My aim is to visually grasp the studio and its contents which are predominantly static, over time, so that the slow infusion of the presence of the working artist, through light and movement, impregnates the photographic image with a tangible presence and energy which cannot be seen, but definitely felt. 

   - Laura Ellenberger

Kilmany-Jo Liversage, on the occasion of her mural for Hyde Park Nando's (South Africa), is the subject of a feature one Hyde Park Herald

 For the full article click here. 

Our newest gallery in the Everard Read group - CIRCA, Cape Town - opened in November 2016 in a refurbished heritage building overlooking the V&A Waterfront, with inaugural exhibitions by Beezy Bailey and Liberty Battson.

The Bowie/Collector sale at Sotheby's on Friday 11 November 2016 saw Norman Catherine achieve a new record for the sale of his work at auction. Catherine, who is represented by Everard Read Galleries, had three works included in David Bowie's private collection on sale. Both 'Fanagalo Store' and 'Cat Man' significantly exceeded their estimates.

View the catalogue here.

Nigel Mullis: 21st Century Talismans and Caryn Scrimgeour: Postcards from China at Everard Read London are highlighted in a round up on The South African

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Deborah Belll , leading South African artist represented by Everard Read discusses her new body of work for her forthcoming exhibition - Return of the Gods - at Everard Read Gallery London. Here we find Bell, a long time collaborator with South African legends Robert Hodgins and William Kentridge, at her most introspective best, contemplating what it is to practice art in a far flung corner of South Africa as an outsider from the global often circuitous and incestuous art dialogue which allows her to bring her own unique vision to the conversation.

Everard Read|CIRCA Galleries are pleased to announce that artist Beth Diane Armstrong has won the 2017 Standard Bank Young Artist Award for visual art. Armstrong follows in the footsteps of William Kentridge, who won the Visual Arts category in 1987, and Brett Murray in 2002.  

Scrimgeour’s table settings intrigue and fascinate, juxtaposing fragile and precious

curios with commonplace objects, exquisitely rendered. Rich in symbolism, her

work is reminiscent of still life paintings from the Dutch Golden Age, while the

use of bird’s-eye perspective creates a contemporary context for a

very traditional genre.

"I want to present my paintings as superstitious objects with bogus protective powers to bend reality in our favour. My paintings offer somehow to help you. 'Buy you time.' Or 'Reduce insignificance.’ Or 'Guarantee Afterlife.’ The squishy bodily qualities of paint, thick gestures, and sometimes outright messy application, are ideal to evoke a low-tech, talismanic object or fetish and our chaotic and often absurd strategies for controlling the vagaries of chance and guaranteeing a bright future."

- Nigel Mullins

Dylan Lewis's oversized wildlife sculptures reflect the vastness of South African Landscapes by Jonathan Foyle. Published in the Finincial Times on 15 October 2016.

"South African sculptor Dylan Lewis is forging the evolution of bronze. He was raised in a landscape of red soils rich in copper. His country offers some of the earliest evidence of man, such as the Cradle of Humankind, a Unesco world heritage site near Johannesburg. Here, hunters lived in caves, some of which contain bulbous, tumbling limestone stalactites — natural sculptures directly expressive of primeval forces, wrought through base material."