Tag: British Art

Ninjin Art makes a big splash at Tokyo’s Flying Teapot

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Ninjin Art’s newest animation ‘The Night Turns (Mandelgrün)’ has picked all the right numbers for its premiere at The Flying Teapot, a key Tokyo locus for the Japanese avant-garde art scene. With a runtime of 3 minutes 52 seconds, ‘The Night Turns (Mandelgrün)’ combines the kimo-kawaii animation of Cornwall’s Ignatius Rake with the haunting synthesizer sounds of London’s Louis S Hill to tell the story of Reg Cleet, a man abducted by telepathic aliens that look like teeth and who want him to marry their queen and seed the next generation of alien/human hybrids.

Vivienne Becker’s Jewellery Designer Vivarium at GemGenève

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This May, the Designer Vivarium is set to return to GemGenève, featuring five international contemporary designers, with four of them being new to the Vivarium, presenting their work at GemGenève for the first time. As usual, the Designer Vivarium is curated by renowned jewellery historian, Vivienne Becker, who meticulously scouts the globe for fresh and creative talent, seeking out independent, under-the-radar designer jewellers, artists, and goldsmiths who have something unique to offer in their jewellery. Becker’s discerning eye seeks out a strong, singular creative vision, intense individuality, and sophistication of craftsmanship.

The Royal FAUST – One of the Rarest Antique Books in the World … That You Can Actually Buy

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Goethe's Faust, First Part - Erster Theil. Auguste von Kreiling, Friedr. Bruckmann’s Verlag 1875, 1876, 1877, 52 x 39 cm

Johann Wolfgang von Goethe was a world-renowned 18th century writer and philosopher, covering poetry, plays, novels, and scientific treatises, and widely considered the greatest German writer of all time. His magnum opus, “Faust,” tells the story of a scholar who makes a deal with the devil in exchange for unlimited knowledge and pleasure, and is regarded as one of the greatest literary works ever written. Now imagine owning an antique limited-edition royal “Faust” that is the size of a small window. It is covered in leather and silver, published and decorated by the finest bookmakers and artists of its time, and made exclusively for Queen Victoria. Who wouldn’t want such a copy for their personal library?! This book exists, and with some effort, you can purchase it for your collection.

The Bomb Factory Art Foundation Presents Mat Collishaw’s Latest Series of Works Including Sentiment Analysis, Animatronic Sculptures, Optical Illusions and Paintings

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The Bomb Factory Art Foundation is pleased to present All Things Fall, a solo exhibition featuring the work of contemporary British artist Mat Collishaw, from April 20th, 2023, to May 21st, 2023. The exhibit will be held at Bomb Factory Art Foundation’s newest building in Marylebone.

Mat Collishaw is one of the most significant and compelling artists in contemporary British art. With an early foundation at Goldsmiths College, Collishaw formed part of the legendary movement of Young British Artists. He was one of 16 young artists who participated in the seminal Freeze exhibition organized by Damien Hirst in 1988 as well as the provocative Sensation show of 1997. 

Exclusive Interview with Tom Glynn – Part 4 | As A Man Thinketh

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Tom Glynn is a rare breed: an artist who can move effortlessly between artforms, materials, scales and registers, equally adept at making miniature paintings and  monumental sculptures. And yet all of his work is unmistakably English in mood.  His images are populated by the country’s Neolithic monuments and pastoral landscapes, and informed by the many artists who inhabited those places before him.  Glynn is driven by the same Romantic spirit that motivated Palmer and Turner, Nash  and Piper, Wallis, Lanyon and Hockney, but his art is never anything but his own. It  is, after all, underpinned by an urge that has coursed through his veins since he first stepped foot in a sandpit. 

Exclusive Interview with Tom Glynn – Part 3 | Taking Care of Business

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How much do your paintings cost? “My paintings range in size, theme and medium and whilst I make very large and small paintings, the price can vary considerably. A small  painting may take me one to two weeks to complete, while a very large  painting will evolve over one to two months and involve more materials. Typically, I have sold A5 to A4 paintings from $5,000 to $8,000 (dependent upon the dealer or gallery commission) and very large ones from $10,000 to $15,000. My paintings will also be valued against my expertise, experience and reputation and of course every piece I make is unique and continues to increase in value. With regards to my sculptures and assemblages, prices are on application.”

Tom Glynn is a rare breed: an artist who can move effortlessly between artforms, materials, scales and registers, equally adept at making miniature paintings and  monumental sculptures. And yet all of his work is unmistakably English in mood.  His images are populated by the country’s Neolithic monuments and pastoral landscapes, and informed by the many artists who inhabited those places before him.  Glynn is driven by the same Romantic spirit that motivated Palmer and Turner, Nash  and Piper, Wallis, Lanyon and Hockney, but his art is never anything but his own. It  is, after all, underpinned by an urge that has coursed through his veins since he first stepped foot in a sandpit. – Dr. James Fox | British Art Historian & Broadcaster

Exclusive Interview with Tom Glynn – Part 2 | Assembling Life

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What makes your art unique? “My paintings, sculptures and assemblages are potentially unique as I explore the narrative of everyday events and issues, historical journeys, the paradox of objects and the abstract qualities of both landscape and  the built environment. Direct responses to landscape are significant recurring themes. I work with a multitude of found objects, materials and  techniques within the scope of painting and sculpture, in order to harness the mystery and visual excitement created by juxtaposition, visual memory and spatial configurations – the surrealist and dada  placement of objects and images. Themes and visual ideas often  explore incongruity, archaeological qualities, visual ambiguity, pictorial and real space, political irony, symbol and humour, resulting in a wide  range of outcomes made from expressively applied paint, collage,  assemblage, wood and objets trouvés that yield a profusion of colour, texture, form and spatial complexities.”

Exclusive Interview with Tom Glynn – Part 1 | Making of an Artist

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Tom Glynn is a rare breed: an artist who can move effortlessly between artforms, materials, scales and registers, equally adept at making miniature paintings and  monumental sculptures. And yet all of his work is unmistakably English in mood.  His images are populated by the country’s Neolithic monuments and pastoral landscapes, and informed by the many artists who inhabited those places before him.  Glynn is driven by the same Romantic spirit that motivated Palmer and Turner, Nash  and Piper, Wallis, Lanyon and Hockney, but his art is never anything but his own. It  is, after all, underpinned by an urge that has coursed through his veins since he first  stepped foot in a sandpit. 

A Modern Romantic: Reflections on the Art of Tom Glynn

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If some artists are born and others made, Tom Glynn is undoubtedly one of the former. Growing up in West Sussex in the 1950s and 60s, he possessed a voracious  aesthetic sensibility from the start. Not long after beginning at school, aged five,  he spent the best part of a week constructing an elaborate tunneled structure in a  sandpit – astonishing his teachers in the process. In subsequent years he fashioned  animals from plasticine, made assemblages from scavenged wood, sketched on  scraps of paper, and built miniature model theatres. As he grew older, Glynn became  interested in earlier artists, establishing what he has called a ‘lifelong friendship’  with the work of Picasso, Matisse, Arp and Brancusi. But his ambitions to become  a serious artist himself only crystallized at the age of fifteen, when he visited the  studio of the great post-war British sculptor, Robert Adams. Glynn even showed  the older artist some of his own creations, which Adams is said to have admired. 

Biennale MArteLive Announces Winners of 16 Art Disciplines and Establishes as Only Multidisciplinary Festival in Europe

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Despite a global pandemic and a devastating war just a few kilometers from two of the project’s partner countries – Poland and Lithuania – the first European edition of the MArteLive Biennial finally comes to an end with the announcement of the winners in the 16 artistic disciplines in the competition.

This concludes the long path of scouting and selection of the 16 best European emerging talents discovered out of over 1100 entries from 47 countries including 27 members of the European Union and 20 neighboring countries because art has no borders and barriers but is open to all. 

The MArteLive Biennial is officially over, but the activities will continue! Next MArteLive Biennial scheduled for October 11-20, 2024.