PRESS Edwin Burdis VITRINE ARTISSIMA in Juliet Art

8 November 2017  |  Press

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

8 November 2017  |  Press

“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

8 November 2017  |  Press

Artnet featuring our solo booth of Edwin Burdis in Artissima fair round up. Read more here.

PRESS Manchester Contemporary 2017

8 November 2017  |  Press

VITRINE presented a group booth at Manchester Contemporary 2017 and mentioned as exhibitors to go and see in general articles about the fair: here in a-n, here  in confidentials and here, for culture colony. 

PRESS Charlie Godet Thomas on Wide Walls

10 October 2017  |  Press

“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

10 October 2017  |  Press

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

7 October 2017  |  Press

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

5 October 2017  |  Press

Wil Murray THE ONLYES POWER IS NO POWER featured in artworks 5 exhibitions to see this month by Kate Perutz. Read more here.

PRESS Charlie Godet Thomas in The Weekender

4 October 2017  |  Latest News, Press

Charlie Godet Thomas ‘Cloud Study’ featured in The Weekender. Read more here.


PRESS Charlie Godet Thomas SCULPTURE AT in The London Magazine

2 October 2017  |  Press

Jacob Charles Wilson in-depth interview for The London Magazine with Charlie Godet Thomas with Alys Williams, discussing ‘Cloud Study’ (Thomas’s new public sculpture commission for SCULPTURE AT Bermondsey Square), the gallerist’s relationship to programming outside the white cube, and artist representation. Reflecting on this time of change in the art market and new galley models.

“Floating above your head a silver-grey weather vane in the shape of a speech bubble, turning with the wind … For Joe Btfsplk, the moment when he traps the cloud is a moment of revelation and renewed life. But there’s a certain irony in this episode taken by Thomas, that to save himself, Joe Btfsplk had to release the cloud, condemning himself and giving in to the forces he couldn’t control. It links back to Thomas’ own thought that limitations are linked to creativity, and similarly, that the difficulties faced by galleries and artists in London today may drive new models of working together.”

Read more here.