Private view Monday 10th September from 6pm Exhibition runs 11th September - 9th November
In her second solo exhibition with Zero10 Gallery Delphine Hogarth depicts her concern with disclosing feelings and moods. Her paintings represent men set in abstract backgrounds - this choice not to focus on a geographical place puts the male figures' moods at the centre of the paintings, insisting that men do not belong to just one place. Their emotion links them to others as a social interaction. Geography and beliefs are purposely erased as they would interfere with the emotions captured in the paintings.
In these paintings Delphine talks about the representation of human emotions; there are fights, wars, love, beauty, sadness in Delphine's paintings, but there is almost always only one human figure... one individual.
The paintings show a free brushstroke as they have been executed on the spur of the moment, due to Delphine's changing lifestyle, but also with the idea that these paintings are about capturing men at a certain point in time.
Although not directly inspired by William Hogarth's work, from whom she is a direct descendent, her concerns are the same - trying to understand the human condition and emotion. Zero10 Gallery is thrilled to represent Delphine and show this exciting new body of work. About the artist
Delphine Hogarth lives and works in London. Recent exhibitions include 20/21 International art fair, Royal College of Art, London (2011); People, Zero10 Gallery (2011); Debut, John Martin gallery, London (2010); Pre-Selection, BP Portrait Award, National Portrait Gallery, London, (2010); Room with a woman, Fat Galerie, Paris (2007); Slick Contemporary Art Fair, Fat Galerie, Paris (2006); The Hart and Fuggle pop up event, The rag factory, London (2010); Insect Women, rue d'Artois,Paris (2001)
Private view Monday 10th September 6-9pm Exhibition runs 11th September - 9th November
Holmes-Davies paintings are rendered over time, playing a balancing act between figurative conventions and natural perceptions. Surfaces are built up using dabs and veils of paint; his journey from one part of the canvas to the other gradual providing time to consider the nature or character of each painting. So far this year Holmes-Davies has been making a number of small works using a mirror about 45 - 30cm's, a stool and Aloe Vera plant which he tends to most days. Holmes-Davies uses these objects as a catalyst to develop new paintings, drawing from biographic and observational events and incidents.
Holmes-Davies paintings are contemplative and a process to contemplate, time is an important aspect of the work in its making and through the referencing of time past. Holmes-Davies paints from daily observations, the representation of people, places or objects give way to intricate explorations of colour, pattern, rhythm and mark making. What is pictorially represented in his paintings is never part of the real world; instead a plant, person or place inhabits a specific psychological or metaphysical space acting as a means of projection for the artist and viewer. For each painting Holmes-Davies seeks to develop a strong internal logic, viewing the work can be a slow and complex process as the viewer can find many entry points and many routes through the painting.
Born in London, UK Adam Holmes-Davies completed his MA in Fine Art at Chelsea School of Art in 2006. In 2007 he was selected for the Bloomberg New Contemporaries, touring to: The New Art Gallery Walsall UK, Rochelle School London UK, Corner House Manchester UK. Holmes-Davies has exhibited in 2008 Cory Michael Project, Ada Street, London, UK, Things before now, Fold Gallery, London, UK, 2009 and Kingsgate Gallery, London, 2011.
STEVE GREEN – PETER LAMB
9 OCTOBER – 18 OCTOBER 2012 OPENING: MONDAY 8 OCTOBER 6 – 8PM
Zero10 Gallery is pleased to present the first instalment of our annual Frieze Art Fair celebration.
This year we will exhibit an artist duo that we feel reflect our ethos and are worthy of attention. Steve Green and Peter Lamb, irrespective of materials and production, address the individual via a poignant reflection upon various and varying issues, which to them are close to home. They present art making as an investigation of individual obsessions and intent, which deals with theoretical positions but never at the cost of their own cognitive decisions; both artists prioritise their own interiorised concerns. The results of such introspection range from the abject to the celebratory, but fundamentally both artists are detectives of the Self.
Glimpses and samples of Aztec sun worship, the occult, pagan ritual, Native American totem and folkloric decoration are present in the sculptural work of Steve Green as he plunders the belief systems of metaphysical shapes and objects. However his use of sleek, highly polished acrylic and glossy petro-chemical colour is loaded with the surface and design elements of the sign, freed from direct signification, to instead connote a more general mysticism. Green attempts to communicate without absolute, relying on an interpretation that objects hold certain transcendental properties to more receptive onlookers. (Ross Downes 2010)
The gestural vigour of Peter Lamb’s latest paintings at first suggests inspiration from abstract expressionism and even from the automatic techniques used by the Surrealists. However exposure to the warren of marks that complicate these surfaces relates the artist’s ideas more closely to an American painter who, while an admirer of Jackson Pollock, was also a critic of Pollock’s elevation of personal biography into painterly style as personal as a signature. Lamb also promotes inscrutability about meaning with concentrations of strokes, shapes and textures. Gestures are his own and, conceivably, other people’s; authorship cannot be vouched for throughout an expanse of painting. Some elements are clearly not actual, physical registrations (and, therefore, marks of authenticity) but marks that have been photographed, with the photograph then worked upon by being overlaid with new matter. What is more, the photograph reproduces shapes that could fall outside the general ambit of aesthetic consideration. (Martin Holman 2012)
Steve Green (b. 1978) graduated from Slade School of fine art, London, in 2003. Selected exhibitions includes Polemically Small (The Future can wait), The Torrance Art Museum, Los Angeles (2011); By chromed hoovest is travel now, Annie Wharton Gallery, Los Angeles (2011); Monday Monday, Cell Project Space, London (2010); Continuous Movement of ideas, Gallerie Nicolas Silin, Paris (2010); Nothing like something happens anywhere, Rum 26, Gothenburg (2009). Green lives and works in London.
Peter Lamb (b. 1973) graduated from Camberwell Scholl of Art, London, in 1996. Selected exhibitions includes The Snake That Ate Its Own Tail, Poriginal Gallery, Pori, Finland (2012); Parrott and Grasshopper on a Tree Trunk with No Handles, Boetzalear-Nispen Gallery, London (2012); Layer Players, Strzelski Galerie, Stuttgart (2012); Although Rare They Do Exist, Zero10 Gallery, London (2011); Das Vertraute Unvertraute, Wurttembergischer Kunstverein, Stuttgart (2010). Lamb lives and works in London.