07 January 2015

This is the last week to see this inspiring exhibition: Leila Heller Gallery in Chelsea is hosting Time to Hit the Road, presenting work by over 30 artists who had participated in the Gerson Zevi Land Art Road Trip – a travelling artist residency that was founded in 2013. The exhibition is very personal as it reflects the individual experiences of the artists; yet there are many unexpected aspects that connect the work, such as the palettes, or the use of found materials. The work manifestes itself in video, photography, painting, sculpture, printmaking, drawing, and performance – highlighting the varied practices..
06 January 2015
Rob Chavasse has recently been working on a body of work that is manifested as performances (that only he witnesses) and photographic documentation of the former. The photographs are works in their own right. They show the results of him putting effervescent medicine tablets into natural pools of water in the American Southwest and watching the effect of nature and artifice collide; visually spectacular and bizarre in equal measure. In a similar vein, he also poured brightly coloured energy drinks, such as Lucozade, into rock cavities. By bringing together two completely unrelated things, he creates psychedelic pools that seem to..
10 December 2014
  James Capper has a wild imagination. Fused with his sophisticated grasp of engineering processes, this defines his distinctive artwork. Taking inspiration from Richard Serra, David Smith, Julio González, and Anthony Caro, Capper cuts and welds steel, fabricating all of his works himself. For his sculptures, which are the heart of his oeuvre, he uses the materials and problem-solving mentality of mechanical engineering. Alongside the sculptures, his work incorporates drawings, maquettes, and performances. Capper, born in Kent in 1987, lives and works in London and graduated in 2010 with an MA in..
31 October 2014
Miram Austin is a sculptor who is a particularly imaginative and skilled mould-maker. She works with various resins, plastics and waxes, applying them in surprising ways. Her sculptures are sensual and tactile, yet have a hard, almost defensive, quality too. This can be clearly observed in Objects for a Mourning Ritual, particularly the flower works within this larger piece, that are dipped in wax, like a protective shield, which are also oddly sensual. Austin preserves the ghost of the flower but also creates an entirely new form, drawing from Rachel Whiteread in some ways, yet forging her own vocabulary and..
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