ANDREW
BURGESS
"The paintings are exuberant and celebratory....
quirky and individualistic. Andrew Burgess is a painter
who does adventurous things with ones view of the world."
Kazuo Ishiguro, Modern Painters
"Lucca and Arezzo fit into Burgess's private world
so easily that he might have invented them himself."
John Russell Taylor, The Times, London |
| BACKGROUND |
|
2000
|
Interview
with Kazuo Ishiguro featured in December issue
of Modern Painters
Click here for the
article |
| 1999 |
Awarded
The New English Art Club Drawing Scholarship |
| 1996 |
Graduated
Byam Shaw School of Art, BA Fine Art |
| 1995 |
The
Academy of Young Jewish Artists Certificate of
Excellence |
| COMMISSIONS |
|
| 2002 |
Cunard
Lines/ Queen Mary II |
| 2001 |
APL
Limited, San Francisco
Chelsfield, Pie./ London |
SELECTED EXHIBITIONS |
|
2003
|
ART2003, THE LONDON ART FAIR with the Cynthia
Corbett Gallery |
| 2002 |
artLONDON
with the Cynthia Corbett Gallery, The Art on Paper
Fair/ with the Cynthia Corbett Gallery |
| 2001 |
Boston
International Fine Art Show with the Cynthia Corbett
Gallery
City Heights, Gallery 27 in Cork Street, London
artLONDON & The Art on Paper Fair, with the
Cynthia Corbett Gallery |
| 2000
|
A
View from the Tower, The Gallery in Cork Street,
London
Cynthia Corbett Gallery, Winter Exhibition, London |
| 1999 |
Pryory
Art, London |
| 1997 |
The
Tricycle Gallery, London |
|
| Cityscapes
of London, New York, Boston, San Francisco, Siena, and
Perugia, viewed from a tower, a skyscraper, a bridge
- pictures that play with perspective and are devoid
of people. Concentrating mainly on the shapes of buildings,
the vertical punctuation of the skyline, creating a
patchwork quilt of colour, Andrew Burgess encourages
us to reexamine the way we view our urban environment.
In short, he transforms the everyday into something
monumental - sometimes elegiac, sometimes sinister. |
ALAN
HALLIDAY
Alan Hailiday was trained at the Courtauld Institute
of Art and taught by Anthony Blunt and Anita Brookner;
he also has a doctorate from St. John's College, Oxford.
He exhibited at the International Contemporary Art Fair
at the Barbican Centre in 1984, Oiympia in 1985, 1989
and 1990, and Los Angeles in 1986, 1987 and 1993, regularly
in London and throughout the country.
In 1985 he designed the Venice Carnival Ball at the
Royal Albert Hall for the Chelsea Arts Club. Hailiday
held nine one-man exhibitions at the Royal Opera House
Covent Garden, and in 1987 led the European Artists'
Group at the Frankfurt Festival with Valdimir Ashkenazy,
subsequently transferring to Los Angeles sponsored by
Lufthansa. Hailiday has painted in Russia, South America,
the Middle East and throughout Europe. He has painted
the Royal Opera^ the Royal Ballet, Birmingham Royal
Ballet, English
National Opera and English National Ballet, the Kirov,
the Bolshoi, Bejart in Brussels and Lausanne, the Metropolitan
Opera in New York, Nederlans Dans Theater, Rambert,
Dutch, Australian and Stuttgart Ballets and American
Ballet Theater.
In 1990 the Barbican Centre commissioned him to to paint
Mozart interiors in Vienna, Salzburg and Prague for
an exhibition at the Barbican Centre to mark the Mozart
bicentenary. Following four exhibitions at the National
Theatre, Hailiday was artist-in-residence with the Cincinnati
Ballet and the Caracalla Dance Theatre in Montreal,
Paris and Beirut and held a major exhibition in Beirut
in 1995. At the Royal National Theatre Hailiday has
held three exhibitions of his paintings ofRNT productions
in rehearsal, while at Stratford-upon-Avon he has painted
the Royal Shakesepeare Company in performance from the
wings, exhibiting in conjunction with the RSC's seasons
at Newcastle, the Barbican in London and at Plymouth.
Beyond the world of theatre, Hailiday was commissioned
by Christie's Contemporary Art to record the destruction
following the Great Storm of 1987, this led to a one-man
exhibition at the Royal Botanic Gardens in 1989. Hailiday
painted St. George's Hall days after the fire at Windsor
Castle and the work was acquired by the V & A. In
1993 he was invited to record the devastation in Bishopsgate
following the bombing of the City of London: the paintings
are now in the Museum of London. John Laing Construction
commissioned Hailiday to paint the old city in Dubai
before much of it was demolished Sonia Ghandi also challenged
him to paint in India and gave him great encouragement
while he was there: the paintings were shown first in
Bombay and then in London at the Bruton Street C-Talierv
Orient Lines saw this exhibition and commissioned him
to paint thirty-seven large oils in less than four months
for the Marco Polo cruise liner. He is also represented
in the collections of the Laing Art Gallery in Newcastle-upon
Tyne, and at the Wiener Library in London
Halliday was invited to paint on film locations including
Rebecca, Thomas Hardy's The Scarlet Tunic, The Tichborne
Claimant (with Sir John Gielgud and Stephen Fry) and
the BBC's film adaptations of Tom Jones, Vanity Fair
and Great Expectations. Halliday painted Shakespeare
in Love over a five month period at Shepperton Studios
during the summer of 1998 with Gwyneth Paltrow, Judi
Dench and Joseph Fiennes.
He has painted at Shakespeare's Globe on Bankside, at
the Chichester Festival Theatre and the Bastille Opera
in Paris. He was honoured with an exhibition at the
Accademia Italiana in association with the Royal Ballet
and held an exhibition of paintings of the Kirov Opera
and Ballet at the Bruton Street Gallery. At the 1998
Aldeburgh Festival he exhibited his paintings of the
operas of Benjamin Britten in conjunction with Thompson's
Gallery in Aldeburgh, and the following year, during
the Aldeburgh Festival, Thompson's
Gallery featured his paintings of the operas of Mozart,
concentrating on paintings made at Glyndeboume. Halliday's
exhibitions of paintings of the Royal Shakesepeare Company
have been sponsored by Vosper's Ford Motors and T.C.
Rolt Mercedes Benz, both in Plymouth; his exhibition
of paintings of the Peter Hall
Company was sponsored in London at the Ebury Gallery
by Bradshaw Webb Mercedes Benz in London.
In 1999 Halliday painted the BBC film of David Copper
fie Id on location in Suffolk and Norfolk and at Elstree
Studios. He then completed a new series of paintings
of the Kirov Opera and the Kirov Ballet made in dress
rehearsal and from the wings in performance at the Royal
Opera House as well as another series of very large
canvases for Orient Lines. He painted on location during
the shooting of the BBC film of Nancy Mitford's novel
Love in a Cold Climate. In November 2,000, over a five
week period of rehearsal at the National Theatre, Halliday
made an extensive series of paintings of Harold Pinter's
stage adaptation of Marcel Proust's Remembrance of Things
Past. He was commissioned by Bill Kenwright to draw
in performance in the West End Felicity Kendal and Frances
de la Tour in Noel Coward's Fallen Angels and Jessica
Lange and Charles Dance in Long Day's Journey into Night.
In March 2001, he painted the Bolshoi Ballet from the
wings of the Theatre Royal, Drury Lane and the Kirov
Opera and Ballet at the Royal Opera House, Covent Garden
and returned to Russia to paint in St. Petersburg..
And at Renishaw Hall in Derbyshire, Halliday held his
first retrospective of twenty-two years of painting
at the invitation of the Sitwells.
In January, 2002 he painted the National Theatre's production
of Mark Ravenhill's play, Mother Clap's Molly House,
directed by Nicholas Hytner. The Actors Centre in London
invited Halliday to present an exhibition of portraits
of actors in given roles at The Spotlight in Leictester
Square. In early July he will be exhibiting paintings
of the Henley Royal Regatta in the Stewards Enclosure
during Regatta week. And he is currently exhibiting
with Kate Pierrepont Fine Art in Oxford, Falle Fine
Art on the Channel Islands and the Cynthia Corbett Gallery
in London. |
DEBORAH
LANYON |
| Art
Education |
|
| 1977-78 |
St
Martin's School of Art
|
1979-81
|
Byam
Shaw College of Art |
| 1982-86 |
BBC
Design Department |
| 1986-90 |
Putney
School of Art |
| 1991
-94 |
Oliver
Bevan Studio |
Solo
Exhibitions
|
|
| 1993 |
Milne
and Moller |
| 1994 |
Putney
School of Art |
| 1995 |
Pike
Gallery |
| 1996 |
Archeus
Fine Art |
| 1997 |
James
Colman |
| 1999 |
Air
Gallery |
| 2000 |
Archeus
Fine Art |
Group
Exhibitions
|
|
| 1993 |
Arts
Guardian
Bonhams Art Gallery |
| 1994 |
Small
Mansions |
| 1996-2001 |
British
Art Fair
Islington Art Fair |
| 1997 |
Ghent
Art Fair
Glasgow Art Fair
Air Gallery |
| 1998 |
Pump
House Gallery
Indigo Arts |
| 1999 |
Lincolns
lnn |
| 2000 |
Royal
College of Arts
Florida Art Fair |
Private
Collections
|
Park
Lane Hotel
The Square Restaurant, Bruton St.
The Glass House Restaurant, Kew
Anton Mosman
John Lewis Collection
Serco plc |
| |
|
|
| Her
work is represented in many private collections around
the world, including North and South America as well
as extensively in Britain and Europe, much of which
has been executed by commission. |
I have been obsessed with painting since childhood and
painted steadily throughmy teens, progressing to Art
School at St Martins and Byam Shaw. The schoolsof art
which most inspired me early in my career are archetypally
English. For example, from the Euston group, especially
figures like Coldstream, I learned the importance of
drawing and compositional techniques which are a strong
feature of my work. I still practice these disciplines
every week by attending a life-drawing work-shop in
South London. For me drawing has the same importance
as bar-work for a ballet-dancer. Without the graft which
bar-exercise involves, the ballet cannot look effortless;
in my own work I seek to create a similar sense of weightlessness,
so that the material seems to fly across the canvas,
but with the same purpose and direction of a good dancer.
After Art School, I became increasingly interested in
the St Ives group, especially such figures as Roger
Hilton, Patrick Heron and Ben Nicholson. From Hilton,
I learned the importance of mark-making and line in
painting; I was inspired by Heron's expressive use of
colour and from Nicholson, I learned the significance
of structure in holding a painting together. I have
since consistently attempted to negotiate between the
claims of colour and structure without privileging either.
Simultaneously, I developed an enthusiasm for American
Expressionism, particularly de Kooning and Pollock.
What struck me in their work was the role played by
dynamic, gestural mark-making and the fact that while
their work bears an obvious relation to a material world
outside their art, the paintings exist within their
own logic and space as autonomous objects.
The preliminary stage in my process of composition is
generally detailed field-work and observation of particular,
real landscapes. In recent years, I have travelled to
places as diverse as the Pyrenees, Greece and Cuba in
search of the kind of wild and open sites which particularly
inspire me. In mountains, I find the deep angles and
drops which are an especially characteristic feature
of my work. Generally I begin with long walks in the
area to be painted, followed by rapid water-colour notations
of the subject. I will often fill a couple of note-books
with such sketches which I then work up later into a
second, transitional stage of composition where I am
staying. However, I now never paint the completed work
in situ, I find the process of removing myself from
the source of inspiration an important preliminary period
of the work's gestation and abstraction. On returning
to my studio in Wandsworth, I expand on the field sketches,
working up what is in effect a series of visual notes
into the final object.
I often use collage or other mixed media. I favour acrylic,
a quick-drying medium, to make the collage adhere to
the surface of the canvas. I tend to work rapidly and
very physically, with the canvases positioned on the
floor, checking them periodically by raising them onto
a wall or easel. Given the large scale on which I work
(I regularly produce paintings which are six or even
eight feet by four), I find that working on the floor
is the best means to ensure a dynamic application of
the paint. At this preliminary stage, the process of
composition is more visceral and intuitive; when the
canvas is raised, I work more intellectually, to check
and shape the direction that the painting has been taking.
These are quite separate 'moments' which I compare to
chess; on the floor I 'attack' the object from an emotional
stance; when the painting is vertical, I enter a mode
of 'defence', editing what has gone before.
In recent years, I have had solo shows with James Colman,
The Air Gallery and Archeus Fine Art; and group shows
at the Royal College of Art, the British Art Fair and
Islington Art Fair, amongst other venues.
Currently, my work is in a process of transition as
I find myself experimenting with new compositional values.
I am seeking to eliminate some of the structural features
which have characterised my previous work. My aim is
to create new sources of tension, together with a greater
sense of fluidity, specifically in the spatial quality
of my work. I am aiming for a more existential relation
to landscape, defined more by my inner being, and am
moving further away from literal correspondences to
external landscapes. I am also experimenting with a
different range of colours than in the past, while attempting
to synthesise these into a more mobile and concentrated
ensemble. |
PORTRAITS by
COLIN WIGGINS
MONOPRINT & ETCHING
Colin Wiggins trained as an Art Historian, graduating
from Manchester University in 1976 and has worked
in the Education Department of the National Gallery
since 1981. He has been instrumental in developing
the Gallery's involvement with contemporary artists
and has curated shows of Paula Rego, Ken Kiff, Frank
Auerbach, Peter Blake, Anthony Caro and currently,
Ana Maria Pacheco. All work shown here is a combination
ofmonoprint and etching.
'My experience as an artist is central to my approach
to art history. Conversely, living almost daily in
the National Gallery for 18 years has, of course,
helped my own work immeasurably.
These prints,which are all portraits,combine two techniques.
I start by drawing from life, looking carefully and
trying to pin down what I see. I etch the resulting
line drawings onto a metal plate.
I print my plates weeks, months or even years after
making the drawings. This is why my work sometimes
shows two dates, the date of the initial drawing and
the date of the completed image.
When I make this final image, the sitter is no longer
present. The lines I have already etched into the
plate help me recall memories of the sitter. I use
brushes, rags, cotton buds and my fingers to manipulate
the ink on the plate, in an attempt to suggest form,
movement and mood. Because of this method, each image
is unique. Hike to frame them together in series,
often with radically different images made from the
same plate. A list of my favourite artists would start
with Raphael, Utamaro, Degas and Picasso.'
'Looking at Colin Wiggins' work one is aware of two
things: firstly, his understanding of the relation
between theory and practice and secondly, the seriousness
of his engagement with the subject he chooses - the
human figure. In our time there is an excessive use
of subjectivity and self-reference in much contemporary
art.
It is very refreshing to see an artist dealing with
the complex, difficult but enduring problems of trying
to create work of substance without falling into the
trap of fashion or easy solutions.'
Ana Maria Pacheco
'Drawing from the human figure is central to the work
of Colin Wiggins. Anyone can leam the rudiments of
drawing, but it is what happens afterwards that is
interesting. Colin draws beautifully but enjoys going
beyond what he actually sees to produce images that
seem raw and alive, often surprisingly tender and
sometimes very sensuous. His technique is a fascinating
cross between observation and memory, discipline and
improvisation.'
Colin Blake
IRISH TOMBSMONOPRINTS BY COLIN WIGGINS 2000
The complex of neolithic cairns at Carrowkeel, in
the Bricklieve Mountains ofCo.Sligo in the Republic
of Ireland, is the inspiration for this series ofmonoprints.
What affected me most when I visited this extraordinary
and remote place, was the thought of the effort and
organisation that went into the design and construction
of the tombs, around four thousand years ago. Many
of them are placed with significant and undisputed
astronomical alignments. Despite the destructive excavations
they suffered at the beginning of the twentieth century
they are, quite simply, astonishingly beautiful. Their
soft, feminine forms gently allude to the human body
at rest, poetic proof that those who built them, and
laid their dead to rest in them, understood the world
as the Mother Earth to whom we all return. Carrowkeel
is a poignant reminder that we are exactly the same
as the people of that frustratingly unknowable culture
of so long ago.
This area of Ireland is full of associations with
ancient Irish mythology and to a Northerner like myself,
who loves the rain and the wind as much as the summer
sunshine, these stories and the land where they are
set, carry more meaning than the better known legends
of the Mediterranean.
BETWEEN TWO
WORLDS
BIJINGA: JAPANESE PORTRAITS
by COLIN WIGGINS
Colin Wiggins is an English printmaker whose recent
work bridges the gap between the artistic traditions
of Europe and Japan. His chosen subject of 'bijinga',
or portraits of beautiful women, is part of a long
Japanese tradition. These prints were however, started
with the European practice of drawing from life, which
has been central to western art since the Renaissance.
The expressive energy of oriental calligraphy and
the graphic purity of the masters of Japanese Ukiyo-e
printmaking, are of great importance in Wiggins's
work. To stress his fascination with oriental art,
he has recently been working exclusively with Japanese
models.
'I start by drawing from life and the resulting lines
are etched with acid into a metal plate, either copper
or zinc. I then use brushes, rags, cotton buds and
my fingers, to apply ink to the surface of the plate
in an attempt to suggest form, movement and mood.
After I have printed the plate, I sometimes add colour
afterwards, to represent clothes or hair. Because
of these methods, each image is unique. Even if I
wanted to, I could never make two prints exactly the
same.
Thanks are due to my models, for their beauty and
patience.' |
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