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GV Art London
ARTISTS
GV Art are proud to be representing the following artists;
Susan Aldworth Andrew Krasnow
Susan Aldworth
Susan Aldworth lives and works in London. She took a degree in philosophy at Nottingham University prior to studying printmaking at Sir John Cass in London. Aldworth is Senior Research Associate at Swansea Metropolitan University and Research Fellow in Print at London Metropolitan University. Working on location as an artist-in-residence in a medical or scientific setting is central to Aldworth’s practice. She weaves together personal, medical and scientific narratives in her experimental print and film works on human identity. She is Artist in Residence at the Institute of Neuroscience at New-castle University working on a project exploring schizophrenia which will be shown as Reassembling the Self at the Hatton Gallery and Vane in Newcastle in 2012.
Susan Aldworth, Cogito Ergo Sum 3
Albert Binimelis-Mulet
Albert Binimelis (born 1976) is a contemporary artist from Mallorca. His work, characterised by thick exuberant lines and richly textured collage, is strongly influenced by the natural world around him. Albert could not, however, be described as a naturalist. Each of his pieces has an abstract idea at its heart, and draws upon elements of his environment, particularly birds, animals and local people, to express it.
Albert grew up in an artistic family. His mother is a ceramicist, his father a jeweller. He trained in illustration at the Arts and Crafts School in Palma. He then honed his distinctive painting style and developed his passion for collage under the guidance of celebrated Mallorcan artists, Joan Riera Ferrari and Ellis Jacobson.
Albert is fascinated and inspired by the infinite possibilities of acrylics. That they mix comfortably with materials such as fabrics, latex and pigments enables him to work in a sensory dimension, and give free rein to his imagination. Albert's collages create a powerful sense that his butterflies are hovering over the canvas, and capture brilliantly the nimble darting movements of birds.
Albert says, “I believe that feeling, is the ultimate goal of every work of art. In my work, feeling is pursued through abstraction, and abstraction is expressed through the concrete form.”
Albert Binimelis-Mulet, You Are My Mirror
Andrew Carnie
Andrew Carnie is an artist and academic. He is currently part of the teaching team in Fine Arts at Winchester School of Art, University of Southampton, England. He studied chemistry and painting at Warren Wilson College, North Carolina, then zoology and psychology at Durham University, before starting and finishing a degree in Fine Art at Goldsmiths College, London. He completed his Masters degree in the Painting School, at the Royal College of Art. In 2003 he was the Picker Fellow at Kingston University.
Carnie’s artistic practice often involves a meaningful interaction with scientists in different fields as an early stage in the development of his work. There are also other works that are self-generated and develop from pertinent ideas outside science. The work is often time-based in nature, involving 35 mm slide projection using dissolve systems or video projection onto complex screen configurations. In a darkened space, layered images appear and disappear on suspended screens; the developing display absorbs the viewer into an expanded sense of space and time through the slowly unfolding narratives that evolve before them.
Andrew Carnie, In Out
Katharine Dowson
Katharine Dowson studied sculpture at the Royal College of Art and exhibited in London, USA, Brazil, Europe and Asia. Collections include The Wellcome Trust, The Arts Council Collection, Cultura Englesa, Brazil, The Ulster Museum, Belfast Aberdeen Art Gallery, The Institute of Neuroscience Newcastle University and Private Collections. Her work was bought by Charles Saatchi and is included in Shark Infested Water, Saatchi Collection of British Art in the 90s.
Dowson was commissioned to create work for the groundbreaking shows, Spectacular Bodies, A History of Anatomical Art from Leonardo to Now at The Hayward Gallery and Head On: Art with the Brain in Mind at the Science Museum for the Wellcome Trust.
More recently, her work has been in Gregor Mendel, Planting the Seeds of Genetics, USA touring Exhibition, The Glass Delusion, UK National Glass Centre, Seeing Heads Hatton Gallery Newcastle, Solo show Mitosis, Newcastle, and GV Art London exhibitions Experiments, Brainstorm and her 2010 solo show Relics of the Mind.
In 2011-2012, her work will be in Images of the Mind/The Mind in Images, Dresden and Brno.
Katharine Dowson, Memory of a Brain Malformation
David Heathcote
David Heathcote (born 1931) is a contemporary painter whose work has been evolving for more than fifty years. He has lived in Kent since 1979, after working for eight years in Zimbabwe and twelve in northern Nigeria.
David has used a wide range of media in his work: oil and acrylic paint, collage, printing techniques, assemblage, clay and stone. Now he concentrates on oil paintings and small preliminary drawings for them.
David's current vivid, often highly abstracted, paintings explore themes of construction, colour and space. His paintings have always been essentially imaginative, though in the past he has regularly undertaken parallel, objective studies, particularly of the human figure, landscape, and sculpture and paintings in museums, though these were rarely consulted when it came to painting. In trying to sum up his own work he can only say, ‘for me creativity is a journey where one is constantly meeting the unexpected. If things go well the composition attains a life and vitality of its own.' (If it doesn't it is destroyed!).
David trained at Canterbury College of Art, and later at the Slade under Claude Rogers and Keith Vaughan. A crucial moment for David as an artist was his first awareness of cubism while he was a student at the Slade. Africa has also left lasting impressions, affecting in oblique but forceful ways David's use of colour and form.
Andrew Krasnow
Andrew Krasnow's work embraces a wide spectrum of media and content, overlaid with the complexities of living in a world in which nothing can be seen in isolation. In creating intersections between disciplines, approaches and contexts that aren't easily conjoined, his work offers provocative reconsiderations of the role art has in culture, science and philosophy. Core Texts of the Mind (1988), a breath-activated installation consisting of five human brains toting brass icons that rise on crests of water, is one such example.
His group exhibitions include the prescient exhibit Drowned World on global warming at P.S.1, the mechanical retrospective Mechanika at the Contemporary Art Center of Cincinnati, and the expansive survey of the American flag in contemporary art, Old Glory, at the Phoenix Museum of Art. Prior to the changes in its grant criteria, The National Endowment for the Arts fully funded the staging of his massive biological installation, Growth (1991). Solo shows include Stux Gallery, NY, ADM Projects, LA and GV Art, London.
In recent years, Krasnow has given way to a more sombre concern for humanity and the world it is consigning itself to. Deeply personal and profoundly iconic, these works are a compendium of history and politics, layers of symbolism not easily unwound. Often, this instils a tension between occupation and observation in the illusory search for self, most notably with his use of human tissue. As a result, he has been no stranger to the extremes of censorship and moral outrage.
Andrew Krasnow, Core Texts of the Mind
Michal Macků
With a passion for photography that started when he was 15, Michal Macku studied in Brno and Prague before working at the Sigma Olomouc Research Centre and teaching at the Pedagogical Faculty of Palacky University, Olomouc. Since 1992, he has worked as a freelance artist, exhibiting in the US and throughout Europe. In 1989, he created his own photographic technique, ‘Gellage’ — the ligature of collage and gelatine. The technique consists of transferring the exposed and fixed photographic emulsion from its original base on paper. This transparent and plastic gelatine substance makes it possible to reshape and reform the original images. Created on photographic quality paper, each Gellage is a highly durable print eminently suited for collecting and exhibiting. Michal explains, ‘I use the nude human body (mostly my own) in my pictures. Through the photographic process [of Gellage], this concrete human body is compelled to meet with abstract surroundings and distortions. This connection is most exciting for me and helps me to find new levels of humanness in the resulting work.’
The laborious technology involved in Gellage, which often includes the use of more than one negative per image, makes it impossible to produce absolutely identical prints. Therefore, each Gellage is an original work of art, although Michal makes at least 12 signed and numbered prints of each image.
Michal continues to use and develop this technology in his still-photo art. With the cooperation of Czech Television Brno, he has made an animated Gellage film, called Process. Since 2000, Michal has used other historical photographic techniques in combination with the Gellage technique. After experimenting with heliogravure, platinum and kallitype, he mastered the technique of carbon printing. ‘I am always seeking new means of expression’, say Michal. ‘In its versatility and range of possibilities, carbon is a superb process. It is capable of presenting images with a wide range of image characteristics, of virtually any colour or tone, and on a wide variety of surfaces.
Michal’s new work combines his gellage technique, historic photographic processes and state-of-the-art technology to create 3D glass photographs-objects.
David Marron
David Marron trained in fine art at Chelsea College of Art and Design and currently divides time between his art practice and his work as a paramedic. His art incorporates visual symbols that infiltrate the past to share and shape within the present. He exercises drawing, sculpture, language, object, substance and film, to consider relations within subjects and entice some kind of response: a silent dialogue.
‘The scientific aspect of my art work is influenced by my work as a paramedic, consequently the medical aspects which afflict and assist in our daily lives. Touching upon the progress of treatment and technology, societal damage, basic pathology and physiology, anatomy, the trite but constant balance of life and death. Observed and worked from the personal viewpoint, the human aspect. Basking in these failed attempts at conveying the emotive response’.
Dan Peyton
Dan Peyton (born 1958) is an artist who uses techniques from early nineteenth century photography to challenge our visual assumptions and create new ways of seeing the world.
Dan's passion for photography was sparked by his first camera, a 1940's Zeiss Ikon, given to him by his father. Dan moved from England to America aged 17 where he studied theatre in Kentucky and then Communication Design in New York. He has since explored all aspects of photography from its first inception through to the digital era.
Dan has worked as a graphic designer, illustrator and photographer for numerous clients including Vanity Fair and American Express. His art has been exhibited in New York since 1999, most recently with Oregon artist, Matthew Day Jackson, in the 2006 Whitney Biennial.
Dan currently has three principal areas of interest. Colour work with an unmetered Hasselblad medium format camera, wet-plate collodion with large format Russian early 20th Century wooden land cameras, and direct negative-less solargrams with cyanotype and kalitype.
Helen Pynor
Helen Pynor gained a BSc (Hons) in Biology at Macquarie University majoring in cellular and molecular biology, a BVA at Sydney College of the Arts, The University of Sydney majoring in photography, sculpture and installation, and a PhD at Sydney College of the Arts, The University of Sydney. In her doctoral thesis, she sought the reconciliation of materialist understandings of the human body with understandings of the body as a culturally-constructed entity, a theme she continues to explore.
Pynor’s practice has included exhibitions, residencies and public art commissions in Australia, Europe and Asia. She has been the recipient of a number of prestigious national awards in Australia such as the 2009 RBS Emerging Artist Award and the 2008 Josephine Ulrick and Win Schubert Photography Award, and has recently been awarded a number of Australia Council for the Arts grants. Her work is held in public and corporate collections in Australia as well as private collections in Europe, Asia and Australia. Pynor is currently undertaking a major project exploring organ transplantation in collaboration with artist Peta Clancy.
Pynor draws extensively from the writings of scientists as well as philosophers of biology, in addition to working with scientists in both collaborative and consultative roles. Her practice is integrally tied to a questioning of the philosophical and material status of human and non-human organisms.
Nina Sellars
Nina Sellars is an artist and PhD student in Drawing at the Faculty of Art, Design & Architecture at Monash University, where she also lectures in Anatomical Drawing for both the Medical and Art faculties. She has trained and worked as a prosector (dissector of cadavers for medical display) and often works collaboratively with scientists and artists on cross-disciplinary projects. Her artwork utilizes drawing, photography and installation, and has been exhibited nationally and internationally.
Ken + Julia Yonetani
Ken and Julia Yonetani are collaborative artists who work in the field of sculptural installation, video, and performance art. They have exhibited together at Artereal Gallery, Campbelltown Arts Centre, La Trobe University Museum of Art, Object Gallery, Gold Coast City Gallery, Jan Manton Art, and Sydney College of the Arts. In 2010, they staged a bed-in performance in Federation Square, Melbourne, and conducted a Synapse Residency in Mildura in collaboration with the Murray Darling Freshwater Research Centre and Sunrise 21.
Ken was born in Tokyo, Japan. He received a Bachelor of Economics in Japan and worked in the Foreign Exchange Market in Tokyo for three years. Following this, he was an assistant for pottery master, Toshio Kinjo, oldest son of Jiro Kinjo, National Living Treasure of Japan. He completed his M.A. at The Australian National University School of Art in 2005. He has held numerous solo and group exhibitions, including the 2008 Adelaide Biennial of Australian Art, and was selected for the Australian contingent at The 53rd Venice Bienniale in 2009.
Julia holds a PhD from the Australian National University, and has held positions lecturing and researching in History, Cultural Studies, and Art Theory at the University of New South Wales, Western Sydney University and the University of the Ryukyus, Japan. She has also published work in Cultural Studies Review, Artlink, Art and Perception, Asian Studies Review, Japanese Studies, and Critical Asian Studies. She has been involved in various environmental movements and represented Okinawan environmental groups at the International Union for the Conservation of Nature in Amman, Jordan in 2000. Ken and Julia live together with their two daughters in the Blue Mountains, Australia.
Finally, our Past Exhibitions pages highlight other artists that have exhibited at GV Art.
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