CAR DRDE Gallery is pleased to present the first Italian solo exhibition of Damien Meade (1969, Ireland, lives and works in London). The exhibition includes a group of paintings specifically realized for the gallery but indicative of a practice that has distinguished his work for more than a decade. At the base of each painting there is a clay object previously molded in the studio, sometimes with the addition of other materials that can serve to summarily define the shape.
They are busts, heads, figures not referable to a specific subject, or simple abstracts, two-dimensional, tactile and contrasted surfaces compositions. These clay sculptures that are the model for the painting are never cooked so that every object can become something else: another shape for a new painting. Talking about Meade’s works, also means dwelling on something that no longer exists, or that has ceased to exist before the beginning of the painting: it is only thanks to a series of photo shoots that the object was able to become a referent, that is the subject of the painting.
Therefore every object painted by Meade is a sculpture – an ephemeral life sculpture, interstitial (between one painting and another), but it is also a shape whose material life is extended, through photography, in the painting. Every painting is a still life (for the simple reason that each subject is an inanimate object) but at the same time it is also a portrait, as when we are in front of the rough outlines of a bust, or of a head (and in this case they are portraits without a look, which escape a reciprocal exchange relationship with the observer).
Meade's paintings seem to sum up aspects that are not completely linked to one another and which are genres occasionally contradictory: the coexistence of the different expressions: painting, sculpture and photography; a painting that continues to commemorate the ephemeral materiality of sculpture; classical genres; the figure and the abstraction; and to exist in balance between two materialities – the one of the painting as an object and the one of the thing represented – which attract and refer to each other..
A new text by Davide Ferri will accompany the show.
Open Wednesday to Saturday 3 - 7:30pm
or by appointment
via Azzo Gardino 14/a
T. +39 051 9925171
opening hours: Wednesday through Saturday 3 - 7.30pm and by appointmentl
2 March – 27 April 2018
Peter von Kant Gallery, London
Preview: Friday 2nd March 6 - 9pm
Damien Meade’s paintings begin as mud, but live on as creatures of dirt. Minerals suspended in water are made compact— first by time, then the artist’s hand—and transform into something that Meade cannot, or at least does not want to name. Paint shifts onto linen panels like dried-up play doh curling at its edges, creating what looks like hair, pairs of lips or the surface of skin, perhaps. In an unusual twist of tradition, this clay will never see the inside of a furnace. Instead, it stays wet and, once he is through, will be crushed and churned into the shape of Meade’s next model. These faces are consumed by an assumed role—as though, each portrait is actually an actor’s headshot auditioning for a play called ‘High Art’—so much so, that they have become indifferent to the eye that is beholding them. Mark, though, there is nothing theatrical about mud—it sits, covers up, and cooks while basking in the sun. There is a push and pull, a child’s gentle yet commanding tug, at the arti ciality of this performance being in opposition to but also dependent on the most natural medium imaginable: mud. (Read More...)
30th September - 5th November 2016
Highlanes Gallery, Drogheda, Ireland
Preview: Friday 30th September 6.30pm
Anna Barribal, Karl Burke, Maud Cotter, Gemma Fitzpatrick, Mark Garry, Caoimhe Kilfeather, Barbara Knezevic, Damien Meade, William Mulready, Niamh O'Malley, Kathy Prendergast
Curated by Brian Fay
Taking its starting point from the small painting Miniature of the Artist's Hand by William Mulready in the Highlanes Gallery collection, Some thing as a line is a group exhibition that looks at the spatial and temporal properties of line. The show considers the ability of line to move from a representational mark to an autonomous entity in space and time. Mulready's painting depicts a hand in the act of drawing from a sculpture onto an ivory surface, suggesting a movement for line between a range of media and disciplines, from sculpture to drawing and painting. Each of the ten invited artists use line in a variety of forms, across a range of media, where line is used to engage with a sense of materials, of space and of time. Works in this exhibition show line being thought of and used in various ways including: as sculptural objects, as paintings of linear sculptures, as video work using line to measure landscapes, as mapping, as visualised data, and using line to trace and record real objects.
Open 6 days a week Monday - Saturday 10.30am-5.00pm, Closed Sunday
Sophie Birch, G L Brierley, Simon Callery, Mark Fairnington, Ana Genoves,
John Greenwood, Paul Housley, Damien Meade, Donal Moloney
Curated by Geraint Evans
A group exhibition that explores contemporary representations of objects with reference to the still life tradition and with a particular interest in the notion of thingness and abjection. The starting point is Norman Bryson's description of still life as "...an object world that has dispensed with human attention and in a sense makes human attention and the human subject obsolete"1. The exhibition is concerned with the ways in which paint's materiality resonates with meaning and articulates the relationship between subject and object, the observer and the observed.
1 Norman Bryson, 'Chardin and the Text of Still Life', Critical Inquiry Vol. 15, No. 2 (Winter, 1989).
Monday to Friday, 10am-5pm
Closed weekends and bank holidays
6 February - 28 February 2016
Averard Hotel, London
Preview: Saturday 6th September, 12-6pm
NEIL GALL // JAMES HARRISON // NICK JENSEN // NICHOLAS JOHNSON //
LISTEN STUDIO // DAMIEN MEADE // BEN SANSBURY // RAPHAËL ZARKA
Curated by Twelve Around One & Slate Projects
Black Light is a group exhibition which takes Matisse's Porte-fenêtre (French Window) of 1914, distinguished by its heavy application of black paint, as a point of departure. Painted in autumn 1914 at Issy, the sunlit scene outside the window is depicted paradoxically, in absolute darkness. There is a close parallel with the story of Oedipus Rex, as told by Sophocles. Oedipus is cursed by the gods to commit the crimes of regicide and incest as prophesied by the blind oracle of Delphi. He searches in vain for the protagonist of these dark prophecies, not knowing that he is looking for himself. Oedipus' physical sight had blinded him to the metaphorical truth; on learning the truth of his own guilt he gouges out his eyes and finally achieves a prophetic, 'inner' sight. The drama of Sophocles hinges on the dialectic between actual sight and metaphorical sight, on the impossibility of achieving the latter without abandoning the former. Oedipus must be blind before he can see.
In a similar way, Matisse's French Window operates by concealing the very thing it tries to represent. The vibrancy and hue of colour pigments could never really match the light and colour from the window. Thus, Matisse paints with the darkness of inner sight, his knowledge of the light. By now, he knows too much about light to try to paint it directly. By showing presence through absence, and using black as a sign or placeholder for light, Matisse is opening a path to conceptual painting. The ambiguity of whether we are looking through an open window onto a bright scene outside or at a reflection of the room inside in the glass of a close window, itself mirrors the duality of realism and psychological space of this painting. The Great War had just broken out when Matisse painted French Window; its implicit prophecy of these events, makes it a properly Oedipal painting.
The contemporary artists proposed for this exhibition build on the legacy of French Window. Here, painting, understood in its expanded sense, is both material specific and psychological space. It operates as a series of signs, obscures and obstructs to reveal, and plays on the duality of surface as reflection/window and inside/outside.
'Black Light' is part of the second edition of exhibitions at the Averard Hotel.
About of the Averard Hotel:
The Averard Hotel stands at the western end of the Lancaster Gate development. Built in English Baroque with French mannerist touches in the 1850s, Lancaster Gate was popular with wealthy families. The 1920s saw its grand homes divided into flats and hotel rooms, and the introduction of Art Deco interiors. The Averard Hotel has been stripped back to reveal its multi-layered history in a state of arrested decay, as it awaits renovation into luxury flats. An exhibition programme, hosting a series of projects by international galleries, curators and artists, is taking place until October 2016.
Exhibition produced with the generous help of Aurora Multimedia and KitMapper
The Averard Hotel, 10 Lancaster Gate, London W2 3LH
Exhibition Dates: 6 February - 28 February (inclusive). Open Thu-Sun, 12-6pm
12 September - 24 October 2015
Sommer & Kohl, Berlin
Private View: Friday 11th September, 6-9pm
Sommer & Kohl are pleased to present new works by Irish painter Damien Meade (*1969) and Polish artist Natasza Niedziolka (*1978).
Starting with the idea of how a sculpture or other artistic object can find a two-dimensional interpretation, Damien Meade and Natasza Niedzioka have developed their own unique approaches to render this translation. Both artists explore differing approaches to making works that are playful yet uncanny and atmospheric.
In beautifully incisive small-scale oil paintings Damien Meade, who studied in Dublin and at Chelsea College of Art in London, transfers sculpture onto canvas, using pieces formed from clay beforehand as a model for painting. These maquettes are not quite topographic and not really human; some resemble busts, while others are free-formed meandering assemblies or even clay surfaces pressed almost flat. Traditional sculptors would then proceed to form a more finished version of the sculptural sketch, but Meade opts to go through this process using the painting surface, deftly employing multiple layers of oil paint to develop rich detail and subtle depth within each work. While the sculpted models are expressionistic the painted translation resists any kind of painterly texture - resulting in a tension between the original ectoplasmic forms and their painted rendition.
Natasza Niedziolka, who studied at Kunstakademie Duüsseldorf under Tal R, displays two series of cross- pollinating works. Combining modernist abstraction with organic symbols, she develops compositions that often employ textiles to refer to the history of painting. Niedziolka's imagery is influenced by archetypes, in this case featuring vessels, birds and plants. The new works for this exhibition are made with silk thread onto silk canvas, giving them a delicate and subtle beauty. Often these works test the limits of sewing in a way that simultaneously acknowledges folk traditions and modernist experimentation in a raw and witty way. In a second series of works Niedziolka employs silk-screen techniques by using the screen itself as a photogram. These have been coated in photo-sensitive emulsion before being exposed, so that the traces of an absent composition remain as an inverted shadow, the surface stained with light.
For further information and images please contact Sommer & Kohl.
Sommer & Kohl
The London Open 2015 is the Whitechapel Gallery triennial exhibition. Sculpture, painting, performance, moving image, photography, printmaking and many other media and practices showcase some of the most dynamic work being made across the capital in 2015.
Exhibiting artist's have been selected by a panel of high profile art world figures, including writer and critic Ben Luke, artist Angela de la Cruz, collector Nicoletta Fiorucci, gallerist Jake Miller and Whitechapel Gallery curators Daniel Herrmann, Eisler Curator and Head of Curatorial Studies and Poppy Bowers, Assistant Curator.
Rebecca Ackroyd, Holly Antrum, Ryuji Araki, Salvatore Arancio, Zehra Arslan, Alex Baczynski-Jenkins, Sam Belinfante, Karl Bielik, Isha Bohling, Jane Bustin, Jodie Carey, Ben Cove, Sam Curtis, Nelmarie Du Preez, Alexander Duncan, Tim Ellis, Adham Faramawy, Gaia Fugazza, Marco Godoy, Lothar Götz, Athene Greig, Buster Grimes, Mark Harris, Emma Hart, Dominic Hawgood, Mary Hurrell, Lucy Joyce, Dominic Kennedy, Sophie Mackfall, Damien Meade, Guy Patton, The Grantchester Pottery, Heather Power, Mary Ramsden, Sarah Roberts, Julie Roch-Cuerrier, Mitra Saboury, Lizi Sanchez, Laura Santamaria, Frances Scott, Eva Stenram, Tim Stoner, Roy Voss, Caroline Walker, Dominic Watson, Demelza Watts, Ben Woodeson, Madalina Zaharia.
SCHEUBLEIN + BAK is pleased to announce Sudo, the second exhibition by Damien Meade at the gallery. In recent years Damien Meade has developed a body of work that engages with painting as a cross-genre hybrid of portraiture and still life, of subject and object. The paintings are at turns irreverent and fanciful, witty and melancholic, solemn and abject, and playfully examine how a subject might be perceived to be both animate and inanimate at the same time. As paintings of sculptures they are 'artifice within artifice', yet paradoxically they can appear to transgress this premise, and to assert themselves as sentient subjects, equal to ourselves.
This latest show reveals a triangulated approach to this enquiry: from his familiar reimaginings of bust portraiture (the subject as object), through to knotted structures of bruised clay (the object as subject) and finally to explorations of kneaded clay surfaces (the mark of the subject in the object).
Resistance Painting falls into this last category. If an index can be defined as a category of sign that maintains a physical tie to its referent, then in this respect every painting is 'indexical', retaining a tie to its maker - painting as the trace of the hand of the painter. Here, the thumbed and fingered surface of clay is an accentuation of this. There is something appropriate about paint mimicking clay, in that it is 'mineral mimicking mineral'; a fusing of surfaces, something symbiotic. The image is a product of the degree of resistance that the clay offers to the force of the hand, a memory of the subject, in its absence.
For the artist, the title Sudo partly refers to Sudocrem, a popular medicated 'soothing' cream commonly used in Ireland for the treatment of burns and skin conditions. But it is also pseudo, that which is supposed, but not really so.
SCHEUBLEIN + BAK
Schloss Sihlberg, Sihlberg 10
CH- 8002 Zurich
phone +41 43 888 55 10
Gallery Hours: Tuesday - Friday 11 - 5pm and by appointment