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Open: Fri-Sat 11am-5pm

24 Howie Street, SW11 4AY, London, UK
Open: Fri-Sat 11am-5pm




to Sat 1 Feb 2020
Fri-Sat 11am-5pm

JGM GALLERY presents an exhibition of British and International paintings and sculpture to dazzle and inspire through the dark Winter months. ‘Adazzle’ features the newest additions to the JGM Gallery collection, including Contemporary Indigenous Australian works that Gallery Director, Jennifer Guerrini-Maraldi sourced during her annual visit to the Central Desert this year.

Karolina Albricht, Juan Bolivar, Katjarra Butler, Ernabella Ceramics, Emily Cullinan, Bob Gibson Tjungarrayi, Erin Hughes, Hiroe Komai, Hannah Luxton, Kent Morris, Tom Norris, Naja Utzon Popov, Maureen Poulson, Isabel Richert, Kitty Napanangka Simon

JGM Gallery Adazzle 1

JGM Gallery Adazzle 2

JGM Gallery Adazzle 3

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Karolina Albricht’s paintings derive from a private imaginative space. Narratives unravel by referencing personal and universal mythologies and rituals. Each painting is composed of shapes inhabited by various characters that become alive and interact with each other in different combinations. Often reoccurring, these shapes become a personal code inviting the viewer in, while withdrawing from providing clear answers.

Juan Bolivar’s paintings negotiate the tension between meaning and form. He combines elements from disparate sources to investigate hybridity, language and abstraction. Bolivar’s work often re-enacts seminal cannons of modern- ist painting such as Kazimir Malevich’s ‘black square’ or paintings from Malevich’s late period; using this context of interpretation to create new meanings from the sublime to the ridiculous.

Katjarra Butler is renowned for her wide luscious brush strokes and innovative style. Her artistic process, often involving the application of numerous layers of paint, builds a fullness and depth distinctive in her work. Katjarra combines traditional symbols in a highly contemporary rendering of Ngaanyatjarra stories, culture, and landscape. Katjarra was born near Tjukurla, WA (c 1946) and grew up in the bush, and lived a traditional nomadic life with her extended family group. These paintings depict the waterholes at a sacred site near her home.

Bob Gibson is one of the most dynamic and independent mark makers in Indigenous contemporary art. His bold and energetic paintings have put him among the most sought after artists on the market. Gibson tells the stories from his father’s country of Patjarr and his mother’s country of Kulkurta. He represents Country with a wild and imaginative exploration of colour and form, which happens at a frenetic and decisive pace. Gibson is in some ways the definition of an outsider artist. Aboriginal owned art centres across remote Australia are typically a hive of activity and social interaction, and together the artists’ works are informed by their peers as well as ancestral traditions. Gibson remains disengaged, living and working in solitude in the Gibson Desert.

Erin Hughes draws from her interest in ersatz materials and fake marble laminates in this new body of work. She has been creating hundreds of her own hand-marbled papers which she uses as her palette to construct collages that emulate the traditional craft of Pietre Dure. As a way of embedding the work within the current moment of culture and economy, the original source-image is selected from the first page of a Google image search result for ‘Hillside’. Rendering this quickly selected image with a slow, hand-made process gives a curious redemptive quality. Hughes sees the making process as a combative approach, a way of having a direct relationship to the world around us.

Hiroe Komai painted this watercolor series when staying in the Finnish national park of Koli in the middle of Winter 2015. Her daily routine was strolling around the village and the park, even though the temperature was minus 20 degrees centigrade. During her strolls she noticed several old forgotten houses, observing how they had been built using wooden logs and stood quiet and dignified in the landscape. She discovered some of the houses had been standing for more than 100 years. Komai was fascinated by this and started to paint them in an exploration of the village’s history and folklore.

Hannah Luxton investigates feelings and visions of the natural sublime. Her paintings engage with the Romantic tradition whilst equally reaching much further back in time, finding an emotional kinship with the implicit sense of the sublime perhaps traceable within prehistoric art. This narrative is further enhanced by animistic currents which hint towards a higher spiritual dimension. Her paintings meditate upon her recurring motifs of universally recognised natural forms, from mountains, horizons, craters and lakes, to storm clouds, stars and the moon.

Kent Morris explores the connections between contemporary Indigenous experience and contemporary cultural practices in Australia. ‘Similar to Aboriginal people, native birds are the great survivors and adaptors to their circumstances and surroundings… the birds act as a symbol of the continuity of connection and culture that exists Barkindji people. ‘Place is critical to understanding Morris’ practice and so too is the history of missions and the forced removal of Aborigianal Australians from their custodial Countries to other locations…. the images are not images of virgin landscapes, but are of the aftertaste of the coloniser: roofs of houses, electricity lines, fences delinating ownership.’ Clothilde Bullen

Tom Norris articulates his passion for ceramics citing the vessels capacity to facilitate a hybrid exploration between object, culture and subject. Moving from the playful to the serious; from the simple to the sacrosanct, Norris presents these ideas as a layering of figuration and abstraction enveloping the surface of the vessel. At a developmental and exciting stage in his practice, Norris’s exploration of mark making hints at a narrative directed by the use of symbol, line and colour. The lack of a ‘full stop’ on the ceramic vessel allows for stories, characters and marks to make way for each other across and around his forms.

Naja Utzon Popov presents a series of ceramic columns entitled ‘Traces of the Past’, which rise up from the ground in the appearance of totemic tree trunks. Influenced by the wealth of nature around her during her younger years, Naja’s style embraces encounters with the environment, which she has translated into a collection of sculptures, glassware and hand, woven rugs. She has created gravity-defying clay sculptures for the Rosendahl corporate headquarters in Copenhagen, and even embarked on her own range of rugs sold at the prestigious Maison et Objet in Paris, and ICFF in New York, as well as selected high end furniture stores. Naja also works directly with architects and interior designers to create unique and site specific artworks and rugs.

Maureen Poulson Napangarti started painting in 2008 and is usually one of the first to arrive at the studio in the morning. Poulson spends many focused and dedicated hours on her dazzling diamond shaped designs representing her main dreaming story of Kalipinypa, a water- dreaming site west of Kintore.

Isabel Richert paints perfect, idealised, escapist realities. Realities where the force of gravity operates only under her personal guidance, where light casts its shadow only as she permits and where three-dimensional space expands and contracts under her direct command. Every colour, surface and texture must meet idealistic quality controls. The paintings are further informed by the long list of Richert’s fantasy careers. These include avant-garde architect, furniture maker, funfair operator, textile designer, circus performer, film director, colour theorist, sweetshop owner, Nordic noir detective and 3D/4D spatial innovator.

Ernabella Ceramics is in Pukatja Community, at the eastern end of the Musgrave Ranges in the far north west of South Australia. Ernabella Arts is a place where women and men practice and develop their art, in order to sustain, support and promote their cultural heritage, and to improve the lifestyle of their community’s members. The Ernabella ceramic studio brings young artists into the studio to produce work alongside senior artists. Over the past few years the ceramic artists of Ernabella have taken their skills to new heights.

Kitty Simon’s early experiences during a traditional desert walking life combined with her depth of knowledge of Walpiri culture is the magic combination that defines her style and her masterly use of colour. With fluidity and resolve, Simon employs optic whites and an array of pastels to capture the feeling and colour of desert flowers, and her Country’s natural features surrounding the salt plains of Mina Mina, a salt lake and women’s dreaming site that is sacred for Warlpiri women of the Napangardi and Namanangka skin groups. It is the subject of many of Simon’s paintings. The dreaming describes a creation story in which women of all ages sing and dance day and night, bringing life to everything from rain clouds, waterholes to plant life and animals.

Courtesy of the artists and JGM Gallery, London

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