Christina Barrera, En La Calle I [On the Street I]
Thank you to all artists and collectors for your continued support this year.
We are looking forward to returning in January with a series of shows - both online and in physical space. A preview of these first exhibitions is below. Please follow the gallery on Artsy for further details in the coming weeks.
Visage
Curated by Juan Bolivar
11.01 - 14.02
Visage presents artists who share a fascination with faces, not necessarily portraits or a likeness, but a fascination with the face as an indexical repository of style.
Christina Barrera, Juan Bolivar, Nicky Carvel, Mark Connolly, Cyan Dee, Oli Epp, Liam Fallon, Luis Rafael Galvez, Charlie Gray, John Greenwood, Des Lawrence, Rebecca Parkin, Anthony Piper, Miho Sato, Toby Ursell, Julie Verhoeven, Richard Wathen, Tom Worsfold.
Foundations
An Online Fair
23.01 - 14.02
‘Foundations is a seasonal online fair curated by Artsy, spotlighting fresh works from tastemaking galleries that discover and nurture rising artists. This year’s fair includes presentations from 130+ galleries in 36 countries across the globe, featuring exceptional talents whose practices deserve greater recognition.’
Christina Barrera, Nick Devereux, Susan Metrican
Value Value Value
Curated by Peter Lamb
15.02 - 20.03
Value Value Value brings together 9 artists whose work shows a willingness to collapse and renew recognisable authorship - artists who work so continuously on an artwork that often nothing recognisable of the artist’s hand remains.
Birgir Birgisson, Shane Bradford, Jim Cheatle, Gustav Metzger, Tahmina Negmat, Aidan O’Sullivan, Peter Lamb, Playpaint, Kate Steciw
Zoe Spowage
07.03 - 07.04
Blackbird Rook and the Good Ship Presents new paintings by Zoe Spowage at Sheffield’s Yorkshire Art Space.
The paintings and constructions of Zoe Spowage combine a sharp-witted graphic sensibility with an engaging theatricality. Unashamedly illustrative, they suggest a narrative that is about to unfold, or depict the aftermath of events that have already happened. Her artworks are accessible and energizing, often joyful and seductive, but once we have been seduced there is also an unnerving undercurrent of oddness; a feeling of being slightly off-kilter, reminiscent of the way the familiar and homely is unsettled in fairy tales. We are drawn into a painted drama, set in stage-like landscapes or domestic rooms in which people, animals and objects interact in a collision of styles and shifting relationships of scale that reveal a disconcerting strangeness lurking within the familiar. Derek Horton