DENBY MEYER | Evening Silhouettes (diptych) |

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BONITA ALICE, Sorry XV

Woollen dust and archival glue on Fabriano 300gsm paper, 56 x 77 cm

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NICOLA BAILEY, Constellation of Silence

Bronze, 8 x 5 x 15 cm (3 1/8 x 2 x 5 7/8 in.)

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BEEZY BAILEY, Ebony

Oil on canvas, 120 x 90 cm

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NICOLA BAILEY, Love Bird Gift

oil and pencil on gesso panel, 18 x 24 cm (7 x 9 3/8 in.)

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NICOLA BAILEY, Love Bird Offering

oil and pencil on gesso panel, 18 x 24 cm (7 x 9 3/8 in.)

BEEZY BAILEY, Peaceful Battlefield
Oil on canvas

Beezy Bailey, Peaceful Battlefield, oil on canvas, 150 x 200 cm

Everard Read Beezy Bailey Boughton House 2022 Dan Weill Photography

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BEEZY BAILEY, Peaceful Battlefield

Oil on canvas, 150 x 200 cm

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BEEZY BAILEY, Walking and Flying

Oil on canvas, 30.5 x 40.5 cm

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LIBERTY BATTSON, The Tetrad 121

2K Automotive paint on canvas, 62.5 x 62.5 cm

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DEBORAH BELL, Meditation as Rock, 2016

Bronze, 30 x 14 x 13 cm

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DEBORAH BELL, Meditations on a Tree, 2016

Bronze, 34 x 15.5 x 12 cm

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DEBORAH BELL, Elegy

Bronze, 120 x 37 x 34 cm

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NIC BLADEN, Carissa Macrocarpa ("Natal Plum")

Bronze, 51 x 70 x 40 cm

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RICKY BURNETT, Missives I - IV

Oil, graphite and paper on board, 28 x 20 cm (11 x 7 3/4 in.)

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GUY DU TOIT, Hare on a Chair

Bronze, 140 x 140 x 75 cm (55 x 55 x 29 1/2 in.)

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GUY FERRER, Pharaonne

Mixed media on canvas, 64 x 49 cm (25 1/8 x 19 1/4 in.)

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SASHA HARTSLIEF, Nap

Oil on canvas, 50 x 60.5 cm

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CLAUDE JAMMET, Oceana (diptych)

Oil on paper, 25 x 50 cm

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CLAUDE JAMMET, Psanky II (Red Vibernum)

Oil on paper, 22 x 22 cm

This work is a Canary on a Red Viburnum branch. The phrase "canary in a coal mine" is frequently used to refer to a person or thing which serves as an early warning of a coming crisis. By analogy, the term "climate canary" is used to refer to a species that is affected by an environmental danger prior to other species, thus serving as an early warning system for the other species with regard to the danger.

The work title comes from a pysanka (plural: pysanky), a Ukrainian Easter egg, decorated using beeswax and dyes. They are symbolic representations of life, fertility, and the return of spring.

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THONTON KABEYA, Moziki Street Series (L I)

SCULPTED CANVAS, ACRYLIC, WALNUT POWDER AND NEWSPAPER INK TRANSFER, 40.5 x 40.5 cm (15 7/8 x 15 7/8 in.)

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THONTON KABEYA, Moziki Street Series (L II)

SCULPTED CANVAS, ACRYLIC, WALNUT POWDER AND NEWSPAPER INK TRANSFER, 40.5 x 40.5 cm (15 7/8 x 15 7/8 in.)

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THONTON KABEYA, PASADA II

SCULPTED CANVAS, ACRYLIC, WALNUT POWDER AND NEWSPAPER INK TRANSFER, 145 x 102 cm

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THONTON KABEYA, PASADA III

SCULPTED CANVAS, ACRYLIC, WALNUT POWDER AND NEWSPAPER INK TRANSFER, 145 x 102 cm (57 x 40 1/8 in.)

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THONTON KABEYA, PASADA VIII

SCULPTED CANVAS, ACRYLIC, WALNUT POWDER AND NEWSPAPER INK TRANSFER, 145 x 102 cm (57 x 40 1/8 in.)

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LORIENNE LOTZ, Bending the Truth

Oil and charcoal on board, 60 x 50 cm (23 1/2 x 19 5/8 in.)

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LORIENNE LOTZ, Holding the Light

Oil and charcoal on board, 60 x 55 cm (23 1/2 x 21 5/8 in.)

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JOHN MEYER, All things past

Oil on canvas, 92 x 122 cm (36 1/8 x 48 in.)

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DENBY MEYER, Evening Silhouettes (diptych)

Acrylic on canvas, 68 x 120 cm (26 3/4 x 47 1/8 in.)

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JOHN MEYER, Exposed

Oil on canvas, 92 x 122 cm (36 1/8 x 48 in.)

JOHN MEYER, Hanging Glacier (Patagonia)
Mixed media on canvas

Masterpiece 2022 John Meyer DK Griffiths Photography

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JOHN MEYER, Hanging Glacier (Patagonia)

Mixed media on canvas, 160 x 230 cm

JOHN MEYER, Waorani (Amazon)
Mixed media on canvas

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JOHN MEYER, Waorani (Amazon)

Mixed media on canvas, 160 x 230 cm

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LUCINDA MUDGE, Doom and Gloom

Ceramic, gold lustre, 52 cm (20 3/8 in.)

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LUCINDA MUDGE, Enjoy Your Special Day

Ceramic, gold lustre, 52 cm (20 3/8 in.)

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LUCINDA MUDGE, Fun, Fast and Easy

Ceramic, gold lustre, 55 cm (27 1/2 in.)

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LUCINDA MUDGE, Keeping It Together

Ceramic, gold lustre, 63 cm (27 1/2 in.)

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LUCINDA MUDGE, Lady Boss

Ceramic, gold lustre, 53 cm (20 3/4 in.)

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LUCINDA MUDGE, Let Me Love You

Ceramic, gold lustre, 66 cm (26 in.)

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LUCINDA MUDGE, Yes

Ceramic, gold lustre, 70 cm (27 1/2 in.)

Natural Progression 2, 2022, oil on canvas, 100 x 150 cm

Everard Read London Summer 2022, Damian Griffiths Images, LR (11)

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NIGEL MULLINS, Natural Progression II

100 x 150 cm

Nigel Mullins’ painterly exploration makes use of sumptuous impasto, veering between figuration and abstraction without restraint. The artist applies his material as libations covering a sacred artefact or an amulet: fetishistically. The paint, dense in meaning and referential value, thickly covers the support as it alters and constructs. This explicitly references the painting as a thing; a support to which meaning (as material) is applied often in layers and over an expanse of time.

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BRETT MURRAY, Fucking Twitter

Bronze, 40 x 20 x 28 cm

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OLIVIA MUSGRAVE, Europa and the Bull, Ed. 4/9

Bronze, 46 x 33 x 18 cm

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DANIEL NAUDÉ, Xhosa Kraal. Ncata, Eastern Cape, South Africa, 12 December 2019 Edition 2/5

C-Print, Lightjet on Kodak professional Endura Premier, Diasec diabonded, 110 x 110 cm

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LIONEL SMIT, Pending Sky

Oil on linen, 150 x 170 cm

GARY STEPHENS, Ariel Matters<br />
Chalk Pastel and Watercolour on Folded Paper

STEPHENS, GARY. Ariel Matters 16cm x 16cm chalk pastel and watercolor on folded paper

Everard Read Summer show 2021 Dan Weill Photography

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GARY STEPHENS, Ariel Matters

Chalk Pastel and Watercolour on Folded Paper, 16.5 x 16.5 cm

Working in chalk pastel, watercolour and his signature folded paper technique, Johannesburg-based artist Gary Stephens presents two small portraits which are part of a larger body of work that celebrates the many young, gay men in South Africa living their lives with courage and dignity. The heroic treatment of his subjects pays homage to those who are helping to transform social rules by bravely proclaiming their gay pride. Stephens explains further: “I am grateful for the new voices that expand society’s acceptance of being gay… and for the freedoms they earn for all gay people by courageously living open lives.”

Contact: info@everardlondon.com

ANDRZEJ URBANSKI, A06/55/419/22
Acrylic and spray paint on canvas

Andrzej Urbanski, As Yet Untitled III, Acrylic and spray paint on canvas, 50 x 40cm

Everard Read London Summer 2022, Damian Griffiths Images, LR (3)

Everard Read London Summer 2022, Damian Griffiths Images, LR (7)

Everard Read London Summer 2022, Damian Griffiths Images, LR (8)

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ANDRZEJ URBANSKI, A06/55/419/22

Acrylic and spray paint on canvas, 50 x 40 cm

‘I believe I can be better than the machine.’ The street runs deeply in his Andrzej Urbanski blood. The artist left his days of full-time train ‘bombing’ back in Berlin where he started writing in his teens and now creates large, shimmering, optically bending artworks composed from the architectural squares, triangles and hexagons of today’s contemporary built environment.