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Article

Togolese, 20th – 21st century, male.

Born 11 November 1968, in Lomé.

Painter (mixed media).

A self-taught artist, Tetevi Azankpo works with recycled materials such as rusting receptacles, lengths of metal wire and rubber to produce fantasy figurines.

He has exhibited at group exhibitions, among them ...

Article

British, 20th – 21st century, male.

Born 1951, in Bradford.

Painter, engraver, draughtsman. Figures, portraits.

Tony Bevan was educated at Bradford School of Art (1968-1971), Goldsmiths College (1971-1974) and the Slade School of Fine Art (1974-1976).

Bevan has been compared to Francis Bacon, Edvard Munch and Philip Guston. He paints the human form, depicting extreme psychological states of anxiety and alienation, yet concentrating as much on the body as on the face. Using charcoal, he draws straight onto the wet canvas to create densely worked areas which contrast with flat expanses of strong colour in acrylic. Heavy outlines in red or black show the structures of the body beneath the skin, so that the figures seem to be covered in scars. This imparts a rough physicality to the figures, which seem deformed and haggard, recalling the suffering faces of the French writer and actor Antonin Artaud; but in their stylisation the lines also take on a life of their own as abstract forms. The starkness of portrayal can be viewed as aggressive or confrontational, but the figures also appear vulnerable, with a focus on the more fragile parts of the body, such as the neck, wrists or insides of the arms....

Article

John-Paul Stonard

(b Bradford, July 22, 1951).

English painter. He studied at the Bradford School of Art (1968–71) and then in London at Goldsmiths’ College (1971–4) and the Slade School of Fine Art (1974–6). In his early work he painted single figures in a manner that suggested extreme psychological states. His use of charcoal and intensely chromatic acrylic paint, which he makes himself, give his painting a distinctively rich, scorched appearance. Bevan developed his psychological portraiture throughout the 1980s and 90s, often working in series on individual subjects. The Prophet (1982; Munich, Staatsgal. Mod. Kst), is a large portrait of a handcuffed male with a pair of open scissors lodged in his head. The psychic state it represents is so extreme, it seems, that it can only be represented metaphorically. The social psychology of his work became more explicit in The Meeting (2.94×2.85 m, 1992; see 1993 exh. cat.), a painting of nine male figures (distributed over six canvases) singing in a mechanical, disconnected fashion. The underlying existentialism of this work recalls the paintings of Francis Bacon, Bevan’s obsession with open mouths providing another point of comparison. The tense frontal aspects also bring to mind the Expressionistic portraiture of Edvard Munch, the pose embodying states of anxiety, introspection and despair. Toward the end of the 1990s Bevan stripped his images to a bare minimum, producing a disturbing series of paintings in which disembodied heads float like scarred, trussed balloons, for instance ...

Article

Spanish, 20th – 21st century, male.

Active in France.

Born 1952, in Benicarlo.

Painter, sculptor, engraver, medallist. Landscapes with figures, urban landscapes. Statuettes.

Jorge Borras trained at the Real Academia Catalana de Bellas Artes de San Jorge in Barcelona. He is general secretary of the association of Spanish artists and intellectuals in France. Borras specialised in statuettes of young women captured in everyday postures. A certain softness of form is balanced by graceful signs of movement. For the Paris Mint, he created a medallion of Pope Benedict XIII, the last Avignon pope....

Article

John-Paul Stonard

(b Hexham, Northumberland, Feb 13, 1966).

English painter and sculptor. He completed a foundation course at Norwich School of Art (1984–5), a BFA at Bath Academy of Art (1985–8), and an MFA at Goldsmiths’ College, London (1990–92). His paintings typically reproduce the work of artists such as Frank Auerbach and Karel Appel in a slick, ‘photographic’ manner. He arrived at this manner of working after basing paintings on photographs of modernist buildings; a sense of thwarted utopianism became a central tenet in his later work. His first painting after Auerbach, Atom Age Vampire (oil on canvas, 0.82×0.72 m, 1991; priv. col., see 1996 exh. cat., p. 19), was a minutely copied, flattened rendering of the thickly impastoed original. Although such works are critical of the expressionist doctrine of emotional investment in gesture and materiality, they also retain an element of adolescent fantasy and absorption, as suggested by the title. Another strand of Brown’s art consists of copies of science fiction illustrations by Chris Foss (...

Article

British, 20th – 21st century, female.

Born 10 June 1953, in Glossop (Derbyshire).

Print artist, painter, watercolourist, pastellist, draughtswoman.

Eileen Cooper studied at Goldsmith's College in London (1971-1974) and at the Royal College of Art (1974-1977). She was elected a member of the Royal Academy in ...

Article

Morgan Falconer

(b La Coruña, March 2, 1965).

Spanish painter active in England. After obtaining a BA in Philosophy at the Universidad de Santiago in Spain, she studied art in London at Chelsea School of Art, Goldsmiths’ College and the Slade School of Fine Art, concluding in 1996. She came to attention with oversized, ‘broken’, monochrome canvases that so dominate the spaces in which they are shown that they take on the nature of sculptural installations. The emphasis on the character of the canvases as objects, their sheer physicality, is often combined with titles that suggest human attributes. She has described her apparently abstract paintings as ‘figurative objects’. Homeless (1995; see 1998 exh. cat., unpaged), a large cream monochrome installed as if flung against the wall, suggests something of the melancholy that pervades her work; she once remarked that it was not out of anger, but sadness and frustration, that she first broke a painting; fractured stretchers barely able to support the canvas became poignant metaphors, and physical evidence of the activity of making art. Suggestions of violence or dejection are common in her work: the small blue canvas ...

Article

British, 20th – 21st century, male.

Born 1966, in Sidcup.

Painter.

Ian Davenport lives and works in London, where he graduated from Goldsmith's College in 1988. He pours colour (industrial paints, marine varnish) on to canvas using mechanical means. He uses a container with a pouring lip which he guides by hand to produce successive layers. His palette consists of bright, sustained colours such as electric blue, yellow, purple and intense red....

Article

John-Paul Stonard

(b Sidcup, Kent, July 8, 1966).

English painter. He trained at the Northwich College of Art and Design, Cheshire (1984–5), and Goldsmiths’ College, London (1985–8). He exhibited in an influential exhibition, Freeze, curated by fellow student Damien Hirst at Surrey Docks in London in 1988, and in 1991 he was nominated for the Turner Prize. In 1999 he was a prizewinner in the John Moores Liverpool Exhibition. His abstract paintings are made by pouring layers of household paints on to prepared canvases and boards tilted so that gravity and the consistency of the paint determine the final configuration of the areas of colour. His systematic approach, predetermining both materials and process, results in paintings whose effect is based on physical immediacy rather than any theoretical or narrative background, although the procedures of American painters of the 1950s and 60s associated with Post-painterly Abstraction, notably Morris Louis, have been cited as antecedents. His typical paintings of the early 1990s, such as ...

Article

John-Paul Stonard

(b Edinburgh, 1970).

Scottish painter. He completed a foundation course at the Central School of Art and Design, London (1988–9), a BFA at the University of Brighton (1989–92), and an MFA at Goldsmiths’ College, London (1994–6). In 1995 Davies was included in a number of exhibitions (Multiple Orgasm, White Trash and Gothic) at the artist-run gallery, Lost in Space, London. Following these he was included in Die Yuppie Scum (London, Karsten Schubert, 1996), Sensation (London, RA, 1997), Die Young Stay Pretty (London, ICA, 1998) and Neurotic Realism (Part II) (London, Saatchi Gal., 1998). He had his first solo exhibition, New Paintings, at The Approach, London, in 1998. His painting Fun With the Animals: Joseph Beuys Text Painting (acrylic on canvas, 3.96×2.44 m, 1998; London, Saatchi Gal.) shows a large, impossibly complicated and multi-coloured diagram listing artists’ names, movements and themes. In this and other text paintings Davies comments on the vagaries and fashions of an art scene that can be reduced to a litany of key words. In ...