110 YEAR ANNIVERSARY EXHIBITION
GUY FERRER, Protégé
Mixed media on canvas, 130 x 97 cm (51 1/8 x 38 1/8 in.)
JOP KUNNEKE, Howler 2021
Bronze
Much of Jop Kunneke’s work reflects his interest in the interconnectedness of humans and their fellow creatures. Immaculately crafted, his bronzes are often playful, and in this exhibition, he presents Howler, one of his signature hounds, resting on its hind quarters, head thrown back and howling at the heavens.
Contact: info@everardlondon.com
DYLAN LEWIS, S459 Leopard Chasing Buck Maquette III
Bronze, 42 x 28 x 49 cm
LOUISE MASON, Naiad
Oil on board, 20 x 20 cm
The subject matter of Mason’s work, although wide and varied, is typically centred around the aesthetic use of colour, form and texture. This collection of diminutive nudes are rendered in a dreamy midnight blues pay homage to the sinuous nature of the female form. ‘I seem to paint smaller works when I am surrounded by uncertainty. Both in the world and also my creative journey. I have really enjoyed painting these smaller female figures, I like the energy I can capture by working the whole surface of the painting at the same time. I suppose they represent the elusive muse. An artist’s inspiration. That feeling that exists just out of reach. Sometimes only when we are dreaming.’
– Louise Mason
LOUISE MASON, Neriad
Oil on board, 20 x 20 cm
The subject matter of Mason’s work, although wide and varied, is typically centred around the aesthetic use of colour, form and texture. This collection of diminutive nudes are rendered in a dreamy midnight blues pay homage to the sinuous nature of the female form. ‘I seem to paint smaller works when I am surrounded by uncertainty. Both in the world and also my creative journey. I have really enjoyed painting these smaller female figures, I like the energy I can capture by working the whole surface of the painting at the same time. I suppose they represent the elusive muse. An artist’s inspiration. That feeling that exists just out of reach. Sometimes only when we are dreaming.’
– Louise Mason
‘Whereas before, my animal sculptures might symbolically mock predators, policemen, politicians, oligarchs, sycophants, the corrupted and the like, during lockdown I felt impelled to look closer to home for my subject matter. My interests had been shifting from perpetrators to people and I have been wanting to transition from an accusatory position to one that is more compassionate and empathetic.
– Brett Murray
Brett Murray’s recent sculptures have a shared sense of vulnerability and fragility about them, not unlike the Japanese netsuke that inspired them. His symbolic portraits represent all of us, looking skywards for answers and certainty.
WILLIAM PEERS, Orgos
Carrara marble, 32 x 37 x 7 cm (12 1/2 x 14 1/2 x 2 3/4 in.)
In the 1990s Peers moved to Cornwall and there followed a period of fifteen years where he exclusively carved relief sculptures in Hornton Stone. Over time, his work has become increasingly abstract. In 2007 he created a large series of work in Portuguese marble and the change of material had a dramatic effect on the style of his work.
Peers’ sculptures exist as a celebration of form and shape. The apparent weightlessness of his abstractions belie the intensive labour that creates the impossibly clean curves. It is as if the stone has absorbed Peers’ fierce concentration and infused the sculpture with energy and movement. Indeed, Peers believes that created objects hold in them, all the industry that went into their production; ‘Not just the attention that is paid them – but the intention.’
Imbued with this attention and intention, Peers’ works play on the juxtaposition of the unchanging, weighty nature of the stone and the airy movement so clearly present in the shapes Peers creates. More recently, the relationship between positive and negative shapes has become Peers’ focus. The focus is now not only on the marble contours, but on the air that surrounds them, a conversation between matter and space. It is this appreciation of the negative space that gives the works their defining sense of weightlessness.
Past exhibitions include seven solo exhibitions with John Martin Gallery as well as exhibitions in New York and San Francisco. Public exhibitions include On Form at Asthall Manor, Woburn Abbey and Glyndebourne. Two of Peers monumental sculptures are permanently displayed at Linthwaite House in Britain’s Lake District as part of the Leeu Hotel Group’s collection.
ELIZE VOSSGÁTTER, Mutation II
Beeswax and oil pigment on canvas, 130 x 80 cm
Elize Vossgatter makes her debut at Everard Read London with two new paintings. “Painting is an instinctive, observational reaction to the natural patterns of the world,” she says. Vossgätter’s relationship with paint involves an ongoing quest to push the limits of the material, by engaging the oil pigments with various solvents and additives, in an effort to find new streams to convey meaning. In these two works the surface of the canvases is transformed with beeswax mixed with both synthetic and organic pigments. By carving into the wax, the artist creates a multi-layered relief, evoking the physical laws of nature from which she draws her visual vocabulary.
Contact: info@everardlondon.com
BARBARA WILDENBOER, Conversations on the Plurality of Worlds
Hand-cut paper sculpture with clock mechanism
Barbara Wildenboer’s reimagined maps are ticking timepieces that speak of shifting borders shaped by geopolitics, geology, and climate, while her altered books breathe renewed life into previously prized objects that are disappearing into obsolescence in our digital age.
The artist’s use of old books and maps invites us to consider ways in which humans feel compelled to interpret, fix and navigate the mysteries of life with atlases, maps and scientific devices. Guided by her intuition, the artist herself is on a quest to understand more. Magnetism, gravity and electricity, the celestial orbits and star cycles are all phenomena ‘discovered’ by science, yet their mysteries have not yet been entirely revealed. *
*Extract from an original text by Miranthe Staden Garbett, 2020
Contact: info@everardlondon.com
Image credit: Michael Hall / Dan Weill Photography
BARBARA WILDENBOER, Pocket Oxford Dictionary
Altered book (hand cut), 54 x 51 cm
Barbara Wildenboer is a South African artist who uses a combination of analog and digital processes to create work that mostly consists of collage, photo-and-paper construction, installation, digitally animated collage works, and book arts.
Her trademark ‘altered books’ function as narrative clues, intertexts or ‘subtitles’ accompanying the other works, referring to subject matter ranging from ancient history, archaeology and fractal geometry to psychoanalysis.
The altered book series 'Library of the Infinitesimally Small' and 'Unimaginable Large' (2011–present) was inspired by a short story by the Argentinian writer Jorge Luis Borges titled The Library of Babel. In this large-scale ongoing project she uses the library as a metaphor for the universe.
Barbara Wildenboer’s altered books breathe renewed life into previously prized objects that are disappearing into obsolescence in our digital age.
Barbara Wildenboer uses a combination of analogue and digital processes to create sculptural artworks that consist of collage, photo and paper-construction as well as digitally animated photographic sculpture. Wildenboer also creates delicately-cut altered books which often contain maps, atlases and scientific subject matter, sometimes using images from the book as central elements to her pieces. Imagery and words become components of the larger designs, as she crafts new visual narratives from the raw material.
FLORIAN WOZNIAK, Caryatid (2020)
Bronze, 30.5 x 25 x 26 cm
FLORIAN WOZNIAK, Dreamer (medium)
Bronze, 36 x 51 x 32.5 cm
FLORIAN WOZNIAK, Night (2020)
Bronze, 75 x 55 x 60 cm
Specialists in contemporary art from South Africa. Established in 1913. South African artists are part of the global conversation. We seek to make their voices heard.