HangART-7 Edition 16: England

"The Secret Of England's Greatness"

With the 16th exhibition at Hangar-7, we look to Great Britain – or rather England. Entitled “The Secret of England’s Greatness,” the exhibition features twelve little-known artists. The title is intentionally mysterious, and it is no coincidence that it refers to both a famous historical painting (1863, National Portrait Gallery London) and a contemporary work (2010) appearing in this exhibition.

Past and present, similarities and differences between these concepts, are the themes that characterize the entire exhibition. Regardless of their individual techniques or style, none of the artists creating these new works would deny his or her connection to traditional English painting. A number of London art academies helped to research and select the works exhibited.

The Degree Shows that they sponsor at various stages in the artists’ development and at the completion of their studies offer a comprehensive look at the latest in art production – much of which is of an extraordinary quality.

Works are being shown by:

Liz Bailey (*1951), Oliver Bancroft (*1976), Wanda Bernardino (*1973), Melanie Carvalho (*1969), Frances Cowdry (*1987), Bruno Deroulede (*1969), Andrew Hollis (*1974), Cathy Lomax (*1963), Rebecca Stevenson (*1971), David Stockley (*1948), Diana Taylor (*1977), Twinkle Troughton (*1978).

Liz Bailey, The City, 2010, oil on linen, (10x) 45 x 35 cm
Oliver Bancroft, White Hart Storyboard 1, 2009, oil on board, 65 x 37.5 cm
Wanda Bernardino, Enduring Brace, 2008, oil on canvas, 97 x 91 cm
Melanie Carvalho, Untitled Landscape, 2001, mixed media on paper, 122 x 152 cm
Bruno Deroulede, Wimbledon Crowd (After Jane Mingay), 2009, oil on canvas, 120 x 190 cm
Frances Cowdry, Menagerie 1 (Original), 2009, oil and chalk on board, 122 x 79 cm
Andrew Hollis, Landscape with Trees and Figure, 2009, oil on linen, 150 x 200 cm
Cathy Lomax, Legs, 2007, oil on linen, 91 x 61 cm
Diana Taylor, Lost for Words, 2010, mixed media on panel, 122 x 244 cm
Rebecca Stevenson, Rhubarb & Custard, 2008, polyester resin and wax, 35x30x20 cm
David Stockley, untitled (St Pancras 4), 2010, oil and acrylic on canvas, 90 x 100 cm
Twinkle Troughton, Maggie: Gone But Not Forgotten, 2009, acrylic and image maker on canvas, 81 x 112 cm

Further information

Exhibition period and opening hours

09 October to 30 November 2010

Every day from 9:00 am to 10:00 pm

Liz Bailey (*1951)

Liz Bailey is a collector. The accumulation of visual information is the stuff of her artistic endeavor, and in its painted representation it is the work itself. Bailey paints landscapes not because of the beauty of their motifs, but in order to present “non-locations” and through their accumulation the idea of “non-location” itself. She achieves this through a remarkable painting style that is extremely detailed and strikingly precise in its use of colors and light, thus referencing itself without interference from the often unremarkable motifs.

Oliver Bancroft (*1976)

The mostly small-format paintings of Oliver Bancroft seem simultaneously wry and brilliant. A section of an early Renaissance painting serves as a sort of stage for events that can’t be grasped with the rational mind. They offer no storyline, but rather scenes and moods – film sets if you will – for potential films playing both in the artist’s mind and in the mind of the observer. In addition to painting, Bancroft also makes films.

Wanda Bernardino (*1973)

The working process of Wanda Bernardino involves “painting over,” a technique that focuses on the tension between the visible and the invisible. Using original images from the 16th to 19th century, she processes, alienates, and creates new interpretations of figures that deal with the question of identity. The faces are covered with white patches that erase their identity, and a general “I” takes the place of the people portrayed. The juxtaposition of old and new, figuration and abstraction, emphasizes the mysterious nature of her portraits.

Melanie Carvalho (*1969)

The exoticism in many of the works of Melanie Carvalho arises from the polarity between beauty and a strangeness that easily turns into eeriness. In a series of large-format collages, flowers and parts of plants join with painting and drawing to form irritatingly beautiful landscapes. Similarly to English gardens representing utopias that blend the mother country with the exotic world of the colonies, her collages serve to create her own world, her own landscapes and locations, divorced from any topographical or historical realities.

Frances Cowdry (*1987)

Brightly colored tropical parrots, cockatoos, and parakeets are the inhabitants of Frances Cowdry’s paintings. The background creates an abstract, painted space in which the colors of the birds no longer serve to illustrate but become visible as color, as painting itself. Cowdry puts a great deal of time and thought into her subjects and relies on the power of repetition. Her concern is with (re)presenting nature, and with the materials used to bring (urban) society closer to nature.

Bruno Deroulede (*1969)

Born in France, Deroulede lived for a long time in the United States before finally finding his true home in London. The media images that surround him there generate an energy that colors his artistic work. In large-format paintings such as Wimbledon Crowd, Deroulede confronts the observer with a crowd of people that fill the entire image. These people are immediately recognizable as individuals by their gestures, facial expressions, body postures and clothing, but upon closer inspection are abstracted into small, sharply delineated spots of color without any substantive reference to reality.

Andrew Hollis (*1974)

A repellant view of buildings, a family in an otherwise undefined city space, the naked body of a woman that blends into a white background – Hollis leaves viewers uncertain as to the meaning of his paintings. Patches of color morph into different shadings and, more than the objects they actually portray, represent themselves. By exploring the possibilities and limitations of figurative painting, Hollis examines the relationship between reality and image and the mechanisms by which they are encoded and decoded.

Cathy Lomax (*1963)

For Cathy Lomax, painting is “something that we can and should utilize for a closer nexus both to the past and the future.“ True to this philosophy, she uses Victorianera books, 1950’s billboards, old photographs, and films as templates for her paintings of girls. Film has always played a large role in Cathy Lomax’s work. In her Film Diary, for instance, the artist paints a scene from each film she sees, primarily with the intention of documenting moods.

Rebecca Stevenson (*1971)

Rebecca Stevenson creates Baroque-style portrait busts and fragile, “cute” animal figures. A colorful combination of fruits and flowers encircles the sculptures and stands out against the stark white background of the figure itself. But what appears to be a harmless ornament originates from a wound. The surface of the polyester resin sculptures appears to be sprinkled with sugar and the wax fruits look edible, which both repels and attracts. Fauna, flora and human figures are foundation for her work, which calls into question appearance, taboo and beauty.

David Stockley (*1948)

The paintings of David Stockley take us into waiting areas, buses, nameless public squares, and train stations, to “un-locations” or “non-locations” as they’re referred to by the French anthropologist Marc Augé, who provides important points of reference for the artist. The few people found waiting there don’t speak to one another, don’t face each another, they each look off in a different direction. Even if the color palette can sometimes appear much broader, the general mood remains one of entropy, forsakenness and loneliness.

Diana Taylor (*1977)

The artist is a passionate collector and a keen observer. Diana Taylor takes her memories, everyday images that stimulate her overflowing imagination, as a basis for richly allusive pictures made up of many layers. The glossy, liquid application of color interchanges with graphic elements and the use of glazes, enamel and much more. „I‘m constantly looking for all sorts of different images from different eras, from Victorian illustrations to early Walt Disney, mixed in with tablecloth designs and Spirograph patterns“.

Twinkle Troughton (*1978)

The works of Twinkle Troughton have many sources: the historical artistic and cultural context and aspects from ancient art, as well as everyday events and experiences. British history – and particularly the Victorian era – fascinates her and plays a defining role, especially in her most recent work. Historic paintings by Victorian artists are integrated directly into her own works, enabling the artist to draw comparisons between the attitudes and subjects from that era and those of today.

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