“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.
Artnet featuring our solo booth of Edwin Burdis in Artissima fair round up. Read more here.
“At Vitrine, prompted by artist Edwin Burdis’ imagined opera (including paintings with their own musical soundtracks) the topic was the Llanwwenarth Breast—not the buxom bosom of a Welsh barmaid, but the lower slopes of Sugarloaf Mountain, where Burdis made a lot of his recent work. “It’s a lot like Switzerland, but with more sheep,” I told the Swiss gallery assistant, to explain the country.”
Edwin Burdis, VITRINE booth mentioned in Elephant Journal article about conversations in Turin for Artissima. Words by Charlotte Jansen. Read more here.
Sam Porritt’s first institutional solo exhibition in Switzerland will open at CIRCUIT Centre d’art contemporain, Lausanne, CH, on Friday 17 November.
Nadim Abbas’ group exhibition ‘Vernunft und Ordnung’ at Milieu in Bern, Switzerland, will open this Friday the 27th of October. Read more here.
“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.
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.