SUMMER 2021
BEEZY BAILEY, A new home on a faraway planet
Mixed media on canvas, 150 x 90 cm
BEEZY BAILEY, Peaceman
Bronze, 118 x 16 x 49 cm
Beezy Bailey’s Peaceman (medium) cast in bronze with an indigo patina. One of South Africa’s leading artists, Bailey’s eclectic and effervescent approach to art has attracted a stellar list of collaborators, including David Bowie, Brian Eno and Dave Matthews. His is a storybook career that included early encounters with Andy Warhol, which was to inspire Bailey’s own Cape Town version of The Factory. Bailey aspires to create art as a balm for a mad world – a corrective for our most lamentable human qualities – and in this spirit his serene Peaceman, eyes closed and palm open, offers a symbol of peace to the world.
Contact: info@everardlondon.com
DEBORAH BELL, Pink Suite 1: In Memory of Robert, The Colour of Longing II
Charcoal, Pastel and Oil Paint on Handmade Paper, 42.5 x 31.5 cm
Celebrated for her monumental bronze sculptures, in this exhibition, acclaimed South African artist, Deborah Bell contributes two small paintings from her Pink Suite. Describing the genesis of these paintings and recalling her special relationship with the late English/South African painter, Robert Hodgins, Bell says, “When I was a Master’s student, and Robert Hodgins was my supervisor, I made a series of paintings called Mediterranean Affairs (1982). I used a particular pink that Robert fell in love with, and he in turn used this colour to create his Pink Suite which he dedicated to me and then gifted to me some years later. The recollection of those early years surfaced recently, and I decided to make my own “Pink Suite” in memory of Robert. Robert was my lecturer, friend and mentor. He instilled a great excitement in me for the adventure of making art. And through him I learned to love my time in the studio, and to live my life with the creativity of an artist.”
Contact: info@everardlondon.com
DEBORAH BELL, Pink Suite 1: In Memory of Robert, The Colour of Longing IV
Charcoal, Pastel and Oil Paint on Handmade Paper, 42.5 x 31.5 cm
Celebrated for her monumental bronze sculptures, in this exhibition, acclaimed South African artist, Deborah Bell contributes two small paintings from her Pink Suite. Describing the genesis of these paintings and recalling her special relationship with the late English/South African painter, Robert Hodgins, Bell says, “When I was a Master’s student, and Robert Hodgins was my supervisor, I made a series of paintings called Mediterranean Affairs (1982). I used a particular pink that Robert fell in love with, and he in turn used this colour to create his Pink Suite which he dedicated to me and then gifted to me some years later. The recollection of those early years surfaced recently, and I decided to make my own “Pink Suite” in memory of Robert. Robert was my lecturer, friend and mentor. He instilled a great excitement in me for the adventure of making art. And through him I learned to love my time in the studio, and to live my life with the creativity of an artist.”
Contact: info@everardlondon.com
EMALIE BINGHAM, Kidney-16 (Huang Shu)
Mixed media on canvas, 100 x 100 cm
Emalie Bingham presents one of her signature edgy, hand-drawn abstractions characterised by energetic brushstrokes, complex patterns and jittery scribbles that fascinate the eye. Bingham’s work is satirical, humorous and self-reflexive and this work entitled, Kidney Huang Shu, alludes to the artist’s interest in Eastern medicine and remedies.
Contact: info@everardlondon.com
ARABELLA CACCIA, Blue Planet III (unique)
Bronze and ultra marine blue, 32 x 27 x 27 cm
GUY DU TOIT, Naughty Hare
Bronze, 174 x 72 x 72 cm
One of South Africa’s most accomplished sculptors, Guy du Toit has had a long fascination with hares. His bronze creatures, with distinctive long ears, have a lightness of being. Fellow artist, Wilma Cruise, remarked that they “are like quick sketches in the landscape, something glimpsed out the corner of the eye, like a flash of truth.” Certainly, we see ourselves in their many guises as they sit pondering, thinking, or spectating with “Paw on Knee” or, in the case of his Naughty Hare, looking sheepishly over its shoulder.
Contact: info@everardlondon.com
One of South Africa’s most accomplished sculptors, Guy du Toit has had a long fascination with hares. His bronze creatures, with distinctive long ears, have a lightness of being. Fellow artist, Wilma Cruise, remarked that they “are like quick sketches in the landscape, something glimpsed out the corner of the eye, like a flash of truth.” Certainly, we see ourselves in their many guises as they sit pondering, thinking, or spectating with “Paw on Knee” or, in the case of his Naughty Hare, looking sheepishly over its shoulder.
Contact: info@everardlondon.com
GUY FERRER, Collection II
Mixed media on canvas, 130 x 97 cm
MATTHEW HINDLEY, Rainbow of Chaos III / I
oil on Italian polycotton with painted frame, 105 x 92 cm
Matthew Hindley presents a triptych of radiant abstraction. These are vibrant and energetic compositions inspired by the rainbow which the artist describes as “the ecstatic expression of the infinite possibilities of colour”. Hindley’s work occupies a space amongst photography, graphic images, painting and drawing. His abstract works are textured with gestural brushwork, splattered paint and layering that gives each work a three-dimensional quality.
Contact: info@everardlondon.com
MATTHEW HINDLEY, Rainbow of Chaos III / II
oil on Italian polycotton with painted frame, 105 x 92 cm
Matthew Hindley presents a triptych of radiant abstraction. These are vibrant and energetic compositions inspired by the rainbow which the artist describes as “the ecstatic expression of the infinite possibilities of colour”. Hindley’s work occupies a space amongst photography, graphic images, painting and drawing. His abstract works are textured with gestural brushwork, splattered paint and layering that gives each work a three-dimensional quality.
Contact: info@everardlondon.com
MATTHEW HINDLEY, Rainbow of Chaos III / III
oil on Italian polycotton with painted frame, 105 x 92 cm
Matthew Hindley presents a triptych of radiant abstraction. These are vibrant and energetic compositions inspired by the rainbow which the artist describes as “the ecstatic expression of the infinite possibilities of colour”. Hindley’s work occupies a space amongst photography, graphic images, painting and drawing. His abstract works are textured with gestural brushwork, splattered paint and layering that gives each work a three-dimensional quality.
Contact: info@everardlondon.com
CLAUDE JAMMET, Anthropocene
Oil on paper mounted on canvas, 139 x 86 cm
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
KILMANY-JO LIVERSAGE, FLOWAE321
Acrylic and spray paint on canvas, 150 x 150 cm
Kilmany-Jo Liversage’s paintings challenge the conventional boundary between fine art and street art. The Cape-Town based artist fuses Renaissance portraiture and still life conventions with a strident urban sensibility and a psychedelic palette. “Liversage’s focus is on the here and now, on sites of both decay and gentrification, where the tag, squiggle and scrawl of graffiti carry as much gravitas and value as the high art of her forebears.” - Hazel Freidman, journalist and art critic.
Contact: info@everardlondon.com
KILMANY-JO LIVERSAGE, IMERVIA321
Acrylic and spray paint on canvas, 120 x 120 cm
Kilmany-Jo Liversage’s paintings challenge the conventional boundary between fine art and street art. The Cape-Town based artist fuses Renaissance portraiture and still life conventions with a strident urban sensibility and a psychedelic palette. “Liversage’s focus is on the here and now, on sites of both decay and gentrification, where the tag, squiggle and scrawl of graffiti carry as much gravitas and value as the high art of her forebears.” - Hazel Freidman, journalist and art critic
Contact: info@everardlondon.com
DENBY MEYER, Beneath the Mountain
Acrylic on canvas, 80 x 60 cm
Denby Meyer’s paintings help us to see the beauty in the everyday and in familiar landscapes. In these works, she captures the dappled light in the forests of Cape Town and the vibrant red-orange hues of the naturally occurring clivias and strelitzias, while the silhouette of Table Mountain provides a recognisable backdrop.
Contact: info@everardlondon.com
Denby Meyer’s paintings help us to see the beauty in the everyday and in familiar landscapes. In these works, she captures the dappled light in the forests of Cape Town and the vibrant red-orange hues of the naturally occurring clivias and strelitzias, while the silhouette of Table Mountain provides a recognisable backdrop.
Contact: info@everardlondon.com
DENBY MEYER, Mauve Skies
Acrylic and oil on canvas, 80 x 60 cm
Denby Meyer’s paintings help us to see the beauty in the everyday and in familiar landscapes. In these works, she captures the dappled light in the forests of Cape Town and the vibrant red-orange hues of the naturally occurring clivias and strelitzias, while the silhouette of Table Mountain provides a recognisable backdrop.
Contact: info@everardlondon.com
JOHN MEYER, Towards Tuli
Oil on canvas, 100 x 135 cm
Widely regarded as the leading figure in the realist movement in southern Africa, John Meyer’s love of paint is at the heart of his enduring prominence as an artist. The magical properties of paint and his ability to conjure nuance with it – the way the light falls on a landscape and the branches of a singular baobab tree, illuminating and spotlighting our mysterious world – is at the heart of his preoccupation with painting. This has haunted, inspired, and propelled him as an artist for nearly 50 years.
While Meyer’s concerns appear to be about presenting reality, it is his preoccupation with manifesting his imagination as reality, that has won out. Many of his landscapes do not exist, however intimately we feel we know them. This is his genius. They present his and our memory of landscape, and how it feels – or might feel – to be in these places.
Contact: info@everardlondon.com
Photo credit: Michael Hall
DENBY MEYER, “Crane” Flowers
Acrylic on canvas, 50 x 120 cm
Denby Meyer’s paintings help us to see the beauty in the everyday and in familiar landscapes. In these works, she captures the dappled light in the forests of Cape Town and the vibrant red-orange hues of the naturally occurring clivias and strelitzias, while the silhouette of Table Mountain provides a recognisable backdrop.
Contact: info@everardlondon.com
WILLIAM PEERS, Achill III
Carrara marble on Tunisian marble base, 44 x 37 x 7 cm
Cornwall based sculptor William Peers’ organic forms in Carrara or Portuguese marble are a celebration of form and shape which echo the recurring patterns in nature. They emerge from periods of intensive carving and then sanding to hone and shape their sinuous curves. In this exhibition Peers’ sculptures are offset by bespoke black Tunisian marble bases.
Contact: info@everardlondon.com
WILLIAM PEERS, Aire
Carrara marble on Tunisian marble base, 68 x 59 x 10 cm
Cornwall based sculptor William Peers’ organic forms in Carrara or Portuguese marble are a celebration of form and shape which echo the recurring patterns in nature. They emerge from periods of intensive carving and then sanding to hone and shape their sinuous curves. In this exhibition Peers’ sculptures are offset by bespoke black Tunisian marble bases.
Contact: info@everardlondon.com
TANYA POOLE, Generation #1
Ink on paper, 140 x 100 cm
TANYA POOLE, Twigs, Snags, Webs #1
Ink on paper, 70 x 100 cm
Inspired by the natural environment, Tanya Poole presents a delicate study of tangled foliage and a web of branches that appears monochromatic, but on closer inspection reveals gradations of charcoal, grey and blue. Poole exploits the inherent qualities of ink and water in a process which is notoriously hard to control. The resulting shape-shifting work hovers between representation and abstraction, Poole’s leaves occasionally morphing into opalescent cells that embody the very essence of all living things.
Contact: info@everardlondon.com
CARYN SCRIMGEOUR, Hide and Seek
Oil on linen, 150 x 150 cm
Caryn Scrimgeour’s paintings are obsessively immaculate – a manifestation of intense attention to detail and an extraordinary command of her palette. Her table settings intrigue and fascinate by juxtaposing fragile and precious curios with commonplace objects, each exquisitely rendered. Rich in symbolism, her work is reminiscent of still life paintings from the Dutch Golden Age. She uses ephemeral objects – blossoms, birds’ eggs and glistening fruit – to remind us of our fleeting existence.
Scrimgeour’s paintings are puzzles, much like our identities, made up of fragments freighted with memories and experience. They are vanitas paintings for our age, hinting at the fragility and transitory nature of our lives. Similarly, the fragments recorded are small monuments to the human desire to leave what Antony Gormley describes as ‘a trace of our living and dying on the face of an indifferent universe.’*
* Antony Gormley, interview with the Financial Times, 2015
Contact: info@everardlondon.com
Photo credit: Michael Hall
BRETT CHARLES SEILER, A Poem
Oil on canvas, 26.5 x 22.5 cm
Showing for the first time at Everard Read London is Brett Seiler, following his successful exhibition with Everard Read Cape Town in early 2021. With his trademark use of roof paint and bitumen and hand-made wooden frames, Seiler ‘s work wrestles with notions of masculinity, home and loss. His work reads as a personal diary of sorts – intimate moments and memories of a life, seen here as scribbled notes and painted snapshots.
Contact: info@everardlondon.com
BRETT CHARLES SEILER, Kiss
Oil on canvas, 42.5 x 54 cm
Showing for the first time at Everard Read London is Brett Seiler, following his successful exhibition with Everard Read Cape Town in early 2021. With his trademark use of roof paint and bitumen and hand-made wooden frames, Seiler ‘s work wrestles with notions of masculinity, home and loss. His work reads as a personal diary of sorts – intimate moments and memories of a life, seen here as scribbled notes and painted snapshots.
Contact: info@everardlondon.com
BRETT CHARLES SEILER, There Were Flowers Being Held Here
Oil on canvas, 130 x 167 cm
Showing for the first time at Everard Read London is Brett Seiler, following his successful exhibition with Everard Read Cape Town in early 2021. With his trademark use of roof paint and bitumen and hand-made wooden frames, Seiler ‘s work wrestles with notions of masculinity, home and loss. His work reads as a personal diary of sorts – intimate moments and memories of a life, seen here as scribbled notes and painted snapshots.
Contact: info@everardlondon.com
LIONEL SMIT, Amalgamate
Bronze on Oak, 36 x 48 x 30 cm
Best known for his contemporary portraiture executed through monumental canvases and sculptures. Lionel Smit presents new bronze busts of female muses in coppery and pale green patinas as well as the torso of a female figure, the fissures in her body evoking cracked earth.
Contact: info@everardlondon.com
LIONEL SMIT, Divert #2
Bronze, 68 x 53 x 32.1 cm
Best known for his contemporary portraiture executed through monumental canvases and sculptures. Lionel Smit presents new bronze busts of female muses in coppery and pale green patinas as well as the torso of a female figure, the fissures in her body evoking cracked earth.
Contact: info@everardlondon.com
Best known for his contemporary portraiture executed through monumental canvases and sculptures, with this new painting Lionel Smit uses his trademark bold, gestural brushstrokes in hues of clay, ochre and blue, to create the serene profile of a woman.
Contact: info@everardlondon.com
LIONEL SMIT, Restructure #2
Bronze, 45 x 31 x 25 cm
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
GARY STEPHENS, Fernando 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
PHILIPPE UZAC, eGoli 20
OIL AND GOLD LEAF ON CANVAS, 150 x 150 cm
Philippe Uzac’s shimmering abstract works take their name from the isiZulu word for Johannesburg, eGoli or “city of gold”. Texture and patina are important elements of Uzac’s work. “My paintings are pieces of decay inspired by the inner-city industrial fringes where my studio is located. Downtown Johannesburg is an area that has tentatively been recovered from deterioration. Some of its surroundings are still rusted, stained, faded or disjointed… forming interesting patterns with rich textures, colours and tones in which any attentive observer can find beauty.”
Contact: info@everardlondon.com
PHILIPPE UZAC, eGoli22
OIL AND GOLD LEAF ON CANVAS, 150 x 90 cm
Philippe Uzac’s shimmering abstract works take their name from the isiZulu word for Johannesburg, eGoli or “city of gold”. Texture and patina are important elements of Uzac’s work. “My paintings are pieces of decay inspired by the inner-city industrial fringes where my studio is located. Downtown Johannesburg is an area that has tentatively been recovered from deterioration. Some of its surroundings are still rusted, stained, faded or disjointed… forming interesting patterns with rich textures, colours and tones in which any attentive observer can find beauty.”
Contact: info@everardlondon.com
ELIZE VOSSGÁTTER, Mutation I
Beeswax and oil pigment on canvas, 130 x 80 cm
Elize Vossgätter 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
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
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.