Untitled by Theodore Chronis Metamorphosis Exhibition 2016 Artmoorhouse Gallery, London


 London – Artmoorhouse presented the interesting “Μεταμόρφωσις: Beyond Shapes”, a collective exhibition of Greek artists only.

The exhibition catalogue opens with the phrase: “Art is the free motion, an intuitive response to the reality in which it finds expression, of which it is the expression.” Philosophy is complicated and the concept adopted for this show is difficult as well.

The point is metamorphosis implies changes. A widely used concept, metamorphosis comes from biology and it is a process by which an animal physically develops after birth. As a topic it has been extensively adopted by any sort of art and expressed by using all media.

Metamorphosis is keen to another philosophical concept ‘Panta rei’, which means ‘Everything flows’. Heraclitus firstly expressed it, meaning that there is a constant movement in every aspect of life. Becoming is, according to Heraclitus, the essence of ‘Being’, because everything is subject to time and transformation.

Also quantum physics confirm it and it has been proven scientifically. Even what seems static to sensory perception in reality is dynamic and constantly changing. Everything we consider solid and composed of matter, as it can be a chair, an apple, or a human being, it consists in infinitely small atoms which are vibrating to a certain frequency: so there is movement.

In this sense the exhibition Μεταμόρφωσις: Beyond Shapes” present a common point between artistic and philosophical intuition concepts - but also physics and science should be added – look beyond the convenience of ordinary perspectives.

The logic of identity does not allow that one thing can be another, but at the Artmoorhouse exhibition it is art that captures this process, in its many different forms.

But not everyone is able to recognize this movement. Only a few could be awake, those who can recognize the common law of the nature, the others, the dormant, living in a dream, they are prisoners of the opposition, the struggle, the conflict, unable to rise to the unity of all.

Contemporary artistic practice has a tendency of be stick to reality conceptualizations avoiding abstracts. “Μεταμόρφωσις: Beyond Shapes” exhibition presents five artists whose work is an attempt to align the whole of non-representation with archetypes, which in this case lie not in the world of objects but in the sphere of philosophy and non-existence.

All Greek, the artists are Anna Antarti; Theodore Chronis; Vassiliki Koskiniotou; Konstantinos Mihalos; and Zacharias Papantoniou.

The composition of the work of Anna Antarti consists in vertical direction and shape, reflecting a powerful dynamic quality, in large scale canvasses with minimalistic elements.

Theodore Chronis considers himself a figurative painter with an understanding of limitations and loopholes of figuration and of painting in general.

Vassiliki Koskiniotou uses the ladder, the spiral and the helix as a leitmotif for his work, and to represent the female form or to suggest the double helix of life and creation nodding to the erotic aspect of it.

The caged figures of Konstantinos Mihalos symbolize modern man entrapment on a psychological but also social and cultural level. In its work he represents his own reflections on philosophy, spiritual and social concepts.

Rich in colour and texture, the work of Zacharias Papantoniou has an individual tone that uses contemporary visual language of multiple references and influences and it is focused on the artist’s personal internal concerns and reflection.

The exhibition “Μεταμόρφωσις: Beyond Shapes” was curated by Elisa Martinelli (Artmoorhouse, London, UK) and Avra Alevropoulou (Malou Art Consulting, Athens, Greece).

At the Artmoorhouse, “Μεταμόρφωσις: Beyond Shapes” run from 2nd June until 1st July 2016 Moor house, 120 London Wall, London, EC2 Y5ET.

Wandering and Wondering, 2016 © Stanley Whitney, co. of Lisson Gallery, London.


It has been a wonderful exhibitionStanley Whitney: Radical Times” at the Lisson Gallery, London.

With Radical Times, the painter Stanley Whitney was at its first exhibition in London, promoted by the Lisson Gallery.

Whitney exhibited a series of oil paintings and gouache on paper works made over the last few months and enthused by various sources, including global events, literature and music.

The exhibition name Radical Times comes from one of the new painting on display, which topic is related to the political and social chaos and to the considerable events we are experiencing today.

Another interesting work on show was Deep Water. This painting was made while the artists observed migrants coming to Greece escaping from the dreadful Middle East war zone.

Other works like Wandering and Wondering (2016), Nightlife and Dreamtime (2016) focused on holiday time, contemplation and relax in a contraposition with the hectic nature of life.

According to the personal style of the artist, the paintings on show at the Lisson Gallery of London were made following a repetitive pattern of colours, based on the use of a freely painted grid. His works rely on the visual impact on the value and saturation of colour.

Stanley Whitney uses contrasting colours to bring to mind liaisons, but they can be similar or discordant. It is abstract composition made up of coloured blocks and lines typically in three or more stacks. The juxtaposition between the coloured elements consents to Whitney to play without end. The artist, in fact, has an immeasurable number of options to modify the rectangular shapes by altering dimension, density, transparency and blurring.

However, using the same similar pattern in all his works may brings the eyes of the visitors to disaffection, because spotting the differences is laborious.

The artist has been investigating this approach for almost three decades. His practice of painted tessellation has been constantly refined and he refers to this enhancement process like an athlete training to stay in shape.

Another aspect of the work of Stanley Whitney is its strong connection to music, especially to jazz and African harmonies. He says he practices dance steps before doing canvas. Jazz clubs in Philadelphia and New York pulled him into a multi-ethnic bohemian lifestyle. He also uses a technique called “call and response” to decide which colours set nearby and it is adopted by the musical pattern of the same name.

Considering the rhythm of the works, Whitney quotes the painting Masters together with jazz renowned musicians, such as Charlie Parker or Ornette Coleman. He has often mentioned of the influence that Coleman’s album “The Shape of Jazz to Come” (1959) had on him when still at school.

Stanley Whitney was born in Philadelphia (US) in 1946. He lives and works in New York City and Parma, Italy. He holds a BFA from Kansas City Art Institute as well as an MFA from Yale University and is currently Professor Emeritus of painting and drawing at the Tyler School of Art, Temple University, Philadelphia. His major solo exhibition, ‘Dance the Orange’ was at the Studio Museum in Harlem, New York (2015) and he has been included in many group shows such as ‘Nero su Bianco’ at the American Academy in Rome (2015); ‘Outside the Lines: Black in the Abstract’, Contemporary Art Museum of Houston (2014); ‘Reinventing Abstraction: New York Painting in the 1980s’, Cheim & Read, New York (2013) and ‘Utopia Station’ at the 50th Venice Biennale (2003). He has won prizes including the Robert De Niro Sr. Prize in Painting (2011), the American Academy of Arts and Letters Art Award (2010) and was awarded a Guggenheim Fellowship in 1996. Whitney’s work is included in public collections such as the Nelson-Atkins Museum of Art, Kansas City, the Philadelphia Museum of Art and Yale University Art Gallery, New Haven.

The exhibition “Stanley Whitney: Radical Times” was at the Lisson Gallery, London, from 20th May until 2nd July 2016. 

Platform for Emerging Arts #11 exhibition at the Leyden Gallery, London.


David Franchi – Wednesday, 21 September 2016

It has been very interesting Platform for Emerging Arts #11 exhibition at the Leyden Gallery, London.

A mixed media exhibition, it displayed six gifted emerging artists for a total of 54 works.

Curators Adriana Cerne & Lindsay Moran personally selected the artists according to their potential and abilities.

The Platform for Emerging Arts series is that it is based upon an open call. The outcome is an exceptional mix of techniques, ideas, knowledge and energy, developing in the distinctive space of the Leyden Gallery, London. Artists on show are at the beginning of their careers. In the past, Leyden Gallery, London, was able to recognise artist who later were critically acclaimed and had commercial success.

Participating artists to Platform for Emerging Arts #11 exhibition were: Rowena Wright; Lottie Murphy; Kaya Tokuhisa; Kit Brown; Liz Bending; and Tina Crawford.

Rowena Wright has an interesting working process, key to understand her sculpture. Although apparently abstract, the artist moves to the figurative and corporeal, by means of the physicality of her work with materials. Her sculptures are the result of her hand- work, while she tries to imprison the abstract form of the body. She said: “If my sheet steel appears fluid and my copper is reminiscent of skin, it indicates to me that my intentions are being realised.” The work ‘Bogman’ (2015) is probably the most interesting piece on display. It is a relevant sculpture of the dead body or a mummy of, possibly, an ancient man found in archaeological researches. It reminds Ötzi, the 5,300 years old mummy of a man, found in 1991 in the Ötztal Alps, hence the nickname, near the Similaun Mountain and Hauslabjoch on the border between Austria and Italy. Although a little spooky, the yellowish mustard colour brings back light perception.

Lottie Murphy is a painter whose inspiration generates from photographs and found images of architecture, landscape and objects. Depicting a bizarre otherworld, she tries to surround with the emerging anxiety. The artist mix urban and rural landscapes into what she describes as ‘edge lands’, free from context and inhabitancy. References are surrealist artists such as Frida Kahlo and Leonora Carrington. Although she does not depict people, her paintings are loaded with the human symbols of puzzlingly placed chairs, stairs and doorways and other unexplained architectural features where the viewer assumes there is an uncertain human presence.

Reinterpreting the still life genre, Kaya Tokuhisa is a painter with an experience in film-making. Her uncommon work on oil canvases is inspired to conceptual art. The light usage gives back the adequate atmosphere of a particular situation, just as it would on a film set or stage, and her objects take on an anthropomorphic meaning as human characters. Since centuries, pomegranates are a conventional symbol of fertility. However, Kaya Tokuhisa in her ‘Petrified Pomegranates’ alters the significance by giving to them a more physical presence, panicky grouping them together in fear of a knife. 

Experimenting with a new format, Kit Brown displayed work confirmed to be different from his usual installation - sound and video. His new series of tiny wall based pieces may appear ordinary in comparison to his previous work, but nonetheless experimental. The evident straightforwardness of the work is intentional, of course, and it looks at complex thoughts and to incorporate them into a condensed and primary concentrate.

Hosting the political legacy of printmaking, Lizy Bending focused on issues surrounding politics, society, culture and the economy to make them easier to be reached. She mixes print media with the construction of objects. The goal of her work is to provoke debate, using emotive aesthetics that transform socio-political concepts into visually inspiring pieces of art. Inspiring to archive and museum concepts, she makes digital prints that are then altered to be adapted to the displaying physical space.

Tina Crawford uses the sewing machine as her main artistic medium. She depicts outlandish figure s of the skeletal and anatomical forms of both real and mythological creatures. Despite being considered a modest technique, the artist’s potent images give an idea of the possibilities that the sewing machine can have. Sewing machine can be used by an intuitive and skilled artist, like Crawford who has had a successful career in free embroidery illustration, designing pieces for clients such as Shakespeare’s Globe, Kew Gardens and the Museum of London.

The exhibition Platform for Emerging Arts #11 was at the Leyden Gallery, Liverpool Street, London, from 20th until 30th July 2016. 


David Franchi – Saturday, 23th July 2016.

Confessional 2016 © Stephen Newton, co. Art Bermondsey Project Space, London.

Confessional 2016 © Stephen Newton, co. Art Bermondsey Project Space, London.

It has been an involving exhibition “Abstract Realism” by Stephen Newton, at the Art Bermondsey Project Space, London.

Stephen Newton is a revered painter and drawer whose exploration of human psyche connected to art is very interesting.

He is committed to a consistent theoretical position. His approach has been object of academic papers, lectures and publication.

About its work, Stephen Newtonfocuses on the creative process from a point of view that mixes the corporeal and the cerebral parts, exploring the fundamental primitive nature by using primeval images of immense power. His compositions are rarefied, using large fields showing the materiality of colours, on a canvas that has symbolic figures and signs. His skilled technique is quite physical.

Usually, Newton’s works reflect the common contemporary issues of human beings: a sense of isolation, unawareness, scantiness and fragility. The images and symbols of the works, for example a door or a chair, propose a vague salvation.

The work of Stephen Newton is inspired by the cave painting. Therefore, it refers to the archaic meanings, the ancestral human needs that have been lost with the civilisation. Pre-historic humans were not involved in the contemporary life emptiness, but rather tried to build up relationships between individuals themselves, the surrounding environment and the unknown transcendent. The birth of society would bring more rules and less psychological introspection – Roman’s maxim Ubi societas ibi ius gives a clue.

The exhibition “Abstract Realism” was almost on his recent work, with few pieces from way back.

The exhibition “Abstract Realism” at the Art Bermondsey Project Space inLondon, showed Newton’s twenty year long sophisticated investigation on psychoanalysis and psychometric of art.

Connected to primitive manic symbols, “Abstract Realism” evoked subconscious spirituality by absorbing loneliness, disassociation, defeat, panic, degradation, etc. For example, these conditions are represented by a vacant room or an empty chair, however connecting to the visitors through symbolic stairs, or an open door or a window or a mirror. These two spaces were often divided by a dichotomy line which could represent a horizon, or the yin and the yang, or the good and the evil, etc.

Stephen Newton is born in Grimsby in 1948. He holds a number of academic titles, including an MA in Fine Art at Nottingham Trent University (1986), an MA in Art and Psychotherapy from the University of Sheffield (1993) and a PhD in the psychoanalysis of the creative process, Department Of Psychiatry, University of Sheffield (1998). In 1998 Newton was appointed Visiting Lecturer, School of Art, University of Sunderland and Visiting Professor, University of Northumbria at Newcastle. In 1999 he was appointed Visiting lecturer, Centre for Psychoanalytical Studies, University of Essex and in 2010 Visiting Lecturer, University of Lincoln.

His work has been exhibited across the UK. He has published two books; ‘Painting, Psychoanalysis, and Spirituality’ published by Cambridge University Press (2001) and ‘Art & Ritual: A Painter’s Journey’ published by Ziggurat Books International (2008).

The exhibition “Abstract Realism”, by Stephen Newton, was at the Art Bermondsey Project Space, London, from 18th May until 26th June 2016.