Solo Show at BLINDARTE contemporanea in Naples
SIMON KEENLEYSIDE | BACK TO THE WORLD
Inaugurazine 12 ottobre dalle 18.00 fino a tardi
Opening October 12 from 6 pm till late
12 Ottobre 2013 – 8 Novembre / 2 Dicembre – 10 Gennaio
October 12 2013 - November 8 / December 2 - January 10
La Blindarte è lieta di annunciare l’apertura della mostra Back to the World, personale di Simon Keenleyside, sabato 12 ottobre dalle ore 18 fino a tardi. La mostra sarà aperta fino al 8 Novembre e dal 2 dicembre al 10 gennaio 2014 tutti i giorni dalle 10 alle 13.30 e dalle 15.30 alle 19.
Nato nell’Essex in Inghilterra nel 1975, Simon Keenleyside nel corso degli anni è diventato noto per uno stile di pittura che trae ispirazione ugualmente dalla tradizione della pittura paesaggistica inglese e dall’astrazione moderna. Diplomato al Royal College of Art di Londra, Keenleyside è stato celebrato per la sua magistrale capacità di manipolare la prospettiva e la profondità di campo con una maniera personale e sempre riconoscibile. Le fonti d’ispirazione dell’artista sono i paesaggi del suo ambiente familiare nell’Essex, comprese le rive del Tamigi e dei boschi che era solito frequentare da bambino, due siti che hanno indotto l’artista ad interrogarsi sulla comprensione ontologica del luogo. Sebbene i riferimenti ai paesaggi rimangano prevalenti nel lavoro, recentemente l’artista britannico si è allontanato dalla raffigurazione dello spazio fisico e posta una maggiore enfasi sull’evocazione degli stati mentali, dei desideri e delle ansie che lo accompagnano durante i suoi viaggi nella regione. Il suo intento di sperimentare con il formalismo e i materiali gli permette di trasmettere allo spettatore la sua esperienza visiva ed emozionale, ritraendo il paesaggio circostante non nella sua forma naturale ma nella sua visione policromaticamente onirica. Dunque Keenleyside ha studiato ancora più nel dettaglio le possibilità della pittura, scoprendo nuovi particolari di luoghi a lui già conosciuti e creando riverberi di memoria che suggeriscono l'impossibilità del loro pieno recupero, così come le limitazioni della pittura stessa.
Il titolo della mostra “Ritorno al Mondo” è un riferimento ad Agnes Martin, alla sua lunga ricerca durante gli anni di isolamento in New Mexico ed alle opere pittoriche astratte di quel periodo, ispirate dall’assoluta calma e tranquillità, "come se fossero state prodotte senza alcun riferimento al nostro mondo". Sul significato della pittura indaga anche Keenleyside, ma lo fa con un uso diretto del paesaggio che lo circonda, concentrandosi a pieno su quello che è effettivamente il soggetto rappresentato nel dipinto, il reale protagonista dell’opera.
L’artista ha esposto in numerose mostre nel Regno Unito, in Danimarca, in America ed in Italia. Nel 2002 ha vinto il BOC Emerging Artist Award e nel 2004 il Lexmark European Art Prize. Le sue opere sono presenti in importanti collezioni come la Boc group, Comme de Garcons, Hiscox plc, Mario Testino, Amlyn Collection, Marsh McLennan, RCA Collection, TI Group.
Blindarte is proud to announce the opening of the exhibition Back to the Word, solo show by Simon Keenleyside., on Saturday October 12th from 6 pm till late. The show will be open every weekday until November 8th and from December 2nd to January 10th 2014 from 10 am to 1.30 pm and from 3.30 pm to 7 pm.
Simon Keenleyside was born in Essex in England in 1975. Over the years, he has become known for a style of painting that draws its inspiration in equal parts from the tradition of English landscape painting and modern abstraction. A graduate of the Royal College of Art in London, Keenleyside has been celebrated for his masterful ability to manipulate perspective and depth of field in a very personal and always recognizable way. The artist’s source of inspiration are the landscapes of his family home in Essex, including the banks of the River Thames and the woods that he played in as a child. These two sites prompted the artist to dwell on the ontological understanding of place. Although references to landscapes prevail in his work, more recently the British artist has moved away from representing physical space and has placed a greater emphasis on the evocation of the mental states, desires and anxieties that accompany him during his travels in the region. His desire to experiment with formalism and materials enables him to convey his visual and emotional experience to the viewer. He portrays the surrounding landscape not in its natural form but with his polychromatic, dreamlike vision. Keenleyside has studied the possibilities of painting in even greater detail, discovering new details of places he already knew, and creating reverberations of memory that suggest the impossibility of their full recovery, like the limitations of painting itself.
The exhibition's title, “Back to the World”, is a reference to Agnes Martin, to her long period of research during the years of isolation in New Mexico and the abstract paintings of that period, inspired by the absolute calm and tranquillity, “as if they were produced without any reference to our world.” Keenleyside also investigates the meaning of painting, but does so with a direct use of the surrounding landscape, concentrating fully on what is actually the subject represented in the painting, the real protagonist of the work.
Keenleyside has exhibited in numerous exhibitions in the United Kingdom, Denmark, the United States and Italy. In 2002, he won the BOC Emerging Artist Award, and in 2004 the Lexmark European Art Prize. Works by the artist are in major collections such as the Boc group, Comme de Garcons, Hiscox plc, Mario Testino, Amlyn Collection, Marsh McLennan, RCA Collection, and TI Group.
BLINDHOUSE - BLINDARTE
via Caio Duilio 4d-10
8 0 1 2 5 - N a p o l i
tel +39 081 2395261
fax +39 081 5935042
12 Ottobre – 8 Novembre / 2 Dicembre – 10 Gennaio
October 12 – November 8 / December 2 – January 10
Back to the World
opening 12 Ottobre ore 18 / October 12 h 6 pm
16 Marzo – 10 Maggio
March 16 – May 10
The Golden Ass
4 painters from New York
Adam Cvijanovic, Inka Essenhigh,
Natalie Frank, Santi Moix
inshore-fishing, group show.
Launch, Thursday 15.11.2012, 18.30 - 20.30
ROKEBY presents a group exhibition which brings together a selection of contemporary artists whose work can be read within a specific history of British landscape painting. Incorporating work by Peter Lanyon from the first half of the 1950’s, the exhibition looks to the St Ives artist and how his concerns of that period can be seen to inform artists working in Britain today. The exhibition includes two exemplary works by Lanyon from 1952; Inshore Fishing and Construction for Bojewyan Farms.
Lanyon was one of the most important artists in Britain in the twentieth century. The only native Cornishman of the St Ives School he can be said to have transformed the tradition of landscape painting, using his immediate surroundings and the notion of place to express a total experience of landscape.
Lanyon’s activity during the immediate post war period laid the foundations for his mature working methods, concerns and handling of paint. Having been taught by Ben Nicholson and influenced by St Ives resident Noam Gabo, by the ‘50‘s Lanyon had worked through his Constructivst period and had returned to the significance of the immediate landscape. Post-war, Lanyon began to abstract further from nature and was led by an all-encompassing understanding of his native countryside, instilling his paintings with a phenomenological dimension, that could be understood in time and space. For Lanyon a practice founded in landscape should encompass a conception of place via all the senses as well as alluding to historic, social and personal experiences.
The exhibition includes contemporary artists who investigate landscape and its legacy through the canon of twentieth-century art and a specific Modern British period, and whose inclusion alongside Lanyon offers possible new readings of their practices.
Essex born Simon Keenleyside paints his native surroundings; the backwaters and tributaries of the Thames. Depicting these places with an ability that discloses the mystery and ambiguity they continue to instill in the artist, Keenleyside not only evokes physical places, but also mental states and the desires and anxieties that accompany him during his trips into the county. Though some of his paintings readily bring landscape to mind - Keenleyside plays with illustionistic devices of perspective and depth - others are suggestive of states of mind or experiences of light, colour, form and texture, in yet others the surface collapses into what can be understood largely in terms of pure abstraction.
Vincent Hawkins works on paper, card and canvas and in a recent move has created ‘folded paintings’ which can be read in a similar vein to Lanyon’s experiments in space.1 Hawkins’ folded wall based assemblage’s can be read in relation to these but also to the layered multiple perspectives that Lanyon investigated in the early ’50’s. Similarly the enclosed forms of Lanyon’s paintings from the period are echoed in Hawkins’ paintings which seem to offer a subjective experience of being in and part of a place - whether physical or psychological.
Abigail Reynolds transforms printed matter of the British landscape in assemblages that incorporate objects and images, books, glass and industrial material. As an artist living and working in St. Just, Penwith, Cornwall, Reynolds, is interested in landscape as a site of numerous - social, political, cultural - histories. The Maidens, 2011 brings together material from three sources; a photograph of a line of women circling a fence at Greenham Common who seamlessly align and morph into a group of Morris dancers within the pages of a book. A further book has its page open on an image of a stone circle close to St Just. Formally the construction can be read in terms of Lanyon’s attempts through his assemblages to understand physical and abstract space, but also as way of disrupting a linear temporality in landscape, again important to Lanyon.
Bradley Grievson’s abstract paintings bring landscape to mind whilst condensing space and time. Like Lanyon’s mode of working in the ’50’s, Grievson’s paintings are made up of layers of paint and other materials, giving them an overall dense appearance, especially so due to the dark palette. Similarly Grievson’s compositions are dissected and encourage an unfolding engagement with the surface and the interrelated parts. In the same way, Lanyon sought a physical relationship with the work that evolved and shifted with time and as ones focus moved physically across the canvas. Ultimately both artists achieve a sense of movement through space and time but one that is anything but linear. This is embodied in a new large scale print by Grievson which takes a dated topographical bookplate and abstracts it through a process of scanning and enlargement. Movement is inherent in the work and time collapses via the ruptures and repeated moments caught in the surface.
This is the first of a series of exhibitions at the gallery which look towards the legacy of British Modernism and its influences on contemporary practices.
With thanks to David Bowie and a Private Collector, London for loaning work to the exhibition.
PLEASE NOTE: The gallery will be closed 21 December 2012 - 8 January 2013
Passage - Group show in Naples Curated by Simon Keenleyside
27 Ottobre – 31 Gennaio 2013
October 27 – January 31 2013
(opening is on the 27th)
Passage - curated by Simon Keenleyside
with: Alexis M Teplin, Ross Chisholm
Noah Sherwood, Greg Rook
Will Turner, Sigrid Holmwood
Susan Collis, Simon Keenleyside
Via Caio Duilio 4d
80125 Napoli, Italy
Tel. +39 081 2395261 - +39 081 2394642
FAX +39 081 5935042
A Place Called Home
April Exhibition for Aspen Art Collection
news coming soon.