was the double sculpture Perfect Relationship (2011): a pair of graceful bronze hands rising from two nautilus fossils, shells that spiral in the proportions of the golden ratio and here symbolise the perfection of soul mates in love. Another prestigious London opportunity was the installation of La Dolce Vita in Park Lane at the end of September 2012.
In the United States, Halcyon Gallery donated Quinn’s The Force of Nature II, a piece created in the wake of the 2009 tsunami, to benefit two non-profit organisations: the Happy Hearts Fund, established to rebuild communities after natural disasters, and the March to the Top Foundation, helping Africans affected by economic poverty. The sculpture, so clearly symbolic of human strength and resilience in the face of adversity, has a specially constructed base with tiers of donor plaques, and proceeds from them will fund the construction of two new schools. In October 2012, The Force of Nature II was installed at the Paramount Group’s magnificent skyscraper on the Avenue of the Americas in New York. Complementing this pairing of public art with philanthropy is a further placement of The Force of Nature II at a cultural development project on the seafront at Doha in Qatar aiming to encourage and promote the arts.
More recently, in February 2014 the toy manufacturer BRUDER Spielwaren GmbH + Co. KG devised, commissioned and donated Dreams Come True to the City of Fuerth, Germany. At 3 x 16 metres this monumental sculpture depicts the hands of a child immersed in the colourful play-world of building and construction, complete with an excavator, dumpster and life-sized toy construction workers. Also in the same year, Quinn’s sculptures Love and Emotions were donated for auction, raising more than £300,000 for the Sunrise K’ Foundation for children with glaucoma and the EORTC, the European organisation for the research and treatment of cancer.
Full Circle (2013), Quinn’s fifth solo exhibition at Halcyon Gallery, London, marked a pivotal moment in the artist’s career. Displaying new works interspersed with older and more familiar pieces, the show represented the artist’s experimentation with new materials and themes highlighting his creative development over the last decade. Following the exhibition on New Bond Street which ran the length of the summer, Full Circle was then showcased at Halcyon Gallery, Harrods towards the end of 2013.
Throughout 2013 and 2014, Quinn exhibited at a number of important international art fairs including Art Monaco ’13; Art Palm Beach; Miami International Art Fair; PINTA, London; SCOPE, New York and Art Toronto, Canada. During this period the artist was also awarded several public placements, including the installation of new works Tight Rope II and The Four Loves (alongside The Force of Nature II), on the island of Ibiza in 2013. In December 2014, Quinn returned to Park Lane to unveil Harmony, his unique interpretation of the traditional Yin and Yang symbol. Displayed in the UK for the first time, the monumental piece measures 3m in height, and is cast in polished aluminum and stainless steel.
In April 2015, Halcyon Gallery announced its partnership with Gallery Odyssey in association with the Indiabulls Group in Mumbai, with the inaugural exhibition In the Hands of Lorenzo Quinn. The first time Quinn’s work has been exhibited in India, this career defining show runs throughout the summer while such monumental works as Leap of Faith, The Force of Nature II and Love are displayed to the public within the grounds of the Indiabulls headquarters in Mumbai as part of its commitment to supporting art and cultural programmes locally and internationally.
Art historian and curator Consuelo Císcar Casabán describes Quinn’s work as ‘profound, spiritual and existential because it deals with the passions we experience as humans and the questions we pose in the silence about ultimate truth…. these are sculptures based on great myths, referring to the broad themes that recur in our civilisation and cut across distinctions of culture and time.’
Margaret Lovell D.LITT, FRBS, RWA
Margaret Lovell is an award-winning sculptor and a Fellow of the Royal British Society of Sculptors. She trained at the Slade, London and the Academy of Fine Arts , Florence and has undertaken commissions across the UK, Europe and the USA. Her work, mostly in bronze, can be found in the collections of The Arts Council of Great Britain, Barclays Bank and Plymouth City Museum and Art Gallery among many other public and private collections.
Mark Beattie MRBSSculptor Mark Beattie has exhibited his works nationally, alongside some of great artists as Tracey Emin, the late Lynn Chadwick, Helaine Blumenfeld ad Jonathan Yeo. Working with various metals in all their contrasting properties of texture and finish. Mark can make industrious material appear fluid, malleable and delicate. He continues to study different metals, looking at ways to manipulate and add movement to the material, and over the past 18 months and developing ways in which neon or LEDs can compliment his sculptures, adding to the movement of a piece and catching the viewers eye.
Mark PayneBorn in Luton, Mark studied technical and scientific illustration for four years. After graduation he became a member of the Society of Illustrators, Artists and Designers (SIAD). Since then, he has had a full and demanding 33 year career as a full-time artist and illustrator, producing work for numerous national and international publishers, advertising agencies and galleries. Mark has served with the Artists’ Rifles; he is also the founder of CGI-company, Mission 3D.
Outside of work, Mark is a keen rider who has learnt the hard way that you can lead a horse to water, but that’s about all you can do with it! He also loves being taken for a walk by his two young Schnauzers, Connie and Alf. For relaxation, as well as his love of painting, Mark is a part-time student of classical history at the University of London.
BOOK ART SERIES
I love books. Real books, as tactile objects that you can feel the weight of in your hands, leaf through, and into which you can simply disappear. Of course, like most booklovers, the excitement of a new novel, especially of a favourite author, is always an occasion to be savoured. But I find the books I treasure most become old friends. I love to revisit them, and celebrate down the years their graceful journey as they age – so often to marvel at their maturity, and sometimes to stand back with wonder as my youthful friend has become a classic! I love the feel of these my inanimate friends, who live with me and in me so vividly. Their stories, their feel, their warmth and their comfortable familiarity, – it is all these qualities that inspire me to paint them.
THE BOOKS I PAINT
Most of the books I’ve painted are very old and have had many owners, yet their fine condition suggests a much pampered life in careful hands. Others have not been so lucky. With creaking spines, dog-eared and with fading colour, they may be battle-scarred, but they are still as precious. Many of the books I paint are now quite rare and sourcing them has required great patience, while others, I’ve simply stumbled upon, languishing unnoticed and un-remembered on dusty shelves in second-hand book shops. But, good design is timeless and as precious as what is contained in the treasure between the covers. These books, I am deeply convinced, deserve to be noticed.
While wanting to honour and pay tribute to the original jacket designers and their unquestionable talents, my paintings are portraits of some very old, well-loved books, the way they are now. Novels, poetry, history and a range of subjects all attract my interest. It may not be possible to judge a book by its cover each and every time, but a great engraving or a modern jacket certainly promises much.
The paintings themselves are much larger than life with every tear, crease and blemish, carefully and accurately recorded. You see my aim is not just to reproduce the original cover artwork like a poster. It is to paint the whole book as a real, three-dimensional object with all its imperfections – the evidence of life – so that when mounted and sensitively lit, the illusion is created of a real, giant 3D book. It really is a living thing.