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Hoxton Art Gallery opens on the 20th May 2011 with the inaugural exhibition Symbiosis. The exhibition will be presenting work by some of Britains finest emerging talent.

Thank you to our Sponsorship Partners; 1 of 1000, Hoxton Gin, Nicolas Feuillatte Champagne, and Bubble Catering

 

Ellie Davies, Smoke & Mirrors VII, 2010

 

Symbiosis Preview

The gallery opened its doors on Thursday with the inaugural exhibition Symbiosis. The launch was a great success with the attendees taking over Hoxton's Charlotte Road. A special thank you to Spoonfed who has given the show a great review and our sponsorship partners; 1 of 1000, Hoxton Gin, Nicolas Feuillatte Champagne, and Bubble Catering. Press & Media please contact +44 (0)2077396852. For other information please visit our Facebook page and check out our Twitter.

Kentaro Yamada

Painting?

The gallery opened its doors on Thursday the 7th with the eagerly awaited exhibition Painting? The opening was a great success with many punters enjoying the vibrant and dynamic works in the show. The four artists; George Amos, James Bowyer, Rory McCartney and Ha Young Kim are all highly talented contemporaries working in London and Hoxton Art Gallery is proud to be showcasing their works. For more information please contact mail@hoxtonartgallery.co.uk or +44 (0)2077396852

A special thanks to Mason & Taylor. Also thanks to photographers Sophie Allen & Alex Perryman.

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Painting? Exhibition

Installation view of the current exhibition Painting? 

Photography by Michael Heilgemeir

Katie Sims residency in the Museo Del Prado

Having been awarded one of four scholarships from the Sir Richard Ford Scholarship Katie Sims has returned from her residency at the Museo Del Prado in Madrid. The scholarship is administered by the Royal Academy to four artists each year who must have already 'attained the draughtmanship which will enable them to make sketches and studies of the paintings at the Prado'. The artists must also be British and under 30 years of age. Sir Brinsley Ford, who established the award, has stated 'I am convinced that it must be of great help to any serious painter to be able to study the paintings in the Prado, particularly those of the great Spanish masters, headed by Velasquez, and of the great masters from other schools such as Titian and Rubens'. Katie has now returned with her visual diary bursting at the seams with sketches and illustrations inspired by her experience and time in the rooms of the Prado. Hoxton Art want to congratulate Katie on winning the scholarship and look forward to seeing the works that will be unfolded in the months ahead.

 

Photographs from a visit to Katie Sims studio in Shropshire

 

 

 

 

Next exhibition and studio visits

Hoxton Art Gallery's exhibition Painting? closed this week, the show has had a great response with people contacting the gallery from as far as Japan to discuss the works in the exhibition. People are now excitedly awaiting the next exhibition Orientations. The exhibition has been rated one of the top 5 exhibits to visit in London next month by Spoonfed [click here for more details]. Hoxton Arts Director, Matthew Nickerson, and Head of Gallery, Lydia Cowpertwait also made several studio visits over the past few weeks including visiting the artist David Jones to see his somewhat idosyncratic approaches to painting and his marvelous studio in Bow, East London. For more information please contact mail@hoxtonartgallery.co.uk or +44 (0)207 7396852

 

Opening of Orientations

The exhibition Orientations opened last Thursday featuring a performance by choreographer and contemporary dancer Kerrily Aitchison (see images below). For more information contact us at mail@hoxtonartgallery.co.uk or telephone +44(0)2077396852. Thank you to photographer Alex Perryman.

Nadine Feinson's interview with journalist Tom Jeffreys

Nadine Feinson is about show three paintings in the exhibition Memento Mori at Hoxton Art Gallery. The artist completed her BA in Fine Art Painting at Brighton University in 1999, did her MA at Goldsmiths and is currently doing an MPhil at the Royal College of Art. She divides her time between her studios in London and Lewes in East Sussex, where she lives. Here is an interview she had with journalist Tom Jeffreys from Spoonfed.

Tom: First up, I'm interested in the role of painting today and in the future. Is there a worry that amid a wave of conceptualism it'll go the same way as heldgelaying or dry-stone walling or something?

Nadine: My interest in painting is rooted in a belief in painting as a specific mode of thinking or awareness, one which allows the free play of both conscious and unconscious intellect. From this point of view painting is a process which allows me to 'think' through contradictions. As a mode of 'thinking' it would be hard to see how painting could become defunct. In the same way that you would never suggest that say, humour, could become defunct.

Tom: What attracts you to a particular painter or painting?

Nadine: That there is something going on beyond the image; that the paint is 'activated', whether figurative or abstract. It's not easy to say exactly but I guess I look for an integrity to the work, a sort of gravitational pull.

Tom: So which painters (past and present) do you admire or feel have influenced you?

Nadine: El Greco, Frederic Church, Max Ernst, Francis Bacon, Daniel Richter, David Thorpe, Albert Oehlen, George Condo, and, of course, Rolf Harris.

Tom: One thing that strikes me about your work is its technical virtuosity. Could you say something about the specific process involved?

Nadine: I work with oils, laying the paint down, moving it around, trying to find a point where the paint forms an image, or has the illusion of being something, and yet collapses back into being paint. At one level the paintings are an expression of this fascination, what paint is capable of, its ability to seduce through illusion, to be something other than itself and yet simultaneously be paint/matter. I move across the surface networking these 'surface events'.'

Tom: So, the interaction between the reality of the medium and the more theoretical aspects of intention seems to be important.

Nadine: I'm not sure 'theory' is the right word, but I do draw on ideas, specifically Henri Bergson's concepts of duration and virtual perception, medieval theology and philosophical negation... Even so, the painting always makes its demands despite what I may be thinking about.


Nadine Feinson, Ravennakamp , Oil on Board - [soon to be displayed in the exhibition Memento Mori at Hoxton Art Gallery]

Click here to see Nadine Feinson on Spoonfed.

Memento Mori
runs from 15th September to 6th October.

This article was first published in Spoonfed's London Art Section, August 2008

 

 

Memento Mori, installation views

Kentaro Yamada, Tsunami No.4-No.6 [1280 x 720 HD], 2011

Nadine Feinson, Ravennakamp, oil on board [featured left]

Shane Mecklenburger, Roadkill Diamond, 2011

Photographs ©2011 Orignal&TheCopy

For more information email mail@hoxtonartgallery.co.uk or telephone +44 [0]207 739 6852

Made in Shoreditch Magazine interview Shane Mecklenburger

Diamonds are Forever by , September 29th, 2011 

 Some weeks ago, I had the pleasure of attending the opening of Memento Mori, a unique exhibition at the Hoxton Art Gallery which delves deep into the meaning of mortality. Among the many talented artists whose works are currently being featured at the gallery (the exhibition runs until the 6th of October), I had the chance to chat with Shane Mecklenburger, the man behind the mysterious Armadillo Diamond. Assistant Professor of Art at Ohio State University, Mecklenburger describes himself as one who ‘examines value, transaction, and conflict by making diamonds, weaponising paint, turning love into money, and making music with shooter games’. He also happens to be one of the nicest chaps you’ll ever meet!

J: What was the inspiration behind the armadillo diamond? How was it created?

S: I was interested in using the market as an art material. I was also working at the School of the Art Institute of Chicago, which happens to be located on Jeweler’s Row downtown. Walking past these diamond stores every day, I started thinking about the similarities between the diamond world and the art world. Diamonds are an interesting case because their market value is driven almost entirely by what they mean to us symbolically and aesthetically. It’s got little to do with scarcity. And with the dropping cost of high-quality manufactured diamonds, this symbolic value is only becoming more pronounced. It’s a lot like art. I was remarking on this to an artist friend, Kristen Anderson and she said she recently met someone on the beach who had a company that makes diamonds from the carbon in the cremated remains of your loved ones. This led to an exchange with my artist friend Jonathan Liss about worthless carbon-based things that would be funny as diamonds.

 

 

 

 

 

 

 

 

 

 

 

 

 

Then I moved to Dallas. Driving is a way of life for Texans, and armadillos are a common casualty.  I learned the armadillo is a fairly recent immigrant to the US from Mexico, and also the state animal of Texas.  The armadillo became a symbol of contradiction in U.S. culture between acceptance and intolerance, and this compelled me to use an armadillo for the Roadkill Diamond. I spent a few days driving around to find one already slain by auto. This particular armadillo met its end in Palestine, a town near Dallas. I named it ‘Pal’, wrapped its remains in a white burial shroud, and took it to a pet cremator. I then sent 8 ounces of Pal’s ashes to a diamond manufacturer. After a few months of high heat and pressure in their lab we had a diamond.  The manufacturing process is very expensive – far more than a diamond of this size and quality would be worth on the diamond market.

J: What is the basis of the valuation of the diamond?

S: It’s important that neither the artist nor the gallery determines the price, because the project is really asking ‘what is this worth?’S: The ‘value’ of the diamond is determined through an auction. During the span of the exhibition at Hoxton Art Gallery (Sept 14 – Oct 6), there is an ongoing silent auction.  Serious buyers may place any bid they feel is reasonable.  The winning bid from this silent auction then becomes the starting bid in Summer 2012 at a live art auction in Dallas. This auction will also be open to the public at large, as well as bidders from the London silent auction.  It’s important that neither the artist nor the gallery determines the price, because the project is really asking ‘what is this worth?’

J: The armadillo diamond is quite tiny as a work of art. Do you find it draws its strength as an art piece more from its physical composition, or the story behind it?

S: Neither, actually. The heart of the work is in its valuation – in the auction, which is a kind of ongoing performance in which anyone can participate.


J: Have you had anything else transformed into ashes? If so, why? 

S: Yes. At this moment, gunpowder and Superman III are being made into diamonds. Gunpowder is mostly carbon, and I spent a year in a chemistry lab to remove the nitrates from .223 Caliber assault rifle ammunition, purchased in Dallas. This process made it safe to send to the manufacturer.  I’m also making a diamond from 32 pages of the script of Superman III (1983).  Superman is a classic U.S. mythology of itself, protecting truth, justice and the ‘American Way’.  In Superman III, faulty technology and bad kryponite turn Superman into an asshole.  Clark Kent has to separate himself from Superman’s body and struggle with him.  I guess this set of three – roadkill, gunpowder, and Superman – are about where I’m from: the U.S.A.  Our internal struggles and contradictions, our national self-perception and the way we are perceived, valued and devalued by the world.

J:  Can you envision this becoming an alternative to burial and cremation?

S: It already is. Anyone who can afford it can be turned into a diamond when they die. Just put it in your will, register online and pay the fee.

J: How do you view mortality?  What happens when we die?

S: I agree with Lech Majewski that we should talk to the dead because they often have more to say than the living.

J: Is there anything in particular that reminds you of the inevitability of death?

S: Cigarettes.

J: How has the armadillo diamond been received thus far? Do you find there are differences of opinion among American and British audiences?

S: I’ve been pleased with the reception. So far it’s only shown in London, so it’s too early to say if there are differences across the pond.

 J: The armadillo diamond aside, what themes has your other work revolved around?

S: I have an ongoing series of eBay auctions in which I sell things like the Future and Culture, in their entirety, to the highest bidder. So this work is similarly interested in transaction, what we value, and the way we value it. My interest in performing a live art auction probably started with the eBay project. I also have a ‘sword-into-ploughshares’ theme that runs through my projects, many of which have dealt with shooter games, which are a perfect storm of markets, militaries and entertainment. I’m also interested in the places where technology breaks down or runs amok.  In some ways I feel the diamond project deals with this phenomenon, since it’s really quite absurd that the technology exists to make an armadillo into a diamond, and it’s even more absurd that each and every one of us has access to such an elaborate and resource-intensive process.  It’s modern alchemy, which is also a running theme in my work.

J: What can we expect from you in the future? Any plans to come for another exhibition in London?

S: More diamonds. After the gunpowder, Superman, and roadkill, proceeds from the auction will go toward funding the next set of three diamonds. And I have a long list of diamonds I plan to make make after that.  At the moment I’m also working on the two videos that accompany the Gunpowder Diamond and the Superman III Diamond and a new software-based interactive work. My next show is in Dallas. I’d be more than happy to show in London again if the opportunity presents itself, but nothing’s lined up here as of now.

Memento Mori runs from 15th September to 6th October.

A special thanks to Joobin Bekhrad, editor of Made In Shoreditch Magazine

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