PRESS Wil Murray in White Hot Magazine
“Murray works directly onto the photographic negatives in camera, to interrupt its exposure. This base is then “filled in” by the photograph taken in the other season as they are merged, developed and reformed again by painting over it using his signature-morphed style. Although you can’t make out any figurative elements in the works, you can see the changes in season through the heritage colors used, as well as their play with hot and cold sensations. The works themselves are still developing through its exposure to light; black paint strokes are painted on the glass windows to interfere with the sun’s gaze, thereby disrupting its reaction with the photographic negatives. By using both dimensions of the space – its white walls and the glass windows into which you see through – Murray alters the works’compositions using sculptural devices such as shadow; as the day progresses the work becomes shielded and exposed. Gallery-as-laboratory is brought into notion here as the space is transformed into an experimental camera.”
Wil Murray THE ONLYES POWER IS NO POWER in WhiteHot Magazine by William Noel Clarke. Read more here.
PRESS Charlie Godet Thomas ‘Roman-fleuve’ in ArtAgenda
“Vitrine Basel thus demands mettle from artists; it is never self-evident that their work should be there, entangled in the mesh of a western city. The site—a good example of the erosion of public space by private interests—is already a microcosm of text, images, and architectures operating on many registers at once, engaging differing degrees of attention, influencing readers more or less directly or obliquely. For the exhibition “Roman-fleuve,” Charlie Godet Thomas makes statements with the economy of corporate identity or signage. Two relief works are single words composed in cast concrete letters, some of which have fallen on the ground and smashed, leaving abbreviated versions behind: OH / MOTHER and FRIEND / END (both 2017).”
Review of Charlie Godet Thomas’ “Roman-fleuve” in Art Agenda. Great words about the show and VITRINE’s gallery model. Read more here.
“Roman-fleuve” runs until 3 December at VITRINE, Basel.
PRESS Edwin Burdis VITRINE ARTISSIMA in Juliet Art
Juliet Art includes VITRINE’s booth in her Artissima round up describing “Edwin Burdis’ gestural still-lifes like corrupt pixel magnifications” in relation to the range and sophistication of painting throughout the fair. Read more here.
PRESS Wil Murray in GalleriesWest
“Wil Murray shadow-boxes with painting and photography in The Onlyes Power is No Power, on display in London until Jan. 2. His installation extends the viewing experience, taking advantage of the unusual space and experimental focus of Vitrine, a long, shallow window gallery. Murray painted black acrylic brushstrokes on the windows that enclose and frame his work. They cast shadows into the display space while echoing the process he used to create his five large photographic prints. These works, shaped by their own inherent brushstrokes, are handsome graphic objects with a baroque sense of overlapping histories, techniques and aesthetics.”
Wil Murray featured in Galleries West. Read more here.
PRESS Edwin Burdis VITRINE ARTISSIMA booth in Artnet
Artnet featuring our solo booth of Edwin Burdis in Artissima fair round up. Read more here.
PRESS Charlie Godet Thomas on Wide Walls
“A playfully metaphorical work that embraces the personal and political, Cloud Study invites the viewer to meditate on the tragicomic nature of life, with the movement of the vane mirroring these oscillations as it twists and turns in the wind.”
Eric Block reviews Charlie Godet Thomas’ SCULPTURE AT Bermondsey Square commission ‘Cloud Study’ for Wide Walls. Read more here.
PRESS Jamie Fitzpatrick in Artuner
Interview with Jamie Fitzpatrick in Artuner about Grim Tales, Cassina Projects in New York.
‘How Do You Like It, How Do You Like It’, has a small head with a tongue sticking out, at the back. And then the tongue wiggles. And it licks, I think, the leg. What I really like is that you have these things that sit in the room, and everyone comes round to the front because that’s where all the effort is, People are looking and they hear this tap tap tap and everyone runs around the back. It takes just enough time to be heard and noticed, but when they get there, nothing’s happening. I like the power shift you get.’
Read more here.
PRESS Sam Porritt featured in Artworks
Sam Porritt’s edition ‘A Study from Bad to Worse’ featured in 5 editions under £500 in Artworks. Read more here.
PRESS Wil Murray featured in artworks
Wil Murray THE ONLYES POWER IS NO POWER featured in artworks 5 exhibitions to see this month by Kate Perutz. Read more here.