Looking for a place to rent or buy with a few original features? Then why not go to Unreal Estates, an exhibition curated by my former studio-mate Amanda Lwin in a real estate agency, Homefinders, at 146 Kingsland High Street, London.
Exploring the current housing situation, she’s brought together a group of writers and visual artists to create alternative descriptions and imagery for homes. It opens up a compelling alternative view of property , confirming what many already feel, that owning a home is a completely unrealistic fantasy for them. Here are some images which ideally need to be seen with their text so I highly recommend a visit or, if you’re too late for the show and accompanying brochure then visit the website.
Here is the “double bedroom house share for the easygoing and non-judgemental”;
the “25 year lease on exquisitely renovated Georgian house”;“fixer-upper for seasoned renovators, mild pest control required”and “attractive Victorian terrace with toxic waste”.
Her plan is to make this a touring show with local artists and writers working in each specific location so sign up for updates.
As the years go on I seem to know and recognise the work of an increasing number of artists exhibiting at the Royal Academy Summer Exhibition, several of whom have featured in previous blog posts.
Kate MccGwire is one such and I was delighted to see that she had won the Jack Goldhill Award for sculpture with Squall, pictured below.
Other pieces which caught my eye included Katie Walker’s Fragile. I’m not sure if she’s the furniture maker but the care and craftsmanship of this piece would indicate that it might be. Can anyone help here? Another prize-winner, of the Charles Wollaston Award, was Mike Nelson with this unnerving piece, Untitled ( Public sculpture for a Redundant Space) a prototype for a series of sculptures made for the High Line in New York. Expanded Narcissistic Envelope by Toby Ziegler was humorously displayed with most people nudging past and practically ignoring it. It moved so easily, swaying gently as it was buffeted by the crowds but is a metal structure with some very sharp angles.
A recent study of oil painting techniques led me to visit Tate Britain for this exhibition of figure painting. I enjoyed the standard greats including Francis Bacon and Lucian Freud
but was more interested in examining the less-famous artists in the last room of the show; these painters were really exciting for their handling of materials.
Lynette Yiadom-Boakye creates each painting in just one day according to the information at the show – quite an achievement for the scale of work she can produce. I love the looseness and confidence of her brushwork dealing with the “what” more than the “who”. Celia Paul’s painting is much more heavily worked with compelling intensity.
I have long been an admirer of Paula Rego and was wowed once more by her use of pastels. Look at her treatment of fabric in this piece, particularly the veil.
Jenny Saville specialises in hugely over life-sized representations of the female form in oils. The materiality of her work mesmerises.
As it says on its website, The Florence Trust provides a dynamic mentoring programme and studio residency in London for twelve international artists each year. Each residency programme lasts for 12 months and is a real lifeline for artists to develop their practice in London.
I went along to the summer exhibition private view in the atmospheric decommissioned church tucked away in Aberdeen Park, which also houses the studios. Not all the artists are represented here as it was too dark for some of my photos. Visit the website for information and click on the artist’s links to learn more about their work and concerns.
The inaugural exhibition in the new Gabrielle Jungels-Winkler Galleries at the Royal Academy is LANDSCAPE, one of the three concurrent London exhibitions by Tacita Dean. I wasn’t quite sure what to expect but was really impressed by the scale and sensitivity of the work shown. Zooming in and out is an essential part of the experience (I use those terms deliberately).
Here’s a view through to The Montafon Letter, a huge chalk drawing on blackboard of a mountain (there’s a bit more to it than just that). Majesty, one of a series of works on paper from 2016
Cloud drawings, also from 2016, in front of her collection of round stones.I really liked the contrast of jade reflected in the glass frame of this massive print Quarantania.Her film Antigone is also on show – I wasn’t able to see all of it so will complete the experience on my next visit.