Marcus Tomlinson | Multiverse | Jun – Sep Art

MARCUS TOMLINSON | MULTIVERSE

June – September 2014

 

PAYNES & BORTHWICK GALLERY, the world’s first ever commercial real-time virtual gallery at www.paynesandborthwickgallery.com

 

Curated by Futurecity

A still taken from Multiverse by Marcus Tomlinson, 2014

Paynes & Borthwick Gallery – a real-time virtual replica of an actual gallery space, launches its second exhibition Multiverse by acclaimed fine artist, fashion photographer and filmmaker Marcus Tomlinson.

 

The gallery, which launched in October 2013, provides a unique, first-of-its-kind opportunity for artists and designers to create experiences for an online real-time medium.

art

Tomlinson, who first rose to prominence as a fashion photographer, began experimenting with film and digital media in the 1990s. Collaborations with elite fashion houses including Issey Miyake and Hussein Chalayan, led his oeuvre to expand to include early experimental computer animation works as well as installation. His widely influential style captured the sensibility of digital technology when only analogue film was available.  Continuing this evolution throughout his career, the artist has won acclaim for his constant development of new disciplines within his practice.

 

Multiverse uses the latest in 3D visual and sound technology to explore the past and present phases of Tomlinson’s work. Visitors to the immersive online space will see references to projects with fashion designers Issey Miyake and Gareth Pugh, photographs of garden landscapes, and recent sculptural works.

 

Tomlinson comments, Multiverse is a kind of tray of jewels that really is for the imagination. This medium is a new branch to the ever expanding world of how new art forms undoubtedly develop. Working within it gives the audiences new journeys to play on our senses. As with all my art pieces, film and photography play a central role. Part of my journey as an artist is to document myself, and the work, as a separate art form that belongs within my artist’s portfolio

 

Hole & Corner Magazine said of Tomlinson earlier this year: Magnificent art is rarely about playing by the rules as British artist Marcus Tomlinson knows only too well. The self-dubbed outsider is far more than a man with a taste for building commercial expectations – he’s actually the consummate creative chameleon: a visual artist, maker and now craftsman whose wealth of cultural obsessions and an extreme professional restlessness have already transported him from high fashion photography to filmmaking and, most recently, into sculpture.

 

The exhibition will be available to view online for 3 months with 24 hour access, and as with exhibitions in physical spaces, there will be no opportunity to view it after the final day.

 

The artwork is also available for purchase.

 

 

#OOTD goes designer with Nivea Soft and World Renowned British Fashion Designer Giles Deacon

128 Nivea Soft, Catherine Balavage, manicure

I checked out the new Nivea Soft pots designed by Giles Deacon in the Handpicked Media London Fashion Week Suite. I love the product and the cool design. We also have a Giles Set to giveaway. This includes all three of the limited edition pots and zip pouches.

I also managed to fit in a cool manicure at the Handpicked Suite, take a look below.

Fashion Ready Skin Starts With NIVEA Soft

 

One of the hottest tickets of the London runways, Giles Deacon has lent his unique blend of superior craftsmanship and whimsical irreverence to NIVEA Soft to create three new collectable limited edition packs.  The introduction of these packs in-store in September heralds a new lease of fashion streaming to #OOTD as a panel of experts from the NIVEA Soft judge the ultimate online fashion competition.

 

Get Involved!

From 11th September until 25th September, NIVEA Soft will compile a glamorous look book of the best #OOTD and will also give out 60 spot prizes to fashionistas.  It’s worth entering just to be in with the chance of winning a Giles Deacon designer handbag or Limited Edition Soft Pots. After 25th September all entries will be reviewed by the NIVEA judges and their favourite 15 looks will be put through to a finalists gallery where they will be voted for by the public.  The top 15 finalists will need to have the style and panache to create an interesting look and a stylish statement in one fashion moment!

 

Fashion Voting & One Winner

From 25th September, visitors to the site get to vote on their favourite outfits and the person with the most votes will win the ultimate prize of a styling session with Giles Deacon!!! NIVEA fans will be invited to check out and cast their decision by voting on the Instagram gallery*. This is huge exposure for any keen style kings or queens and a great way to connect via your own facebook, instagram and blog sites.  It’s going to be fashion mayhem!

 

Styled by Giles!

The #OOTD super stylish winner chosen by the public will get a behind the scenes meet up with Giles and then a once in a lifetime styling session with the coolest fashion man of the moment. Also included will be overnight accommodation in London for the winner and £200 of spending money

 

Upload here:

A NIVEA Instagram gallery will host the #OOTD entries and votes.  The entry process is simple, just upload your image via Twitter or Instagram and include #OOTD and #NIVEASOFT for automatic entry. If you make it through to the final 15 why not include the link in your blog as well as facebook and twitter so your readers can see or even vote?

 

Fashion Ready Skin Starts With NIVEA Soft

The all-purpose nature of NIVEA SOFT ensures a quick beauty routine, making skin incredibly ‘soft’ and supple, leaving more time for fashion decisions and styling. It has a lightweight formula like whipped cream, containing Jojoba and Vitamin E that melts into skin instantly for a hydrated and refreshed feeling that lasts all day.

Top Art Galleries In London

London has a lot going for it. With an amazing variety of restaurants and cultural events, London really is the place to be for those who want a rich cultural life. When it comes to art, and a great selection of art galleries, London really does not slouch. There is something here for everyone, from the edgy to the classic. Frost has picked some of the top art galleries in London for you to get started. We will be adding more soon. Put your own suggestions below and join in the art debate.

National Portrait Gallery, St Martin’s Place, WC2H
An art beacon of London. A trip here is not complete without a visit to this gallery. And if you live in London and have not been, shame on you.

Tate Britain, Millbank, Westminster, London SW1P
Classic building, great art. Also has some controversial exhibitions which are quite different.

Saatchi Gallery, Duke of York’s Square, King’s Road, Chelsea, London SW3
Beautiful gallery situated on the King’s Road. Lots of great art here. If you are too busy to go to a gallery then the Saatchi Gallery Online is also where you can find art prints for sale.

Saatchi

Reflected (red canoe) SOLD

Painting

 


 

Charlotte Evans
United States

Saatchi online

Gagged

Drawing

 


 

Álvaro Tomé
Brazil

buy art

I Found The Silence (edition of 25; 4 sold)

Photography


Martin Stranka
Czech Republic

White Cube Gallery, 25-26 Mason’s Yard, Off Duke Street, St James’s, London SW1Y
A bit different and edgy. Worth a visit.

Welcome Collection, 183 Euston Road, Bloomsbury, London NW1
Classic art and amazing exhibitions make the Welcome Collection a great stop for art lovers.

Serpentine Gallery, Kensington Gardens, South Kensington, London W2
Will be reopened on Saturday 8th June 2013. Join us in line.

National Gallery, Trafalgar Square, Westminster, London WC2N
Another classic London art gallery. A must visit.

Somerset House: Embankment Galleries, Strand, Covent Garden, London WC2R

Opened in 2008. The building alone is beautiful and worth going to.

Proud Camden, The Stables Market, Chalk Farm Road, Camden, Camden Town, London NW1
Has great exhibitions and events. We recently enjoyed their Withnail & I exhibition.

Sir John Soane’s Museum, 13 Lincoln’s Inn Fields, London WC2A 3BP
Is a treasure trove of artifacts. A great experience.

What is your favourite museum? Make recommendations below.

 

 

 

Withnail And I Gallery Review

withnail-and-i-stillThe free booze was flowing generously and the sounds of Jimi Hendrix were pounding as Withnail and I returned to their old stomping ground in Camden Town, basking in the glorious summer heat. June sees the start of an exhibition at the Proud Camden Kitchen of a remarkable set of candid, behind the scene stills taken during production of the cult British classic, taken by the renowned film set photographer Murray Close.

 

Murray Close is considered the go to man for film production photography in a career that has spanned over three decades. He got his big break at the age of nineteen, working for the great Stanley Kubrick (himself a photographer in his youth) on the set of horror adaptation The Shining. The publicity still  of Jack Nicholson’s face peering with menace through a freshly axed door has become synonymous with not just that film, but for Nicholson’s bad boy persona and has become an icon of horror cinema. Close has worked for some of the biggest names in the business such as Spielberg and Eastwood, and on some of their best known works. Tucked away in his extensive C.V. is the low-budget 1986 comic drama Withnail and I, written and directed by Bruce Robinson. It’s a semi-autobiographical tale of two out of work actors (Richard E.Grant and Paul McGann) in 1960’s London, who tired of waiting for the phone to ring and drowning themselves in a sea of liquor and lighter fluid, decide to go ‘on holiday by mistake’ to the remote rural setting of Penrith in Cumbria. Their situation improves little. It’s a terrifically British comedy and by that I mean that as hilarious as it gets, every scene is undercut with an overwhelming melancholy. It is every bit as achingly sad as it is funny. Over the years it has become the definition of the word ‘cult’ creating an entire legion of fans across the years, not least amongst countless students who attempt to match drink for drink what the characters consume in the film.

 

Close’s portraits of the film’s production are a joyful and revealing spectacle. They range from the cosy intimacy of the London based segments  (the warmth of Uncle Monty’s flat radiates from images) to the roaming, overwhelming countryside locale that seems to swallow cast and crew whole. The collection captures the comradery of the cast and crew, and also fits in with the almost anarchic tone of the films story. Grant seems to take centre stage in many of the portraits. The character of Withnail can’t help but infiltrate each shot he is in and that unique blend of charisma and chaos permeates from his pictures, as intoxicating as anything he consumes in the film. As he does in the film, McGann remains a calm centre in the midst of his colleagues tomfoolery. His handsome features would not look out of place in a fashion shoot and they create a nice contrast with the displays of comic caricature. Look out to for an appearance from Ringo Starr; fellow Beatle George Harrison was one of the driving forces behind the films production.

 

The title of Withnail and I: The Finale is given a deeper, bittersweet meaning by the sad passing earlier this year of Richard Griffiths. The established character actor had many hits to his name (Pie In The Sky and Harry Potter were standouts) but none more memorable than that of Uncle Monty; Withnail’s eccentric uncle, fellow would be thespian with a passion for cooking and lust for ‘I’. His gentle yet unmissable presence was another key factor to the films success and its staying power over the years. This gallery serves up a fitting tribute to not just a great character but, by all accounts, a genuinely lovable human being.

 

Withnail and I: The Finale is running from June 21st to September 1st at Proud Camden, Stables Market in Chalk Farm Road

 

Designing the Middle East: Part 1 at 19 Greek Street | Art

Designing the Middle East Part 1:2‘Designing the Middle East: Part 1’ (28 March – 17 May 2013) is the first in a two-part exhibition series presented by Soho design gallery, 19 Greek Street. It will showcase, for the first time in the UK, the work of Tel Aviv designers Noam Dover and Michal Cederbaum, alongside their longterm collaborator, the London based Israeli designer Yoav Reches. The exhibition will also include several works by senior Israeli designers, invited by the exhibitors in order to foster an additional dialogue between the displayed works.
Curated by 19 Greek Street owner and creative director Marc Péridis, ‘Designing the Middle
East: Part 1’ acts as a tribute to the passion, courage and love that exist alongside the terrible
conflict that divides this area of the world.
The exhibition will explore how contemporary design can respond to a reality marked by
conflict and division. It will present an exploration of creative processes within a local context:
how do the characteristics of a place influence our use of tools and materials, and what visual
forms come out of these choices? This perspective demonstrates a unique link between design,
craft and production, formulating a distinctive nature of design and fabrication.
Works such as ‘Saj Tables,’ constructed from the spun steel domes used for making pita bread,
and ‘Concrete,’ vases that explore the relationship between fragility and mass fabricated from a
material not normally associated with craft, highlight this continued questioning of the creative
process and the materials used.
The work by Noam Dover and Michal Cederbaum can be seen to merge the traditions of
craftsmanship with technology, while frequently confusing this relationship. ‘Scan & Scale’
perfectly illustrates this by taking nature, in this case a pebble, as a starting point and recreating
it through computer-aided design via CNC technology. In doing so they seek to stretch the
boundaries of various technologies.
Yoav Reches’ ‘Composition of Air’ celebrates the diversity of and delicate composition of that
most everyday and omnipresent item that surrounds us, namely the air that we breathe. A
collection of ten glass vessels represent the ten most common gases found in the composition of
air and are colour coded according to their industrial charts.

Featuring Tel Aviv designers
Studio Noam Dover and Michal Cederbaum
in collaboration with Yoav Reches
28th March – 17th May 2013
www.19greekstreet.com

Re-examination Pays Dividends

New Possibilities: Abstract Paintings from the Seventies at the Piper Gallery

This exhibition presents the work of artists whose work became less fashionable during the 1970s with the rise of conceptual and performance art.  While these artists are still working today, most of the work on display is from this period.  This is a very diverse exhibition: all of the artists have very individual styles.  However, a common feature is an attention to craft, precision and formal values in painting.

The range of approaches is very clear when you compare the work of Tess Jaray and Frank Bowling.  Tess’ Alhambra (1979) is deceptively simple at first glance, but closer examination draws the viewer in and reveals the surprising complexity hidden in what you believe to be predictable pattern.  What at first appears to be a repetitive motif, on closer observation shows itself to have complex variation in colour, form and scale.  Frank Bowling’s Rush Green (1977) seems to be more the sum of its parts.  His deployment of paint by pouring it directly onto the canvas and utilising flow may seem haphazard, but on inspection the result is more mysterious.  There appears to be an equivalence with art from the past – for example, Monet’s paintings of the garden at Giverney – sustained attention is rewarded.

William Henderson and Barrie Cook both use a particular vocabulary to produce very different results.  Henderson’s Funky, Black and Catch Me (1978) creates a feeling of depth and jaggedness, with a definite sense of illusionistic space, reminding one of the microscopic world when magnified.  Cook’s Blue, Red and Yellow Grid (1977) is an optical work which plays with the eyes.  It is reminiscent of cathode ray tubes warming up in a old-fashioned television.  There is a richness in the fact that the two paintings, both using repetitive linear forms, can produce such varied results.

Other highlights of the exhibition include Gary Wragg’s Carnival (1977-79), which is driven by the process of drawing; Patricia Poullain’s Untitled (1973), which has a lightness and openness whose accessibility reminds one of a childhood telescope; and finally, Trevor Sutton’s measured, well proportioned That Swing.4.K (1979) combines electric blue and black, demarcated by a delicate green line.  The piece is poised and balanced and seems to be very much of its time.

If you like your paintings to repay prolonged attention, then New Possibilities at the Piper Gallery is definitely worth a visit.

New Possibilities: Abstract Paintings from the Seventies is at The Piper Gallery, 18 Newman Street, W1T 1PE from 16 November to 21 December

Written with Ian MacNaughton

(Pictures courtesy of the artists and The Piper Gallery)

Yasmin Müller, Copia : Modern disbelief

Yasmin Müller

Copia : Modern disbelief

Exhibition dates: 5th October – 10th November, 2012
Opening hours: Tue – Fri 11-6, Sat 11-3 or by appointment

Maria Stenfors is proud to present ‘Copia: Modern disbelief’, Yasmin Müller’s second solo presentation at the gallery. The installation is embodied in the title word copia, meaning a mass, copiousness, and also a wealth of knowledge and ideas.

Like an expanse of open ocean, constantly shifting in shape and unquantifiable, multiple abstract light patterns fill the volume of the room, continuously moving focus from artwork to room. A confusing and disorientating space, that is darkened and unknown, illuminated in passing moments. These light shapes create an endless moving mass, a copious pattern that conducts the perception.

Central in the space are two geometrically shaped sculptures, erected like columns. These columns and piercings of light are Müller’s reconfiguration of razzle dazzle, a pattern created by Norman Wilkinson and utilised by 20th century warfare engineering. Designed not so much to camouflage but to disorientate, it blurs the perception of depth, contour and edge. it doesn’t hide, but is more of a visual disruption, making it impossible to estimate size and shape.

Placed throughout the installation are objects of pictorial chaos plucked from the everyday images of modern life and cultural trends, copies of copies, an evolution of the original, and all framed and constrained by hard minimalist shapes: exquisitely angled diamonds and sharp edged lightboxes. Familiar patterns merge with common place fashion styles confined by geometrically perfect dimensions, as seen in the clothing of the figurative lightbox images, and visual emblems like the parrot, featured on multiple canvases, each copy being an evolution, a mutation of the former, allowing the copy to perhaps stand stronger than the original.

Yasmin Muller was born in 1977, studied at the Staatliche Akademie der bildenden Künste Karlsruhe, and lives and works in Berlin.

Maria Stenfors, Unit 10, 21 Wren Street, London WC1 0HF

Francis West – Voyages, at the Piper Gallery

The Piper Gallery, 18 Newman Street, London W1T 1PE
Private View: Thursday 6th September 2012, 6.30 – 8.30pm
Exhibition Dates: Friday 7th September – Friday 5th October 2012

Following the success of its debut show Then and Now in June 2012, The Piper Gallery is proud to present Voyages, an exhibition of work by Francis West. Born in 1936, West spent his childhood in a remote community on the Moray Firth in Scotland often working with his father’s fishing boats.

Some of his earliest visual memories are of tempestuous Scottish seascapes and the exhibition is formed around a series of voyages, centring on the sea cave in West’s Tempestas (1987/2012) where a turbulent wind swells the waves that carry the viewer out to a waiting ship. This belongs to West’s Palimpsests, a pivotal series of large-scale paintings dating from the early 1990s in which he deconstructed several of his earlier acclaimed expressionist pieces through frenzied over-working that sought to disrupt a sense of formal coherence. These came to represent West’s search for new, creative challenges.

Each voyage reflects the artist’s experience of real locations although West frequently employs metaphors of voyaging to explore his practice as an artist. He has described his lifelong commitment to painting and drawing as a challenging and risky quest. Although grounded in reality, West’s concepts remain tantalisingly elusive, blurring the boundaries of myth, dream, memory and experience bringing together the flotsam and jetsam of symbolic forms with fragments from poetry and historic painting. West comments on the emergence of figurative beings in this exchange, saying ‘sometimes I am surprised that these acts of deconstruction will pause around a formation which is reminiscent of a specific memory’. His often hybrid human-animal personae, reminiscent of Goya and Bacon, are suspended in a state of transition as West submits them to a process of mutation and erasure where they concurrently materialise and dissolve from the viewer’s vision.

This exhibition offers the viewer the opportunity to explore West’s voyages through several different series of work – some, as above, provide the adrenalin of fishing on a rough sea while others, of his recent Méditerranée series, with their limpid washes of pastel blues and aquamarine, afford the calm of sun-drenched beaches. These works intoxicate viewers, transporting them to the South of France with the reveries of Pierre Bonnard and the poetic pulses of André Gide. West also invokes a female entourage of enchantresses including characters reminiscent of Venus Rising, goddesses, sirens and Picasso’s Bathers.

Other works ensue from trips to the Mojave Desert or, like the Nocturnes, emerge from imagined dreamscapes in West’s Paris studio. Nocturnes are some of his most radical works, representing an internal voyage to the uncharted recesses of the subconscious. They depict an imaginary realm of unexplored forests and caverns which establish fertile womb-like habitats of grotesque flora and fauna.

Gallery Founder and Director Megan Piper says ‘This, our first solo show, gives us the opportunity to explore voyages, a theme pertinent to the ethos of the gallery. It’s exciting to be able to present a lesser-known artist whose recent work is energetic and fresh and whose maturity and experience means that he is able to explore the theme in a way a young artist would never be able to.’

Francis West – Voyages
Friday 7th September – Friday 5th October 2012
The Piper Gallery 18 Newman Street, London W1T 1PE
www.thepipergallery.com, www.twitter.com/thepipergallery
020 7148 0350

Opening Hours Tuesday-Saturday, 10am – 6pm
At other times by appointment

Admission Free

How to get there: The Piper Gallery is located on Newman Street. The nearest underground stations are Tottenham Court Road (on the Central and Northern lines), Oxford Circus Street (on the Bakerloo, Central and Victoria line) and Goodge Street (on the Northern line). The nearest rail station is London Euston.