NEWSPEAK: BRITISH ART NOW - SAATCHI GALLERY - LONDON 2010

NEWSPEAK: BRITISH ART NOW - SAATCHI GALLERY - LONDON 2010

Artists in NEWSPEAK: BRITISH ART NOW

Caroline Achaintre | Tasha Amini | Hurvin Anderson | Maurizio Anzeri | Jonathan Baldock | Anna Barriball | Steve Bishop | Karla Black | Lynette Yiadom Boakye | Pablo Bronstein | Alan Brooks | Carla Busuttil | Nicholas Byrne | Gareth Cadwallader | Juliana Cerqueira Leite | Spartacus Chetwynd | Steven Claydon | Clarisse d'Arcimoles | William Daniels | Matthew Darbyshire | Graham Durward | Tim Ellis | Tom Ellis | Dick Evans | Tessa Farmer | Marcus Foster | Robert Fry | Ximena Garrido-Lecca | Jaime Gili | Nick Goss | Luke Gottelier | Kate Groobey | Anthea Hamilton | Anne Hardy | Gabriel Hartley | Nicholas Hatfull | Iain Hetherington | Alexander Hoda | Sigrid Holmwood | Systems House | James Howard | Graham Hudson | Des Hughes | Dean Hughes | Mustafa Hulusi | Paul Johnson | Edward Kay | Idris Khan | Scott King | Ansel Krut | Peter Linde Busk | littlewhitehead | Alastair MacKinven | Goshka Macuga | Ryan Mosley | Rupert Norfolk | Arif Ozakca | Mark Pearson | Dan Perfect | Peter Peri | Olivia Plender | Henrijs Preiss | Ged Quinn | Clunie Reid | Barry Reigate | Luke Rudolf | Maaike Schoorel | Daniel Silver | David Brian Smith | Renee So | Fergal Stapleton | Clare Stephenson | Caragh Thuring | Phoebe Unwin | Donald Urquhart | Jonathan Wateridge | John Wynne | Toby Ziegler
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TEXT - Patricia Ellis

Tim Ellis’s unique approach to art-making crafts a ubiquitous logic from the haphazard and coincidental. By drawing mental and tactile relations between materials and subtly altering their forms, Ellis highlights a sensitive interlacing between artifice and natural order. In Ellis’s work found objects such as plates, vases, and Christmas tree ornaments are reconfigured to become assemblages of totemic significance. His practice revolves around his idea that “a being has a primeval desire to want to belong to something greater than oneself. This ‘wanting to belong’ manifests itself in both the production and consumption of cultural artefacts. Whether in isolation or as a collection, artefacts are dependent on a creator, mediator and audience. My work juxtaposes a culturally diverse collection of objects questioning their value and original purpose. The viewer is forced to engage in the notions of value, authorship and display.” Ellis often treats his readymade components with slight interventions, such as faux finishing bric-a-brac so they appear as more stately materials, or editing motifs to co-relate to other objects in the group. Through these minute alterations Ellis strives to engender his work. Conceiving each piece as male or female, he fabricates an instinctive harmony or ‘genetic bonding’ through the objects’ aesthetic handling. In his museological presentation, paintings are completed on pillowcases, and elaborate stands are designed at both plinth and kitchen countertop height, some replicate Victorian plant stands; blurring the domestic and exotic, their familiar scaling becomes a template of karmic measurement. His sculptures, which stand in as archaic transmitters, receive and refract all the various elements from their mysterious towers: Chinoiserie and Delft pottery, Viking shields, alchemical orbs, and trade union-like banners, prized relics both real and fake, all speaking the same cryptic language of universality and timelessness.

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Exhibited Works

The Royal Academy of Arts - Schools Annual Auction - 2010

The Royal Academy of Arts - Schools Annual Auction - 2010

A FOUNDATION FOR EXCHANGE - PRIMOPIANO - LUGANO, SWITZERLAND - 2010 - Solo Exhibition

Solo Exhibition
A Foundation for Exchange - Primo Piano - Lugano Switzerland - 2010

Press Release

‘A Foundation for Exchange’   Lugano  Switzerland 2010

‘A Foundation for Exchange’ is best described as a response to the idea that a being has a primeval desire to want to belong to something greater than ones self. This ‘wanting to belong’ manifests itself in both the production and consumption of cultural artefacts. Whether in isolation or as a collection artefacts are dependent on a creator, mediator and audience. The exhibition juxtaposes a culturally diverse collection of objects questioning their value and original purpose. The viewer is forced to engage in the notions of value, authorship and display.

The collection corrupts and transforms the values put upon cultural artefacts. Every culture principally has its own distinct set of values and beliefs, which are transferred to the things around them. This transferral manifests itself in the thoughts and values of the creator, curator/mediator and viewer and therefore, the production and consumption of cultural artefacts. Through trade, cultural objectives become re-appropriated into other forms. Therefore, artefacts and images change from potent forms of communication to objects of fashion and aestheticism. Once the original is appropriated an informed copy enters the world creating a new set of values and a secondary history of its own. The focus becomes the co-existence of both original and copy and the tension between historical fact and fabrication. This subsequent tension allows an engagement with the notions of artefact, artifice, creativity and invention.

The paintings although individual, bear the same title ‘United in Different Guises’ and are numbered accordingly. The title refers to a proposed shared function. This function sits somewhere between a communicative role and the symbolic. The source imagery used is a mixture of signage and design; which is reconstructed to form gendered symbols. Their scale and material quality mimic the appearance of flags and banners. By folding, scuffing and gradually aging the paintings, a suggested utility appears. What is left is an object that questions notions of symbolism and authenticity, allowing the work to function beyond the realms of painting.

Tim Ellis 10.02.2010

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Installation Views

 From Left to right: Three Tiers 2010, Allegorical Reflections 2009, Souvenir 2010

From Left to right: Four Quarters 2010 and Three Tiers 2010

From Left to right: Four Quarters 2010 and Three Tiers 2010 (Detail)

From Left to right: Three Tiers 2010 and Allegorical Reflections 2009

From Left to right: United in Different Guises XXIII, United in Different Guises XXI, United in Different Guises XXVII,United in Different Guises XIII,United in Different Guises XIV,United in Different Guises XII

From Left to right: About Face 2010, United in Different Guises XXIII, United in Different Guises XXI, United in Different Guises XXVII 

From Left to right: About Face 2010 and Souvenir 2010

From Left to right: Him and Her 2010, Three Tiers 2010 and United in Different Guises X 2010

From Left to right: Him and Her 2010 and United in Different Guises X 2010

The Catlin Guide 2010 - New Artists in the UK

The Catlin Guide 2010 - New Artists in the UK

ISBN 978-0-9564570-0-4

TAG From 3 to 36: New London Painting - BROWN - London - 2010

	TAGFrom 3 to 36: New London Painting January 7 - February 6, 2010
	Angus Sanders-Dunnachie Hoping to be proved wrong PRESS RELEASE EXHIBITIONS: Tag Images

Artist List (In order within the three threads. Underlined names are the initial three artists who were asked to contribute by Brown)
Gabriel Hartley Mali Morris Alex Scarfe Stewart Cliff Tom Livesey Tom Bull David Northedge Andy Wicks Alex Carmichael Lyle Perkins Geraldine Swayne Howard Dyke Clare Price Stephanie Moran Marcus Cope Luke Rudolf Annie Hemond Hotte Gorka Mohamed Robin Kirsten Jill Mason Tim Ellis Jack Newling Angus Sanders-Dunnachie Yohei Yashi Yo Okada Miho Sato Juan Bolivar Karen David Lee Maelzer Dale Adcock	Rannva Kunoy Alexis Marguerite Teplin Sophie von Hellerman Cullinan + Richards Milena Dragicevic * David R. Fenwick
* Cullinan + Richards asked David R. Fenwick to participate, in addition to Milena Dragicevic

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For Immediate ReleaseExhibition Dates: January 7 – February 6, 2010 Opening Reception: January 7 from 6-8PM Tag: From 3 to 36. New London Painting. For the exhibition – Tag – Three London-based painters have each been asked to invite one other London-based painter they like or admire, who will then invite another, and so on. This has resulted in 36 artists being invited to participate, each with their own unique style of painting. Tag was a way to allow each artist to ‘curate’ or organize the next step in the exhibition, in a similar way to exquisite corpse, where each person asked to contribute is aware of the person who precedes and follows, but is unaware of what is being contributed. Similarities appear between artists within each tagged thread, often marking a close understanding of the invited painter’s work. Viewers may examine each work, and decipher influences or contrasting differences. Tag also perhaps gives a better survey of current London-based painting than a single organizer could give – as abstract and figurative painters, recent graduates and more established artists, and a variety of mediums and sizes are shown here side by side. The rules each artist received when asked to participate were the same: Each participating artist must be a painter who resides in Greater London Each person must contribute one painting, smaller than 90 x 90 cm Each artist will ask one other artist to participate, until 15 artists are included As there was a given time frame, many artists were quick to respond and participate. However, as any exhibition with rules would likely discover, the rules can also break down. In one thread, an artist was unresponsive after agreeing to participate, leaving a short space of time to try and finish the chain. Therefore, another artist was asked in their place, who then asked two artists in order to try and create separate branches and a longer thread. Although this thread is still the shortest of the three, this directional shift adds greatly to the basic idea of Tag – that surprises and turns in an exhibition, or an artist’s work, trump any rules. Artist List (In order within the three threads. Underlined names are the initial three artists who were asked to contribute by Brown) Gabriel Hartley Mali Morris Alex Scarfe Stewart Cliff Tom Livesey Tom Bull David Northedge Andy Wicks Alex Carmichael Lyle Perkins Geraldine Swayne Howard Dyke Clare Price Stephanie Moran Marcus Cope Luke Rudolf Annie Hemond Hotte Gorka Mohamed Robin Kirsten Jill Mason Tim Ellis Jack Newling Angus Sanders-Dunnachie Yohei Yashi Yo Okada Miho Sato Juan Bolivar Karen David Lee Maelzer Dale Adcock Rannva Kunoy Alexis Marguerite Teplin Sophie von Hellerman Cullinan + Richards Milena Dragicevic * David R. Fenwick * Cullinan + Richards asked David R. Fenwick to participate, in addition to Milena Dragicevic _______________________________________________________________________ TAG From 3 to 36: New London Painting January 7 - February 6, 2010 WORKS

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http://www.browngallery.co.uk/TAG.html