re-title.com
April 2011
Artist Focus - Painting

re-title.com artist directory
 
The re-title.com artist directory is full of talented emerging professional artists from all over the World.
 
In this issue we would like to introduce you to a selection of artists working in painting....
 
Please follow the links below to go directly to the artist's portfolio on re-title.com
 

 
Phil Ashcroft, London
 
 
Phil Ashcroft, Hinkley B, 2008
 
Phil Ashcroft, Hinkley B, 2008
acrylic on canvas, 122 x 92cm
(photo: © Anthony Lam)
 
 
Phil Ashcroft is a painter and graphic artist based in London.
 
A derelict hospital, oil depots, nuclear power stations, the abominable snowman; collectively these semi-surreal settings and cartoon-like motifs appear as mysterious manifestations, phenomena both real and imagined. Combining influences from abstract expressionism, British landscape painting, Japanese woodcuts, and graphic street art, Ashcroft integrates varied visual styles to generate a crossover between space, object and environment.
 
Recent exhibitions include No Soul for Sale, Tate Modern (2010); a commissioned, site-specific billboard for Deptford X, London (2009); Free Art Fair, Barbican Gallery, London (2009); Heart of Glass, Concrete and Glass, London (2008); Wonder Island, Schwartz Gallery, London (2008); Out of the Box and in The Garman Ryan Permanent Collection, New Art Gallery Walsall (2007-08).
 
Ashcroft also exhibits as ‘PhlAsh’ collaborating on live-painting projects in galleries and alternative spaces from street locations to shops. These have included Special Relationship, Scion Space, Los Angeles (2008), Elephant Technique, Village Underground (2006), All The People We Like Are Dead, London (2004), and Graffiti Meets Windows 1, Hank-Yu Department Store, Osaka (2002).
 
 
 
 

 
Marcus Cope, London
 
 
Marcus Cope, MAGIC, 2011
 
Marcus Cope, MAGIC, 2011
oil and oil pastel on canvas
100 x 80 cm
 
 
Everything starts in the middle; we may be able to make out Cope’s first lines imprinted on the canvas, starting before he starts - the picture evolving into its beginning. Sometimes, where there are fewer layers you can see those first lines, but at others there are dense layers, the initial marks submerged. Cope’s paintings are constantly in a process of becoming which may end arbitrarily. How does he know when it’s finished? When it ‘speaks’ to him? When it achieves sufficient distance from the original thought? - When it has been worked through, transformed into gesture, motif, brushstroke; contained, made new. They may change direction suddenly, irrevocably, as one thought is let go of, and another forms to take its place.
 
Cope moulds the shape of memories, using certain objects of meditation or mediation - like talismans, holding resonance. These are investigated through paint, processed, taken apart and put back together, clarifying - like Cezanne, perhaps, exploring the spaces they evoke. They may be vultures, tennis balls, a concrete chessboard, the human hand, vacuum cleaners; or words such as ‘Shoes Break!’,‘One New Design’, ‘Posh Jaws’, which function in the same way as the objects, as objects, stand-ins for the thing or idea.
 
As Cope says: “These pictures are beginning to form a picture of my life in the simplest way I can make them, they are not commentary, they are reflection.”
 
By Stephanie Moran 2010
 
 
 
 

 
Simon Willems, London
 
 
Simon Willems, ‘The Excursion’ (from the Magic combo series), 2009
 
Simon Willems, ‘The Excursion’ (from the Magic combo series), 2009
acrylic on varnish on paper
38 x 28 cm
 
 
Simon Willems is a painter based in London. He studied at the Royal College of Art from 1998-2000 and Nottingham Trent University from 1991-1994.
 
He has shown widely in both solo and group exhibitions throughout Europe, North America and Asia. To date these have included amongst others, solo projects at Torrance Art Museum (Los Angeles), Galerie Polaris (Paris), FRAC Auvergne (France), Elaine Levy Project (Brussels), Percymiller Gallery (London), Wallspace (New York) and Mark Moore Gallery (Santa Monica). He has participated in numerous group shows including projects at Galerie Forde Espace Contemporain (Geneva), FRAC Haute-Normandie (France), RAID Projects (Los Angeles), Vegas Gallery (London) and Galleri SE (Bergen) amongst others.
 
Willems makes work from various sources - real events and stories, as well as fictitious icons, as catalysts for fantasy based allegories. He is drawn to narratives where history, denial and belief become interchangeable. It is this function of personalised utopias, the patterns of choice, convenience and their failure that he focuses on, in both the individual as well as collective consciousness.
 
The Excursion is taken from a broader project entitled Altitude Sickness that centred on Hitler’s Eagle’s nest at Kehlsteinhaus becoming a tourist restaurant at the end of World War Two.  Derived from archival footage of Hitler and Himmler talking a stroll near the Berghof (beneath Kehlsteinhaus) in 1945, Willems creates a set of historical records that start from the present and tunnel backwards. Working retrospectively to find its future context, the Nazi entourage takes on a deeply absurd and ironic presence. The fast-food metaphor appears the most aggressive and exacting means through which to communicate such historical convenience and consumption. The serene alpine backdrop cushions the switch of Kehlsteinhaus from Nazi teahouse to tourist eatery.
 
 
 
 

 
Karl Bielik, London
 
 
 
Karl Bielik, Father, 2011
Oil on board
45 x 40 cms
 
 
Working on a multitude of paintings at a time, Karl Bielik's brew of abstractions are developed in batches.
 
Irregular canvases cover his studio walls and floors, where he shifts from one painting to another, experimenting playfully with mark making. Formal lines taken from photographs and diagrams contrast loose oily wounds, thick emulsions offset light glazes and dribbles. Bielik fluctuates between techniques, pushing and challenging the paint until a kind of harmony is met.
 
In contrast to this emotive imagery, banal solitary words form Bielik's titles, tempering and balancing the melancholy character of his paintings; the result, a prolific collection of finely tuned sophisticated studies.
 
Karl Bielik's painting 'Father' has been selected by Phyllida Barlow for The Creekside Open 2011 to be shown in June at the ATP Gallery in London.
 
 
 
 

 
Michaela Zimmer, Berlin
 
 
Michaela Zimmer,"101120", 2010
 
Michaela Zimmer,"101120", 2010
acrylic, spray paint on canvas
100x80 cm, 39x31,5 inch
 
 
On both, an immediate and a conceptual levels my work focuses on issues of dynamics, animation and variability in still images.
 
Traces of different layers on the canvas show the process of a slowly built-up surface generating a picture ground that places emphasis on the rendering of a particular formal vocabulary. It is the last almost casual layer that turns the ground as foundation into a reflecting background allowing for a different approach to immediacy.
 
To me the term “Provisional Painting” (Raphael Rubinstein 5/4/09) would be a keyword, describing best, the state of openness in a work of art that allows process to be mediated.
 
 
 
 

 
Nicholas McLeod, London
 
 
Nicholas McLeod, Drained, 2011
 
Nicholas McLeod, Drained, 2011
Acrylic and oil on board
100 x 122cm
 
 
My work is concerned with exploiting the tension between subject matter and the application of paint. Attempts to generate an atmosphere and sense of unease within the work, comes from my ongoing experimentation and inquiry into the medium. The work moves through a series of process such as employing different speeds of painting and alternating the tools with which I make marks. These devices add to a vocabulary with which I can explore my subject and concerns further.
 
 
 
 

 
Amy Talluto, New York
 
 
Amy Talluto, "Sweet William", 2008
 
Amy Talluto, "Sweet William", 2008
Oil on canvas
60" x 74"
 
 
All of my work is based on landscape imagery I collect while rummaging around in the woods with a hardy, inexpensive point-and-shoot digital camera. Subjects include wild areas in which I have recently spent time, including Wyoming, Montana and Upstate New York. My paintings range from the very large to the very small and are all oil on canvas or panel. I create my work in the studio, referencing the photographs I take and download onto my laptop screen. I find working in the studio from a photo allows me to have enough distance from the original scene to allow me to impose more of my own psychology and color onto the raw material of the collected image.
 
In my work as a whole, I am interested in exploring the in-between states of painting. I enjoy the contrasting feelings of anxiety and relief that occur from pairing areas of dense hyper-detail with areas of light breathe-ability. Tree branches twist and writhe, color turns acidic, and sky flattens to meet form and then deepens back into space again.  Snippets of saturated under-painting peek out and are left raw. Animism, personification and deformity creep in as well, creating a final puzzle-locking composition that confuses the appearance of flatness and space, invented color and natural color, and dark menace and sparkling beauty.
 
Amy Talluto is currently exhibiting "Huldra" - a Solo Exhibition at Black & White Gallery, 483 Driggs Ave, Brooklyn, New York, NY 11211,  April 8 - May 15, 2011.
 
 
 
 

 
Daisy Clarke, London
 
 
Daisy Clarke, 'The sea song'
 
Daisy Clarke, 'The sea song'
gouache  on paper
22 '' x 30 ''
 
 
The moment a fairy tale move’s from light to dark,
The sound of the wind through the pines, the sentience of animals,
Far beyond the edge the cloud’s,
What we fear in the dark and what lie’s beyond fear.
 
Daisy Clarke’s painting has an otherworldly quality, instilled with magic and dreamlike serenity. Her individual symbol language creates a strange unsettling atmosphere where fragile women and animal’s inhabit a melancholic landscape.
 
 
 
 
 
 

 
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