CLOUDED IDENTITIES: The Treacherous Border between Fiction and Reality 

With great pleasure, Gallery 106 would like to invite you to a solo exhibition of renowned Montenegrin artist Natalija Djuranovic.  

Djuranovic is going to present her art for first time to the London public with art works from two phases using a different techniques on each of them; “Anima Mundi” – 5 pictures, oil on canvas and “Weekend”- 31 works, multimedia on paper.  

In regards to her artwork Djuranovic comments; “for me each new cycle is a new challenge, a new experience, and a new transformation”. The two different phase that make this exhibition explore the idea of twisted relation between fiction and reality expressed in Djuranovic explicit way.  

The ‘Anima Mundi’ (2014) opus narrates about universal travels and exploration of different worlds, emphasising freedom of expression and understanding of human indifference toward deception and creation of hybrid identities. The boundaries between fiction and reality  are blurred. The artist’s emphasis on abstraction is achieved through the juxtaposition of color against the figures who occupy the background. Through multiplying characters the figures are shifted and accentuated. The color pallet of predominantly pastel and deceptively luminous, allows impression of the beauty and subtleness being opposed by creatures and mutilated figures co-habituating within the same space. 

Djuranovic, in her phase “Weekend” (2011) found an inspiration with the external, especially the social construct of celebrity and fashion fetishism. The range of colors in this cycle is exhilarating end expressive, reflecting ‘status’ and extravagance, engaging viewer, showing the extent of human attention and over-significance of the exterior self. The identities in the 31 drawings are painted in a glowing color but dip down into the troubled and the anxious that proliferate each narrative.  

Natalija Djuranovic Lives and works in Podgorica, Montenegro. She finished the School of Applied Arts in Sarajevo in 1992 and painting at the Faculty of Fine Arts in Cetinje in the class of Professor Nikola Gvozdenovic, 1997 where she completed her MA in 2005. She is also a Member of the Association of Artists of Montenegro since 1997. 

She has won several awards for painting through her art career and exhibited widely at home and around Europe. Some of the exhibition include Peru, Greece, Austria (Metropolitan Museum in Vienna – 2006), Brussels 2008, Sarajevo 2011 and most recently Venice 2015.  

Gallery 106 provides platform to explore, create and present contemporary art. 

For further details please send email curator Dusanka Marsenic at Info@gallery106.org.uk, or call us on 0207 385 5618. Alternatively you can visit our website www.gallery106.org.uk.  

When: 6th November – 4th December 2015  

Private View: Wednesday 5th November 2015 

Where: GALLERY 106 | 106 DAWES ROAD | LONDON SW6 7EG 

Opening times: Tues, Wed, Fri - 12:00-18:00 also by appointment  

info@gallery106.org.uk |020 7385 5618 

gallery106.org.uk 

 “Stop!!!:)… and let us talk about art again” with Venetian artist Sabrina Grossi. 

As a part of the Gallery 106 program called “Clouded Identities” in collaboration with VeniceArtHouse and Ca’Zanardi, it is a grat pleasure to invite you for a solo exhibition of the artist Sabrina Grossi. Grossi’s enigmatic landscapes, her series of pictures devoted to Venice, are made using technic acrylic on canvas. Her artwork tells the story of intimate and broken memories; by carefully playing with different tones, strengthening, and reducing the intensity of colors in her paintings she achieves the ultimate, abstract harmony. It looks as if they are “taking us by the hand into the obsessive vortex of her research, offering experiences that not merely satisfy an aesthetic need, but rather awaken dormant empathy”(G. Salerno). Sabrina Grossi was born in Venice. She graduated from the I.S.A of Venice as Art “Maestro”. She then went on further and completed her Art studies at the “Accademia of Belle Arti” in Venice. Grossi exibites in Venice and Europe mainly. Some of Sabrina’s artworks are in collection of Palazzo Ca’Zanardi.

Mirjana Marsenic was born in Montenegro. She studied at the Faculty of Fine Art in Cetinje, Montenegro where she completed her MAF in Fine Art in 2013. She has exhibited widely in her country of origin as well as internationally, including solo show in London, Pont – Aven, Nice, Belgrade, Venice and many more. As one of the most prominent Montenegrin artists, she was the representative of Montenegro on 7 - Francophone Games in Nice, selected by the International Commission for the French language and cultural diversity.

Gallery 106  is delighted to invite you to an exhibition of Montenegrin artist Mirjana Marsenic. The exhibition includes paintings acrylic on canvas, mix media and installation. All works are exclusively commissioned for this exhibition and are for first time presented to British public.
In her exhibition “Passage of Time: The moment of recollection”, Marsenic unites different artistic moments into one composition creating continuity and dialog and by interconnecting those moments into one, she conduct evocative extended story. Artist intention is to create narrative shaped by seemingly insignificant smaller tales discovered and noted during the art-making process and communicated through her art.  It is that moment, when artist stop and turn- beck, the “moment of recollection”, that Marsenic finds incredibly profound and often challenging, in the process of preserving the emotion, the idea, meaning, purpose and direction in creating an artistic expression.
The exhibition is supported by Ministry of Culture Montenegro. 

G a l l e r y 106 at the Hille & Zotova Art Gallery, Amsterdam is delighted to invite you to an exhibition of Montenegrin artist Mirjana Marsenic. The exhibition includes paintings in acrylic and mixed media on canvas. This is all new work by Marsenic for her first solo exhibition in the Netherlands.

In her exhibition “A Journey through: the Forces of Nature”, Marsenic’s work reflects her close communication with nature and the cycles of life. This love of nature comes from absorbing the splendour of her home country Montenegro. This beauty may be inspired by her homeland but the earthy nature of her work takes on a quality of universality that reflects the eternal qualities of the wonders of nature, which can be found the world over. Marsenic appears to be aiming to create a microcosm of the natural world in her work. She achieves this effect by extracting the essential universal elements of life, to give us a glimpse of her very personal view of nature. Marsenic’s vision varies from her visceral, fleshy pieces such as “Energy”, to lighter more esoteric paintings like the “Nucleolus” series.

« Le médium lui-même n’est plus saisissable en tant que tel, et la confusion du médium et du message est la première grande formule de cette ère nouvelle. “

Studio 106 Art Gallery is delighted to announce the first solo exhibition of Maud Traon, Home Sweet Home.

Maud Traon’s work develops fantasy aethetcis, creating a confusion between fiction and reality. De facto, she challenges and transgresses widely acceptedideas in art. This show marks a significant shift between her crafts practice (Traon is an established jewellery maker) to Visual Art.

Maud Traon’s work has never fit comfortably in either contexts, whilst always leading her viewers to unexpected outcomes.

Finding our way through a dedalic language made ofan intense, almost suffocating, use ofcolours,  glitter, images, and ideas., and following details in this mountain of meaning and objects, is the only way to make sense of the work.

Traon’s viewers’ journey is literally about looking for a needle in a haystack, with the exciting possibility of actually finding a treasure.

The exuberant visual and conceptual language is an attempt to conceal what obsseses her, what attracts her, and allows her to be creative. Indeed, far from populist artists trying to give instant meaning with an instant coffee taste, she gives a new role to the viewer, compelling them to decipher her work. Surely ambiguous, the newly-made installations mixe popularreferences such as tourists glorifications – fake snow balls or magnets depicting monuments- along with philosophical and aesthetics theories, clearly referencing Virilio, Baudrillard and Deleuze… For instance, relating the “visual universe” of pizza Flyers to Renaissance Matthias Grunenwald’s Retable of Issenheim.

Through a poignant and colourful aesthetics of fairy tales, Traon narrates a storyof psychological anxieties and a need for immediate beauty consumption. Singular and universal, her rich visual and intellectual imaginary guides us through a personal and dazingjourney.

With Home Sweet Home, Traon finds her way back to childhood; at the same time,  she conveys an infatuation for bright colours, made up characters, objects and playful games. On the other hand, she expresses a sweet and naive need for bewilderment. Framed by a childish yet complex intellectual rigour, she asks and asks again: What does it mean, daddy?

Maud Traon lives and works in London. Traon’s work explores the relationship between the reality of the world we live in and the signs and symbols that actually represent it.

Unusual scales and overlapping references from both the worlds of crafts and Visual arts show her fascination about consumerism, mainstream and kitsch visual universes.

Home Sweet Home is part of Pivotal Shifts, a project supported by The Arts Council England, London.

Luke Beachey 

Submissions – Coming of Age

5th – 21st April 2012

Please join us for a Private View on the 4th April 6.30pm

Gallery opening hours are: Tuesday, Wednesday, Friday and Saturday 12-6pm and by appointment.

“One is frequently under the impression that these (often vast), deterritorialized maps of human desire are birthed with the voracious insistence of a volcano erupting or a star dying, a surge that belies the evident craft Beachey has honed to ‘enable’ such a violent breach of the surface.” Nick Hudson*

Beachey’s work concerns the notion of disembodied erotic entropy, severing personal social conditioning, in order to create a form that manifests a singular, all encompassing state of eroticised being. By removing the social constructions that have been placed in accordance to his own interpretation of the human body means he needs to create his own visually destructive Thanatos to keep the erotic Eros balanced. When delving into these physical states of being, he has allowed a disembodiment of the person, creating its own entropy in the process. The erotic state he wants is one that transgresses the personal identity trappings and lives as an untainted primal life force.

“A lot of these recent works concern the idea of re-contextualising masculine identity via scenes of ritualistic disembodiment. I feel the need to represent this transition of the masculine to the third gender by allowing physical representations of fluxing fragility and its relationship with masculinity in regards to the instability of the masculine heteronormative gender binary scaffolding, especially in regards to the process experienced by someone when coming of age”. Luke Beachey

Luke Beachey was born in Cardiff, Wales. He studied Fine Art Painting at Brighton University during which time he participated in various exhibitions alongside other artists. Amongst these shows, were successful exhibitions such as Third of the Way and Stellar in Brighton and one successful show at The Foundry in Lewes. Since the completion of his degree in the summer of 2011 he has continued to make work for various commissions. Luke participated in U-N-F-O-R-E-S-E-E-N? You Tell Us! exhibition, held in the Studio106 Art Gallery, in February 2012.

Solo Show

From the 15th March 2013 Box Galleries & de Freitas Fine Art will be having an exhibition with world renowned artist Elisa Cantarelli. We would like to invite you to the

EXCLUSIVE Private View on 14th March 6.30-9.30pm

‘I seek a resolution between the transient and transcendent, between the personal and the collective.’ Helen Chadwick

Studio 106 Art Gallery is delighted to announce the first solo exhibition of artist Miriam Austin.

There are times when physical sensation carries with it an acutely and incontrovertibly personal intimacy. In these moments one might begin to doubt whether experience, in its most basic form, can ever really be shared. Miriam Austin’s sculpture seeks to persuade us that such doubts should be set aside; that those feelings which seem beyond the understanding of others are in fact the lifeblood of humanity’s ability to commune.

In her work, Austin consistently sacrifices resolution and finality to the demands of sensitivity. She moves with delicate ambivalence between sculpture, performance, and installation. Drawing on materials (physical and phenomenal) so fragile that the slightest clumsiness on her part will cause them to disperse, shatter or decompose, Austin spins a loose and tender web. In it she traps the elements of the corporeal which are foundational in their emotional significance, but which, precisely because of the depth of their significance, evade easy expression.

Austin’s sculptures, like that which drives their inception, are transitory in the extreme. They require, even after installation, the artist’s constant ministration. Fine clay cracks; oil and egg yolk run; mingle and spoil; fruit rots – and all of this for the briefest moment of balance and harmony. She does all this not simply to present us with our scrutiny or delectation. Rather, with an urgency driven by the fleeting beauty of what she has found, she builds for us a distinct and protective realm of the emotional, the sensual and the visceral. The waxy materiality of the work, with its fatty deposits, its uncanny nods towards filmic heartache, its emotivetheatricality, is as much a ladder for the viewer to climb as it is a thing for him to view. It allows passage to a wilderness of the unconscious whose nature Austin sketches as half-living forms caught between barrenness and fecundity; as the secretions of ripe bodies all the riper for their closeness to death; as the impotent movements of desire and hope common to everything which has the capacity to breed.

Austin’s sculpture might be thought of as a kind of shadow play. Its material, formal and symbolic properties are devices – narrative, performative, psycho-suggestive – used to give rise to a suspension of disbelief; even to something akin to hypnotic trance. One or the other is necessary if the viewer is to be sufficiently disinhibited and rendered vulnerable enough to give, in viewing, that which Austin has given in making.

At the centre of Austin’s work lies a vantage point. From it, we are invited to look out over a brightly illuminated landscape with an unearthly compassion for life in all its virulence. This is a compassion grounded in the fragment of doctrine which pervades everything that Austin makes: if it were not for the existence of the world in its entirety – if it were not for the endlessly repeating cycles of tension and release, suffering and pleasure, death and rebirth – compassion would simply not be possible.

*Studio 106 Art Gallery would like to thank Matthew Drage for writing the press release.

Miriam Austin lives and works in London. Austin is currently studying toward an MA in Sculpture at the Royal College of Art, London. Recent exhibitions include, The Devil’s Necktie, The Woodmill, London, 2010; Blood and Time, Project Space at the Woodmill, London, 2010; In which the woman was dead from the cold, XVIII Jesus Lane, Cambridge; 2009; On Air, Christ’s College Visual Arts Centre, The University of Cambridge, 2009, The Dying Animal, The Shop, Cambridge, 2009, The Space Between, Bharat Nivas, Auroville, India, 2008.

Matthew Drage is an artist and writer living in East London. After completing a BA in Philosophy and an MPhil in the History & Philosophy of Science at the University of Cambridge, Drage moved to London to focus on his fine art practice. He is the co-founder and current co-director of Copenhagen Place, an independent, non-commercial gallery and studio project in Limehouse.

ARTISTS: Jay Newell, Alice Moorey, Ralph Raposas, Charlotte Blamey, Marnie Davies, Kemi Sanbe, Lucy Pidgeon, Miriam Austin, Adam Knight, Victoria Jackson, Jeremy Danziger, Sam Jarman and Laura-Jade Holloway, Diana Bradford Arnold, James Miles, Florence Bartlett.

Studio106 Art Gallery is delighted to invite you to Banding The Boundaries, the second exhibition curated with the University For The Creative Arts, Epsom.

Showing in parallel, outstanding graduates’ work alongside their tutors’ work, Banding the Boundaries challenges and questions creative processes and the relationship between those who facilitate and those who participate in learning. Encouraging dialogue, this exhibition questions both individual practices and examines the shifting relationship between teacher and student. Collaboration in art allows participants to open up imaginative processes, and to mark a critical discourse in individual and collective practices.

Banding The Boundaries aims to create an encounter for young and established artists working in diverse artistic disciplines as they become a collective, bound together by constructing and deconstructing the ideas around what something is and what something can be.

Using models of an experimental art school, a workshop led by the students for their tutors will be organised throughout the exhibition; all artists involved become boundless in their creativity and generate a sense of unification between energy and aesthetics.

The importance of Banding The Boundaries is particularly relevant today. The increasing professionalisation of art and the current issues with access to art education makes this initiative meaningful. Re-assessing methodologies in art education highlights the incommensurable importance of dialogue between academics, students and society.

Miriam Austin

Currently studying towards an MA in Sculpture at the Royal College of Art, Austin works with sculpture, performance and video to create process-based installations that explore notions of embodiment and inter-subjectivity. Much of her work emerges from an investigation into the live quality of organic materials.

Adam Knight

His current work is interested in a dialectic engagement that oscillates between what constitutes a work’s question and answer. Forms are realised through images being somewhere between words and objects, sounds and solidified things, simultaneously covered-up and revealed.

Victoria Jackson

Jackson is an interdisciplinary artist with a background in Fine Art and Graphic Design, specialising in Video and Sound. Collaboration is intrinsic to both her creative and teaching practice and reflects her interest in place and its relationship to people.

Jeremy Danziger 

For Danziger as a sculptor, drawing is an essential means of enquiry, not only into the manipulation of form and space but also as a means of discovery within itself. The beauty of drawing is that it defies conventions of classification and as such sets the spirit free.

Statement from Sam Jarman and Laura-Jade Holloway – Here and Now

Jarman and Holloway’s work is a collaboration that embraces notions of connectivity, disagreement, negotiation and critique of experience.

Their interests rely on the confines of varying situations, the endurance experienced, and the testing of limitations in terms of personal and social boundaries, linking further to notions of ownership and authorship and the idea of institutional restraint versus the freedom of working in an informal space.

1974 – Helped set up and worked at “Open Mind” arts collective in Liverpool.

1978 – Live Laser performances at Liverpool Academy of Arts.

1979 – Set up 1st Holography Studio at Liverpool College of Art.

1979 – Design of laser production for Ken Campbell’s “Illuminatus” and “the Warp” at the Everyman Theatre, Liverpool.

1979 – Light and sound designer for “the Children’s Crusade” – Liverpool and Cologne.

1980 – Laser light design and production for fashion shows in Liverpool.

1981 – Set up 1st Holography Studio at Royal College of Art, London.

1983 to 1990’s – Numerous laser visual effects design and production for TV programs with BBC Visual FX designer Mat Irvine.

1984 – “Larks in the Dark” – lasers, sounds and fireworks spectacular in Sefton Park, Liverpool.

1985 – “Painterly photons” – Laser photographic image exhibition at Acorn Gallery, Liverpool.

1995 – Laser Installation for Arthur C. Clarke Minehead Space Age Arts Festival.

1995 – Laser Display for Absolut / Chalayan fashion show.

1996 – Laser Display for Absolut Vodka extravaganza at Val d’Isere, France.

1998 – Display over Grahamstown, South Africa, set to music played on local Radio Station.

1998 – Laser production for Mini tour with Royal Opera Dance Troupe.

1998 – Laser design and production for Warp Fashion Show in Cairo.

1999 – Laser production for Hugo in Stuttgart, Rotterdam and Paris.

2001 – Laser installation at “LightShift” event in the forest of Dean.

2002 – “Thermasilk” shoot in Budapest.

2002 – Queens’s Golden Jubilee Celebrations laser display on Worthing Pier.

2003 – Many laser performances with Unstructured Light Dance team.

1980’s to today – Numerous laser performances with groups ranging from Rock to Electronica.

1980’s to today – Numerous design innovation and production of laser lighting for TV, film, advertising and fashion shows.

Recent Work:

Numerous laser productions for musical events and video shoots including Ronnie Size, Louise, Dane Bowers and Victoria Beckham.

1990’s to today – Performances with dancers from Western classical to Eastern traditional genres.

1990’s to today – Educational talks / lectures / events with laser displays, design of games for TV using lasers and art installations.

“He wondered if he had it in him to write without a pen, if he could learn to speak instead, filling the darkness with his voice, speaking the words into the air, into the walls, into the city …”

Paul Auster, City of Glass.

Studio 106 Art Gallery is delighted to announce the first solo exhibition of artist and writer Leah Lovett.

Leah Lovett’s work often consists in constructing spectacles of the urban realm; working across a range of disciplines, her practice has two complementary parts which are interconnected and mutually feed off and inform one another.

Lovett devises performances that are often acted out by others and which can be imperceptible to her audiences, and recorded with a camera. The resulting works highlights the artist’s occupation of different types of urban space explore and restage dramas of power and agency staged within the city.

The works presented here relate to the notion of territory, and in particular the cross over between theatrical display and the display of power. Temporality – which is likewise central to Lovett’s process of working – is explored formally through sequences, and repetition of patterns, capturing lightly, visible changes.

It is intended that the act of standing with the camera is first and foremost a performance – a visible, durational occupation of a public space within which the camera acted simultaneously as frame and framing device; the videographic and photographic body of works interestingly mirror the invisible presence of the photographer-performer. This is particularly striking with the series of photographs ‘Day Of Celebration, Site of Protest’, which depicts Lovett’s occupation of a symbolic space and time in Seoul. Standing for 12 hours in a cold winter day and capturing images of an empty scene, Lovett’s active presence re-enacts political actions, i.e. Korean crowds gathering to stand against USA interventionism on domestic governance in South Korea. Yet, Lovett is clearly less interested in re-creating an active act of protest per se and explores instead the idea of protest and occupation. Her hidden presence thus becomes overwhelming, whilst her camera witnesses avisual quietness, and the absence of anticipated movements of crowds.

A Solitary Occupation also features drawings, which both support and further the work as “a kind of conversation with [the artist’s] imagination, and often the first manifestation of [her] future performances”.

Leah Lovett lives and works in London. She has shown her work widely in the UK and internationally. Past exhibitions and projects include Sexuate Subjects, UCL (London 2010), Whitstable Biennale (2010), Testing Grounds, South Hill Park (Bracknell 2009), Bilateria, Five Hundred Dollars (London 2009), Body Parts III, Royal Scottish Academy (Edinburgh, 2007). Research and residencies include Lab39, Seoul, South Korea (2010), Duveen Travel Scholarship (Brazil, 2009).

NARRATIVITY THROUGH LITHOGRAPHY - NATASHA DELIC

Natasha’s inspiration and chosen themes are drawn from nature, poetry and ancestry. Through the use of black & white lithography, the art form is more convincing and has a greater credibility, conveying a timeless feeling.

“Nature has its own peace and harmony, working in cycles. I have strived to reflect this balance through my work, whether the subject matter is a tree or a person. For me the presence of the immediate environment combined with my inner feelings are the most important elements in shaping the imaginative lithographic lines and forms” sais Natasha.

“The main themes in Natasha’s work can be competed to poetry. From people in landscapes and imaginative portraits, to those of nature and ancestors. She takes a small fragment of reality like in poem and meditates on it” Dr Olga Smirnova.

In Narrativity Through Lithography Natasha is telling the story about the journeys which we take and somehow they unpredictably become part of one’s life. It is through the stories that we would be able to experience these journeys fully. After many years spent working in publishing, Natasha found her way back to her art and felt the need to tell her story to a wider audience.

Natasha Delic was born in Belgrade, Serbia. She lives and works in London, and has MA in Publishing, Oxford Brooks University. During her studies at The Royal Academy of Fine Art, The Hague, Holland, Natasha was exposed to wide ranging artistic styles and it was through lithography that Natasha found the best and most natural way in expressing her chosen subjects and themes. By only her third year at the Academy, Natasha held her first exhibition and already formed her own style of lithographic prints. Today her work can be found in private collections around the world. She exhibited widely, her passed exhibition include Spui Theatre, The Hague, Masashino Bijyutsu Gakuen,Tokyo, Burgermeister Muller Museum Solhofen, Germany TCM Asser Institute, The Hague, Gallery Kunst Kring, The Hague, The Gallery, Notting Hill, London

EXHIBITIONS. SOLO AND GROUP

Caroline Cary has been showing her work professionally since the 1970´s in both group and Solo Shows. She has shown in prestigious galleries in London, New York, Los Angeles, Paris, Nairobi, Spain, including,

Jonathon Poole Gallery. Sue Rankin Gallery. Austin Desmond Gallery (Devon). Christopher Hull Gallery. Gordon Hepworth Gallery. The New Grafton Gallery. The Piers Feetham Gallery. Studio 106 Art Gallery.

SPAIN. Museo de Gran Capitan, Granada. English Artists of the 20th Century working in Spain. Venues organised by, Fuengirola, Puerto Banus. Houses of Art, Marbella.

ART FAIRS.

She has been represented at most London Art Fairs by various galleries, including, The new Grafton, Piers Feetham, Lena Boyle at The Art Fair Islington. Chelsea Art Fair. Art on Paper at the Royal College, London.

The Affordable Art Fare. Art London.

 PRIZES

1994. Winner of the Palette Prize for Mixed Media in The Art Show. London.

2001.  Winner of Vital Arts Acquisition Prize for Painting for the permanent Collection of The Royal London Hospital, Whitechapel, London.

For a full list see C.V.

www.carolinecary.com

Artist Participating:

Joanne Brenan

Luke Beachey

Pato Bosich

Mirjana Marsenic

Caroline Cary

Susan Eyre

Madeleine Burt

Joanne Brennan’s work is an exploration into the ways materials can capture and embody the previously hidden qualities of light.  She projects light through material and takes an image of the resulting projection which is then digitally reproduced; she calls this ‘drawing with light’.

Pato Bosich was born in Chile, but left for Europe in 1997. He has lived and worked in Germany, parts of central and Eastern Europe, before settling in London in 2000.  He has served as the artist in Residence in The Muse Gallery, London and The Museum of Modern Art, Chiloe, Chile.  He exhibits his work globally.  His paintings resist easy readings, instead convey mystery and tension, as the viewer is denied the whole story and can only see a snapshot of psychological drama without the proper context.

Caroline Cary lives and works in London and Southern Spain.  She works in many different mediums, having begun her career in landscapes and figures, she has moved towards abstraction and to experimental work on Perspex. Cary has been showing her work professionally since the 1970´s in both group and Solo Shows. She has shown in London, New York, Los Angeles, Paris, Nairobi, including, the Jonathon Poole Gallery, Sue Rankin Gallery, Austin Desmond Galler (Devon), Christopher Hull gallery, Gordon Hepworth Gallery, Studio 106 Art Gallery, The New Grafton Gallery and ThePiers Feetham Gallery to namebut a few, and in Spain, Gran Capitan Granada, Houses of Art Gallery, Marbella and in various venues organised by Stephen Howes. She has been represented at most London Art Fairs, The Art Fair Islington, Chelsea Art Fair, Art on Paper at the Royal College, The Affordable Art Fare and Art London.

Susan Eyre explores idealistic fantasies in an urban reality, through her work with screen printing and digital technologies in various media, both 2D and 3D.    She focuses on the human desire for perfect and the illusions we create. She graduated from Goldsmiths with a BA(Hons) in Textiles in 2007 and has displayed her work all over London and the UK.

Luke Beachey was born in Cardiff and recently graduated from Brighton University.  He has participated in several group shows in Brighton and Lewes.  His work is concerned with disembodied erotic entropy and the removal of social conventions and a person’s regression to a primitive being.

Mirjana Marsenic is a Montenegrin artist, currently living and studying for her MA in Pont-Aven, France.  Amongst other awards, she was received the ZAMTES institute of International Relations and Corporation Best Student Award in 2009. Her paintings are intended to stop modern man for a moment, separating him from his everyday obligations and pressures and allow him to see what goes unseen.

Madeleine Burt lives and works in Nottingham, she regularly exhibits nationally and internationally, her most recent shows have been in Berlin and London.  She is artist in residence at Nottingham Trent University. Her work explores themes of separation, loss and preservation. In her latest series of work, she comments on these areas by looking at traditional lace production and moth specimens, an insect associated with the destruction of fabric.

If you did not have a chance to view a beautiful works of this artist, at the beginning of the 2012, you are having an opportunity now, from 6st to 20th Jun 2012.

Solo Show

Box Galleries are delighted to invite you to
the UK’s leading artist David Pilgrim’s solo show.
The private viewing will be held on THURSDAY 28TH
MARCH 6.30-9.30pm, where David will be in
attendance showcasing his breathtaking new collection
of cityscapes. These include originals of Venice, London
and New York. MOre about the artist on Box Galleries Website. The exhibition will run until 5th April.

BREATHLESS - BENJAMIN SENIOR - 2011

12th May 2011 – 28th May 2011

Private View: Wednesday 11th of May

Gallery open Tuesday, Wednesday, Friday, Saturday 12.00 to 18.00

Event: Children’s egg tempera Workshop 

Studio 106 Art Gallery is delighted to announce Breathless, a solo exhibition by artist Benjamin Senior.

Central to Senior’s practice is a formal play of rhythms, false symmetries and colour relationships. These elements are combined in this new body of work in which he uses physical exercise as a springboard for exploring the connotations of the body fixed within a flattened space.

Representing geometrised figures in the context of sport and exercise allows the artist to indulge both in abstract pattern and the rendering of the human body. In Senior’s work, the body becomes a formal matter, reduced to a rhythmic play between convexity and flatness against a patterned background.

Small-scale canvasses are used to reinforce the attention of the viewer to the meanings of geometry and symmetry of the bodies that often seems to interact with the space around them.

References for his imagery can be found in the figurative stylization of the 1920’s and 30’s. By turning this historicized lens on the contemporary culture of bodily wellbeing and regimented exercise, as Senior touches upon binaries of the natural and the unnatural, the collective and the individual, the healthy and the unhealthy.

Viewers of Senior’s work can also sense the artist’s enjoyment of control – over the exacting medium of egg tempera; over the configuration of the body; and over the system of hard-edged colours and shapes that characterise his work. With a surgical precision and wry humour, Senior probes ambiguous areas of our notion of healthy lifestyle, ideal beauty and visual pleasure.

Does Breathless imply exercise or stillness? By placing an emphasis on observational drawing rather than photography as the preparation for painting, Senior strives to directly capture certain effects of nature – a particular quality of light, the warmth beneath the skin. Senior’s paintings are strongly inflicted by everyday observations, and yet amplify the numeric and geometric nature of our everyday perception.

The outcomes of Senior’s practice are familiar and at the same time quietly perplexing images. They invite us to draw closer to the works and ruminate over these paradoxes and contradictions.

Benjamin Senior. Lives and works in London. Senior graduated from the Royal College of Art in 2010.  Currently he is a resident artist at the Kingsgate Workshops Trust in London. Recent exhibitions include The Fort Painting Show at Fort, London, The Future Can Wait, Shoreditch Town Hall, London, Polemically Small, Charlie Smith London, and the 2010 Studio Voltaire Members Exhibition, selected by Jennifer Higgie and Rebecca Warren, London. www.benjaminsenior.com

Image Credits

Top: Benjamin Senior – Stretches / 2010

Left Bottom: Benjamin Senior – Hydra / 2010

Right Bottom: Benjamin Senior – Equilibrium/ 2010

“What happens if our cultural recycling begins to overtake us and starts reviving events that have not even taken place yet? “

Studio 106 Art Gallery is delighted to present Doubleback Alley, the first solo exhibition in London of French artist Julien Tiberi.

Julien Tiberi leads us along winding paths where cultural referents and graphic practices are constantly subtly interwoven. Choosing drawing as his preferred medium, the artist offers us a pictorial universe nurtured by literary works, ranging from Mark Twain to G.K. Chesterton by way of Robert A. Heinlein.

Presented here in a new enhanced version, L’histoire véritable [True Story] consists of a set of views of a fictitious exhibition, imagined in its entirety by Julien Tiberi. These drawings illustrate a text by Lucian of Samosata written in the 2nd century. Regarded as the first science-fiction story, this utopian — but also caricatural — tale is used as a pretext by the artist to confront various problem areas, including the setting up of a collective exhibition, documentary photography, and the figure of the curator.

Beyond the simple updating of a caricature that comes from the past, this work reflects the analytical practice Julien Tiberi operates with: the references he catalogues are transformed into theatrical figures through drawing.

*(Author:) Marc Bembekoff, curator, Palais de Tokyo

Julien Tiberi (born 1979, Marseille) works and lives in Paris. Solo exhibitions include L’amicale Des Tours De Main Hors Classe, Palais De Tokyo , Paris (2011); Le catalogue, Galerie Florence Loewy, Paris (2011);Stratos Fear, Galerie RLBQ, Marseille (2008); Julien Tiberi, Kunstklub, Berlin (2005). Recent Group shows include Ne jamais remettre à demain ce que l’on peut faire à une seule, (cur. Julien Nédélec) La Graineterie, Houilles Paris (2011); Le carillon de Big Ben, Centre d’art contemporain d’Ivry (2010); One more reality, Careof, DOCVA La Fabbrica del Vapore, Milan, Italie (2010); Dead Letters Office, Centre de lettre perdue, touring to Saint-Paul, Minnesota and Atlanta, USA (2008); Mail Delivery System, Mailer Daemon (cur. Galerie RLBQ), Contemporary Art Museum, Marseille (2007).

For more information, visit:http://documentsdartistes.org/artistes/tiberi/Tiberi-web.pdf

Studio 106 Art Gallery is a Not-for-profit organisation, that combines a professional gallery with a lively education programme, presenting a regular series of exhibitions and events that complement and enrich its programme of courses and workshops. We would like to thank the Arts Council England, London for supporting this exhibition.

And if from the point of view of the human eye, montage is undoubtedly a construction, from the point of view of another eye, it ceases to be one; it is the purest vision of a non-human eye, of an eye which would be in things”

Studio 106 Art Gallery is delighted to announce Eyelies, a solo exhibition by artist Clara Clark.

Eyelies explores discrepancies between perception and reality, i.e. the building of a construct in the viewer’s mind and the mechanism of the making. The newly made sculptures were developed from an ongoing investigation into the way darkness can create the illusion of vast space.

Clark is fascinated by a theory on perception and representation. Because the world presents the brain with too much visual information to absorb at once, most of what we see is actually made up. Only taking in a small percentage, the brain fills in the gaps with what is expected.

Clark’s work is articulated around the subsequent idea that if the main visual elements of an easily recognised phenomenon are recreated, a convincing image will manifest itself in one’s mind, despite obvious signs of artificiality.

The viewer hence feels a sense of spatial reorientation and transportation away from the exhibition setting into a kind of other world, absorbing an alternative order of things.

Yet, these illusions are never fully convincing. Both makeshift and extravagant, the actual materiality that creates the imaginary scene, blights it almost immediately as the viewer differentiates the real from the imaginary. In fine, this paradoxical relationship is central to the process and of the work.

Mechanics and practical features are an inherent and visible part of the external structure, allowing viewers to see how it operates, building an interesting juxtaposition between the materiality of the form and the wistful illusion it creates.

Using DIY methods and ad hoc materials to replicate the main visual information, Clark constructs viewpoints of cities, outer space, the sea, rolling hills etc. Suddenly and only momentarily, one finds oneself in an unexpected predicament, stranded in the middle of the ocean or standing on a narrow ramp thousands of feet above a city.

Clara Clark lives and works in London. Solo exhibitions include ‘Through The looking’, The Sassoon Gallery, London March 2007  ‘Re-Creation’, Standpoint Gallery, September 2008, London (Mark Tanner Sculpture Prize Winner’s Exhibition); Space Ship’, The Salt Gallery, , March 2008, Cornwall. Group shows include Echoes of Other Worlds, The Stables Gallery, (Orleans Park), October 2010, London. Shoehorn, Crimestown Gallery, March 2009, London. Clara Clark graduated from the Royal College of Art in 2010.

http://www.claraclark.co.uk/ www.studio106artgallery.org

Eyelies is part of Pivotal Shifts, a project supported by The Arts Council England, London.

“We have a world of pleasures to win and nothing to lose but boredom”

Studio 106 Art Gallery is delighted to announce Deadlock, a new multimedia performative installation by artist group Me and the Machine.

Me and the Machine work ranges from wearable videos to participative cinema screenings, one-to-one performance, immersive dance installations, research projects and an online platform for the anonymous exchange of secrets. Audiences are invited to engage performatively in these unique experiences, being dislocated into hybrid realms, somewhere in between reality and fiction.

Deadlock is an absurd riddle, a never-ending discussion between two contemporary souls, locked between the soft numbness of comfort and their paralyzing fear to escape it, to open the door that keeps them in.

You can hear them, you can see them, you can feel them knocking, remote and actual, asking for your help, but will you be able to help? Do you even want to help?

Deadlock is a new development of Me and the Machine’s Door Project, a series of site-responsive kinetic video installations on the inside of locked doors. Using commonplace audiovisual technology, these sculptural works explore human hesitation, isolation and interconnection in the hyper-networked world, and the illusion of insurmountable physical proximity and impossible intimacy between the individuals, the two humans, on ‘each side of the door’.

Based on a true story – does it ring a bell?

Me and the Machine was initiated by artists Sam Pearson and Clara García Fraile. Their works range from wearable videos to participative cinema screenings, one-to-one performance, immersive dance installations, research projects and an online platform for the anonymous exchange of secrets. They combine innovative uses of everyday audiovisual technology and interactive media with choreographed performance, evocative text and distinctive imagery.

Audiences are invited to engage performatively in these unique experiences, being dislocated into hybrid realms, somewhere in between reality and fiction.
Clara García Fraile and Sam Pearson met while studying Performance and Visual Art at the University of Brighton, where they graduated in 2008 with First Class Honours. Since then, their works have toured Europe and the UK, drawing support from Blast Theory, South East Dance, The Basement and Battersea Arts Centre, amongst other organisations.

The company obtained The Arches Brick Award 2010 in Edinburgh for their “experimental and risk-taking approach”, a nomination for a Total Theatre Award and the ‘Outstanding Artist Award’ and ‘First Prize in Performance’ in the Young Artists Awards 2010 and 2009 of Junta de Castilla y Leon (Spain). They were also selected to be part of the British Council Edinburgh Showcase 2011 and to represent the UK in the Biennial of Young Artists of Europe and the Mediterranean 2011.

www.meandthemachine.co.uk

Studio106 Art Gallery is a Not-for-profit organisation that provides a platform to explore, create and present contemporary art and new forms of expression. We focus on researching and developing collaborative processes inherent to art-making and generating dialogues across: generations, cultures, and the relationship between art and the audience. Studio 106 Art Gallery programmes Live Art, exhibitions, screenings, forums, artists’ talks and workshops.

Deadlock is part of Pivotal Shifts, a project supported by The Arts Council England, London.

In partnership with UCA, Studio 106 Art Gallery has selected works by recent graduates from their final exhibition at UCA, a show that represents the culmination of the year’s study on the Foundation Programme. At an extremely important stage in the students’ professional and personal development, Suupa Pupa Doompadee Dah! aims to support their progression into higher education and ultimately toward a career in the creative arts.

The exhibition brings together works by Laura Alabaf, Esther Chung, Emily Hills, Lewis Ryland, Frances Tomlin, Alexandra Constantine and Amanda Woodcock.

The exhibition is directly inspired by the chant of the Oompa Loompa workers of Roald Dahl’s ‘Charlie and the Chocolate Factory’, a story that can be read as an analogy for the trials associated with the coming of age to adulthood. Referencing this period of growth and change, the exhibition aims to highlight the important stage on which the selected artists are embarking. In this vein, the title of the exhibition also refers to the Latin term ‘Pupa’, denoting the chrysalidian process through which insects undergo transformation. These transformative processes are inherently relevant to the work presented, addressing as it does themes of organic process, creativity and change.

The selected artists have a polymorphic approach and explore a variety of contemporary media. The works selected are the result of complex and thoughtful investigation into a range of diverse themes such as identity construction, psycho-geography, environmental issues and the body. Encouraging investment in talented young people, Suupa Pupa Doompadee Dah! provides support to these artists at an age when strengthening confidence and establishing support are a crucial part of their future.

Studio 106 Art Gallery combines a professional gallery with a lively education programme, presenting a regular series of exhibitions and events that complement and enrich its programme of courses and workshops. Exhibiting work by both young and established artists, Studio 106 Art Gallery aims to provide a supportive and engaging environment in which to work, while helping to establish links between artists, curators and art institutions. The programme of activities offers critical and practical support to artists, whilst providing the audience with an engaging series of events, including exhibitions, screenings, artist talks and Live Art events.