Tim Davies Show

Tim Davies -Artist at Work.

GS Artists are delighted to be hosting the latest in our series of ‘Artist At Work’ residencies. Tim Davies is occupying 217 High Street and creating a new series of works. The residency recognizes the difficulty for professional artists to create new experimental works and so offers the surroundings of the gallery, 24/7 access and the support of the GS team, over a period of 6~8 weeks.

Tim is working on a series entitled ‘Survival is not a crime’ He’s says about the plans for the space – “A few years ago I made a work called “Figures” (One year to heaven) which was a written description of all the photographs used in a broad sheet paper for a whole year. This was done daily from August the 17th of one year to August the 17th of the next and from front page to back (missing out retrospective moments as found in obituaries etc).

I saw this as an alternative portrait of that time – as reliable or unreliable as any other means. I accepted that it was my reading of the images and that it would  vary from person to person – as many times as the image was read (accepting also that the image was ‘taken’ and then selected by another) – but it was a way to witness humans (figures) in various circumstances and their responses to them from global to local and from the banal to the traumatic. This I understood as not just an observation of others but a reflection of ourselves(members of the human race) through a means of empathy or at least an invitation to empathize if at all possible and at whatever level.

By removing the image and describing the scene in words the emphasis was less on the pictorial and more on the figurative, although of course site provides context and so would be noted when relevant.  Occasionally too I would note the words they may have said to a journalist, been overheard or placed on a placard.

These words or quotes I have been looking at more closely for this project – working title ‘Survival is Not a Crime’. This time I have extended my search into online media.  This is an especially disturbing time as the gap between the haves and the have-nots, truth and untruths has widened. I’m collecting the voices of dismay and disbelief”

The residency culminates with the Second Soup Talk on February the 17th…more details tbc…

Tim Davies, is one of Wales’s leading artists, he is primarily an installation artist whose work often derives from environmental or political concerns, working in a range of different materials, including film found imagery and sculpture. He was born and brought up in west Wales. After working and studying in London, Norwich and Canterbury he returned to Wales in 1994. He lives and works in Swansea.

 Much of his work involves meticulous, repetitive and time-consuming actions. Pristine, orderly formalism is evident from early work through to more recent video installations, but the end result is often beguilingly simple, minimal and aesthetically beautiful. The labour-intensive process undertaken by Davies speaks loudly with a quiet voice.Winner of the Mostyn Open Prize in 1997 and the National Eisteddfod Fine Art Gold Medal in 2003, he has exhibited extensively including the UK, Ireland, Eastern Europe, Hong Kong, Australia and central America. including ; 2013 Drift National Museum Wales, Cardiff, 2012 In and Amongst Fold Gallery, London, 2011 Tim Davies – Wales at Venice 54th Venice Biennale, 2010 Year to Heaven Chapter, Cardiff, 2010 Seeriad/Series Tallinn Art Hall, Estonia, 2009 Between a rock and a hard place Glynn Vivian Gallery, Swansea, 2009 Kilkenny Shift Butler Gallery, Kilkenny, Ireland.

Soup Talk-Tim Davies in conversation with Simon Periton

SOUP TALKS Part One. Simon Periton’s talks ‘Your War, My Love’ ‘Soup Talk’ with Tim Davies.

Tim and Simon have been brought together in a form of artistic matchmaking. GS Artists have invited the artists to exchange studio visits as part of this ongoing process and have provided recording equipment, for either a podcast or a transcribed conversation (to be edited at their discretion). This inaugural talk is part of a planned series, part two (the return match) will take place in Spring 2019, when Simon will return to interview Tim, after his “Artist At Work’ residency at the gallery. Before settling down, we will invite the audience to venture out to Kings Lane, to look at Simon’s wall painting ‘Seersucker’ (below) that he has created. Further Soup Talks are planned, the next being between Craig Wood and Fiona Banner when she returns to Swansea to create a new wall piece in Kings Lane. Each event will begin with a meal, in this case, a Sunday brunch, then we settle for conversation. The event is free but ticketed – follow the link here. This event has been very kindly supported by the Arts Council of Wales.

poster tim and simon

Snipping the ribbon!

The opening of Simon Periton’s show ‘YOUR WAR, MY LOVE’ on the 28th of September and the official opening of GS Artists Swansea gallery at 217 High street with the Lord and Lady Mayoress of Swansea snipping the ribbon!

Photography by Mitja Zupanc

G39’s UNITe group come for lunch.

At GS Artists,  we ALWAYS have a decent lunch on a Wednesday. This week we slightly expanded this and invited our mentors and UNITe gang to sample our wares.  So nice to see them and look forward to seeing more of their activities in Cardiff.  They spent the day looking at the BEEP show and all the extra associated shows all over Swansea.

With thanks to Kate Mercer for her photographs

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Summer 2018

This summer in Swansea, we are bringing together five important contemporary painters in a new exhibition celebrating paint in all its glory.

When choosing a title for a show of 5 painters who are all old enough to know better, it’s no surprise that when we arrived at JOY REVISION, it was pretty unanimous. Perhaps not just about that period of time but maybe its to do with our journey through the purpose of art. Joy, hand in hand with re- vision, reassessing how art has the power to transform. All of the artists involved in the exhibition have been a vital part of the creation of a contemporary art painting history. Angela de la CRUZ, Sarah PICKSTONE, Andreas RUETHI, Anne RYAN, and Stephen SNODDY will present all kinds of painted surfaces.

In discussion with the artists, Anne Ryan said the following “Joy Revision is a great title for a painting show. Painters have an innate understanding of the concept of jouissance, as described by psychoanalysts – a rapturous, excessive, sensual pleasure. This is not just found in the visceral materiality of the medium, but more importantly in the zen-like, empty-headed meditative state – ‘the zone’ – that many painters cite as the optimum state for painting. In working and re-working, stating, erasing and re-stating painters attain the point where all negative thoughts and influences have left the studio and ideally (according to Philip Guston) thepainter has (mentally) left as well” The colour transcends all in many of these works, and that State is evident and addictive for all.

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At first glance, Angela de la Cruz’s paintings appear to have been vandalized or flagrantly abused. Mangled stretchers, slashed canvases, twisted and violated, are hung on the wall like macabre trophies, and yet it is this deliberate and systematic desecration of the canvases, which informs the end result. Emotionally raw, yet canny and sharply ironic, De la Cruz confronts the ‘problem’ with painting by incorporating its very destruction into the work itself. Her work for Joy Revision is just a tease. She has meticulously prepared a canvas and then perforated a edge around the painting that she has enjoyed pressing through. Looking at the surface you have to resist the urge to carry on pressing through the perforation, like being confronted with a pile of large bubble wrap and not being able to burst one bubble.

SARAH PICKSTONE-  Rose 2017 240 x 200 cm acrylic on panel .jpgDamascus Rose 2017, by Sarah Pickstone – is a painting about the possibility of renewal. At its base is a line drawing stolen from an outstretched hand in Guernica – painted by Picasso in 1937 and a universal anti -war emblem. In Sarah Pickstone’s painting – a large rose, springs from the palm of the hand – both a symbol of Englishness and a nod to its origins, in Syria and Damascus. It is meant as an image of transformation.

 

ANDREAS RUTHI - Field 1.jpgAndreas Ruethi

Happy, happy, joy, joy

Happy, happy, joy, joy

Happy, happy, joy, joy

Happy, happy, joy, joy

Happy, happy, joy, joy

Happy, happy, joy, joy

(The Ren and Stimpy song)

Commenting on the word “joy” Beethoven calls to the people:
“Be millions entwined!” And this word will be the language of the artwork of the future. (Richard Wagner on Beethoven’s Ode to Joy) The paintings of Andreas Ruethi celebrate the hallucinogenic power of colour, energizing the viewer in a similar way to listing to music. They investigate new possibilities held within the tradition of painting: playing with the nature of reproduction, imitation, re- presentation and scale. The inspiration for these paintings range from found old colour lithographs, to photographs taken by his wife, artist Helen Sear. The intention to extend the potential held within a reproduction through the act of gesture and reinterpretation is the uniting element across all the works.

Anne Ryan 12.jpgAnne Ryan’s ‘cut outs’ are loose and playful, they are about letting the painting come to life and break free from the stretcher. Her ceramics explore similar themes in a similarly open and painterly way. Using a new medium such as ceramics is interesting as an artist can come to it unaware of the conventions and rules. A whole new way of working and thinking through making becomes suddenly possible.

Untitled.jpgStephen Snoddy wants viewers to look at the relationships between his works, and how he carries lines and formats from one picture over to another. He sometimes regards two consecutive paintings as a diptych, with left and right-hand panels forming parts of a composite whole. There is an obsessive commitment to playing out endless permutations of specific forms and he goes along with an ontological methodology. The work becomes defined by its geometries, serial approach and limitless variations. ‘The paintings often come in a small series and incorporate architectural and geometric structures with colour to get everything right – space, line, form. The final result is a balanced resolution made through corrections, revisions and re-workings that show a mixture of judgement through the intrinsic process of making. I both pay attention and call attention to the means and alertness of the language of painting and in particular in ‘Homage’ the paintings of Henri Matisse from 1913 -17.’

 

Artist Biographies

Angela de la Cruz was born in La Coruña, Spain in 1965 where she studied philosophy at the University of Santiago de Compostela before moving to London where she studied at Chelsea College of Art and later at Goldsmiths College and Slade School of Art. She has exhibited in galleries all over the world including the show entitled “After”, her first solo exhibition in the UK at Camden Arts Centre in April 2010. In May 2010 she was nominated for the Turner Prize.

Manchester born Sarah Pickstone studied Fine Art at the University of Newcastle Upon Tyne, followed by a postgraduate at the Royal Academy of Arts, London. She now works from her studio at Cubitt Studios in central London and teaches at several art schools including the Royal Drawing School. Sarah won the first prize in the John Moores Painting Prize 2012 with her painting Stevie Smith and The Willow, and was also a runner up for the prize in 2004. She won the Rome scholarship in Painting and spent a year at the British School at Rome.

The Royal Academy of Arts has commissioned Allegory of Painting: two large scale paintings for the entrance of Burlington House, as part of RA 250, which will go on display in September 2018.

Andreas Ruethi studied Fine Art in London and Amsterdam. From 2005-2017 he was a Senior Lecturer in Fine Art at the University of South Wales. Since 1996 his work has been exhibited in the UK and internationally.

Anne Ryan was Born in Limerick City, Ireland & attended the Limerick School of Art and Design before moving to Birmingham, England where she completed the M.A. course in Painting at Birmingham School of Art.
In recent years Anne’s work has been exhibited in group and solo exhibitions at venues including greengrassi, London, Kunstlerhaus Mousonturm, Frankfurt, Limerick City Art Gallery, Ireland, CAPC, Bordeaux, France, Lia Rumma, Milan, and The British School at Rome. In 2016 Anne was an Abbey Fellow in Painting at The British School at Rome. She lives and works in London.

Stephen Snoddy was born in Belfast, N. Ireland, He has painted alongside a long and hugely successful career in the arts, with Solo Exhibitions in 2018 at The Old Lock Up Studio, Cromford, Derbyshire and in 2017 ‘Looking At’ at Southampton City Art Gallery and in 2016, Recent Work, Artistsworkhouse, Studley, Warwickshire, “Conversations” Rabley Contemporary, Marlborough and ‘Looking Out’ at the Roberto Polo Gallery, Brussels.

Stephen also has an extensive career within the museums and gallery world. From Exhibitions Organiser at Arnolfini Gallery 1987-91, he worked on an exhibitions with Richard Long, Giuseppe Penone, Gillian Ayres, Rachel Whiteread, Jack B. Yeats and Juan Munoz. Exhibitions Director of Cornerhouse, Manchester, then Director of Southampton City Art Gallery, where he organised the 1998 Chris Ofili solo exhibition which won Chris Ofili the 1998 Turner Prize. In the spring of 1998 he moved to Milton Keynes to direct the construction of a brand new gallery as part of the £30 million Theatre and Gallery complex. Milton Keynes Gallery (MK G). In 2003 he was appointed Director, BALTIC Centre of Contemporary Art, Gateshead then In May 2005 he moved to the The New Art Gallery, Walsall where he is currently Director.

Joy Revision

POSTER FOR JR.web anne.jpgThis summer in Swansea, we are bringing together five important contemporary painters in a new exhibition celebrating paint in all its glory.

When choosing a title for a show of 5 painters who are all old enough to know better, it’s no surprise that when we arrived at JOY REVISION, it was pretty unanimous. Perhaps not just about that period of time but maybe its to do with our journey through the purpose of art. Joy, hand in hand with re- vision, reassessing how art has the power to transform. All of the artists involved in the exhibition have been a vital part of the creation of a contemporary art painting history. Angela de la CRUZ, Sarah PICKSTONE, Andreas RUETHI, Anne RYAN, and Stephen SNODDY will present all kinds of painted surfaces.

In discussion with the artists, Anne Ryan said the following “Joy Revision is a great title for a painting show. Painters have an innate understanding of the concept of jouissance, as described by psychoanalysts – a rapturous, excessive, sensual pleasure. This is not just found in the visceral materiality of the medium, but more importantly in the zen-like, empty-headed meditative state – ‘the zone’ – that many painters cite as the optimum state for painting. In working and re-working, stating, erasing and re-stating painters attain the point where all negative thoughts and influences have left the studio and ideally (according to Philip Guston) the painter has (mentally) left as well” The colour transcends all in many of these works, and that State is evident and addictive for all.

PROUDLY CURATED TO CO-INCIDE WITH THE BEEP PAINTING BIENNIAL. NEWBEEP4.jpg