https://estellesimpson.com Estelle Simpson Thu, 01 Oct 2026 21:05:07 +0000 https://estellesimpson.com en https://estellesimpson.com/ON-MASS Thu, 01 Oct 2026 21:05:07 +0000 Estelle Simpson https://estellesimpson.com/ON-MASS Unit 4, Darsham | ON MASS19:09:26 to 25:10:26 Curated by: David CooperThis post features the artist profile, authored by Giovanni Alessandro Morter, and draws upon an interview conducted with Estelle Simpson in her studio on the 17th of June 2026. Collaboration with Gallery Hole |&nbsp;https://zero-hundred-hours.com/ <img width="821" height="214" width_o="821" height_o="214" data-src="https://freight.cargo.site/t/original/i/49227647bc20ecfba142029dc4594c0e5013477369324a7c53f6b758f6200759/IMG_8608-2-Large.jpeg" data-mid="252808103" border="0" src="https://freight.cargo.site/w/821/i/49227647bc20ecfba142029dc4594c0e5013477369324a7c53f6b758f6200759/IMG_8608-2-Large.jpeg" /> “Estelle Simpson presents a magical and contained world, full of symbols and reflections, that draws on a long history of twentieth-century figure painting. Her paintings show how oil paint, applied with directness and candour, can still be the vehicle for the telling of tales, and the revelation of an intricate psychological realm of life and art.” JP Stonard This exhibition, the second solo survey of Estelle Simpson in the UK, showcases painted impressions which drift outside of reality, rehearsing a fiction contained within the canvas edge that is expansive to an unusual degree. The exhibition begins from the premise that sensitivity, lightness, and vulnerability can coexist with harsher, more traumatic experiences in visual form. <img width="1280" height="960" width_o="1280" height_o="960" data-src="https://freight.cargo.site/t/original/i/472f058b59e201e11b56feb4f8508f842203cac6289e4e3a8bffd8f69394bd33/DSCF5580-Large.jpeg" data-mid="252808262" border="0" src="https://freight.cargo.site/w/1000/i/472f058b59e201e11b56feb4f8508f842203cac6289e4e3a8bffd8f69394bd33/DSCF5580-Large.jpeg" /> <img width="1280" height="960" width_o="1280" height_o="960" data-src="https://freight.cargo.site/t/original/i/1a6b96b570cc419243a7687ce63af10235d0fd577e82e0a535df7a335028eb5a/DSCF5579-Large.jpeg" data-mid="252808263" border="0" src="https://freight.cargo.site/w/1000/i/1a6b96b570cc419243a7687ce63af10235d0fd577e82e0a535df7a335028eb5a/DSCF5579-Large.jpeg" /> <img width="1280" height="960" width_o="1280" height_o="960" data-src="https://freight.cargo.site/t/original/i/45fe057c22c203472ab818a5b9a913c0924cea5a5f0ac90a4773bd7ff89f5498/DSCF5576-Large.jpeg" data-mid="252808264" border="0" src="https://freight.cargo.site/w/1000/i/45fe057c22c203472ab818a5b9a913c0924cea5a5f0ac90a4773bd7ff89f5498/DSCF5576-Large.jpeg" /> Installation views | ON MASS, 2026, Unit 4, Suffolk. Photograph: Phillip Robbins Estelle identifies with an overwhelming sense of melancholy that colours even the most beautiful parts of life. Seen in the malaise which slowly bleeds out of the canvas, the artist’s ‘in-between’ feeling resists neatly wrapped concepts. Studying ballet from youth, Estelle’s creativity finds itself predominantly expressed on canvas, rather than stage. While imagined scenes are contained within the stretcher edges, they are expansive, just like a fantastical balletic story within the parameters of the curtain. <img width="423" height="542" width_o="423" height_o="542" data-src="https://freight.cargo.site/t/original/i/0c086b331e3d35d0306c76f3679417c236c4fdd3487990ed52b42dc189bc2730/DSCF5601-Large.jpeg" data-mid="252808500" border="0" src="https://freight.cargo.site/w/423/i/0c086b331e3d35d0306c76f3679417c236c4fdd3487990ed52b42dc189bc2730/DSCF5601-Large.jpeg" /> Estelle Simpson‘Reach for the Stars’, 2026Oil on canvaswxhcm She utilises a deep understanding of emotion relayed through gesture and movement in the body. The message is revealed in each vein, blemish, and strand of hair that are rendered in meticulous oils over long durational studio sessions. Resisting the fixed self through her framing of alter-egos, there is no obvious beginning or end; just a continuous non-linearity dealt with across all surfaces. With a destined unravelling of the expected and familiar, producing a disquieting effect, a sense of tragedy and sorrow meets beauty and fleeting ecstasy. And this ‘unravelling’ is mirrored in the evasiveness and edginess of her alter-egos, who embody the refusal of the fixed, stable state. Searching for these contradictions and pluralities in literature, Estelle obsessively records quotes and passages that inform her understanding of the multiple roles we perform in the world. Psychological narratives are threaded loosely, following a stream-of-consciousness prose; a Woolfian appreciation of the interchangeability of written and painted language surfaces on the canvas. <img width="1280" height="960" width_o="1280" height_o="960" data-src="https://freight.cargo.site/t/original/i/100d0a5c8ca54e5278de63a8ceaba773694298dfe84131d58ad9b7a780923325/DSCF5592-Large.jpeg" data-mid="252855044" border="0" src="https://freight.cargo.site/w/1000/i/100d0a5c8ca54e5278de63a8ceaba773694298dfe84131d58ad9b7a780923325/DSCF5592-Large.jpeg" /> “I think when I’m painting these alter egos, I’m also kind of doing that. I have these alter egos that I’m putting on – not on a stage, but on a canvas. They might be in an environment experiencing something beyond my knowledge, because I’ve created a kind of surreal world for them. But I bring to them a very real emotion, which grounds them”. Estelle Simpson “In speaking about the choreographer Pina Bausch, Simpson draws on her as another influence, describing a devotion to environments that are tightly composed while still allowing emotional disarray to emerge. She likens this process to stage direction, where an environment is carefully constructed through props, everyday objects and repeated edits, so that chaos can be directed rather than accidental. Within Simpson’s spaces, her alter egos move through uncertainty.” Alessandro Morter <img width="564" height="642" width_o="564" height_o="642" data-src="https://freight.cargo.site/t/original/i/9ca98cfe8c96fef14b75fdb2c184134592d665892447964a6ead3c9d3ed7afe4/DSCF5604-Large.jpeg" data-mid="252855214" border="0" src="https://freight.cargo.site/w/564/i/9ca98cfe8c96fef14b75fdb2c184134592d665892447964a6ead3c9d3ed7afe4/DSCF5604-Large.jpeg" /> &nbsp; She shares a kinship in Lygia Fernadez’s kafkaesque novels, especially with the recurrence of the colour motif of green. Making subtle studies of “the green jungles inside us the foliage moist with blood,” she utilises beryl tints that imbue skin with a ghostly, swampy quality. This builds fundamental concepts of the bodies’ organic decay and, in equal parts, imbues a supernatural glow in subjects. Two truths emerge: the fragility of our aging, lived in skin suits, and the natural, unperceivable fluorescence we emit. These are the strengths and weaknesses we all inhabit, in essence, employing green glazes between the layers of skin grounds these images in a reality we can all empathise with, probing the universality of the bodily. <img width="1280" height="960" width_o="1280" height_o="960" data-src="https://freight.cargo.site/t/original/i/551b5cea29fa494937516fdefee7abaf84de1e01678c4d5f9ab6b265ffb5f1d9/DSCF5603-Large.jpeg" data-mid="252855206" border="0" src="https://freight.cargo.site/w/1000/i/551b5cea29fa494937516fdefee7abaf84de1e01678c4d5f9ab6b265ffb5f1d9/DSCF5603-Large.jpeg" /> “Her visual monologue tests the edges between reality and reverie through object characterisation, compressed bodies and carefully staged, fever-like atmospheres that read as diaries written in paint rather than neat illustrations.” Alessandro Morter&nbsp; “I have always learned to express myself through the body and to feel emotions in the body. So when I paint figures, they do have quite an exaggerated emotion or a dramatic look to them. But I think that is just because that is my understanding of how to really portray a feeling”. Estelle Simpson <img width="1280" height="960" width_o="1280" height_o="960" data-src="https://freight.cargo.site/t/original/i/db996a6e46e0127cc837dc03458f50865fb329f61541ae4b5ac2f3950d81a134/DSCF5593-Large.jpeg" data-mid="252855048" border="0" data-scale="92" src="https://freight.cargo.site/w/1000/i/db996a6e46e0127cc837dc03458f50865fb329f61541ae4b5ac2f3950d81a134/DSCF5593-Large.jpeg" /> “This sensitivity does not come as a surprise, as Simpson explains in the interview how works such as David Lynch’s Eraserhead allowed her to understand the emotional pressures that rooms build, where interiors become containers for anxiety rather than remaining passive entities. In Portière Labyrinth, just as in Lynch’s work, the environment feels “more real than reality” precisely because of its externalisation of the psychological states.” Alessandro Morter The places depicted in these paintings are echoes of everyday life, easily observed from the edge of a bathtub, the arm of a chair, or the reflection of a mirror. Yet, what arises is Estelle’s use of the painted image to transcend the physical boundaries of these interior places, reminiscent of the way she applies creativity to transcend confinement of four walls. In this regard, the paintings hold a silver lining: even within limited realities we can find hope, or failing this, purpose, through the imagination. Multilayered in her approach, each painting has time worked into it. A veneer of glamour reveals hidden depths upon sustained attention. She strives in each painting for it to be striking enough to entrance you, but embodies the longevity of the process, to keep you. The method resists the rapidity of image circulation: these paintings cannot be processed immediately and quickly discarded. They provide a visuality to ponder, slowly revealing themselves or allowing clear absences to emerge. From her archival ballet production images to the projections of a 21st century psychological malaise, Estelle depicts each subject and “object that joined that life and this” to question the very nature of her own existence in both the past and the present. This creates a tension between known and unknown, or seen and unseen, which is an underlying concept in Estelle’s oeuvre. <img width="1280" height="960" width_o="1280" height_o="960" data-src="https://freight.cargo.site/t/original/i/04c0ad80708f3b7a2af4bded31317eac75af73d935c9212ac8b176aa2d262ed6/DSCF5624-Large.jpeg" data-mid="252855050" border="0" src="https://freight.cargo.site/w/1000/i/04c0ad80708f3b7a2af4bded31317eac75af73d935c9212ac8b176aa2d262ed6/DSCF5624-Large.jpeg" /> <img width="742" height="861" width_o="742" height_o="861" data-src="https://freight.cargo.site/t/original/i/060ed9344856c35b3adfea4e14709e6b2f9678cc269385886a1f850ddc64d7ee/DSCF5620-Large.jpeg" data-mid="252855204" border="0" data-scale="100" src="https://freight.cargo.site/w/742/i/060ed9344856c35b3adfea4e14709e6b2f9678cc269385886a1f850ddc64d7ee/DSCF5620-Large.jpeg" /> “Her practice holds ballet and its shadows as one of its recurring themes, alongside other charged (yet often unseen) arenas of everyday performance. During our conversation, she defined her figures as “alter egos”, holding the weight of the figures’ bodies through scrupulously blended oils that lend a dewy, post-exertion sheen. This attention to implied sweat becomes a narrative engine, inviting us to imagine the intensity of an already spent routine, whether on stage, in studio or behind closed doors. Through this light, Simpson then steps into the role of Maître de Ballet, and her studio gathers as an exhausted company.” Alessandro Morter “In Lygia Fagundes Telles’s Tigrela surrealism is accessed through the everyday. The terrors and anxieties in the stories are set in domestic spaces, but a supernatural energy arrives through characters described with animalistic imagery. I found her hugely inspiring and really wanted to capture the ambience and atmosphere of her writing”. Estelle Simpson <img width="1280" height="960" width_o="1280" height_o="960" data-src="https://freight.cargo.site/t/original/i/8054f81e3a623ba7a61dfeb9490f3fedde284bc3d857c8df0770087130eb1890/DSCF5617-Large.jpeg" data-mid="252855120" border="0" data-scale="89" src="https://freight.cargo.site/w/1000/i/8054f81e3a623ba7a61dfeb9490f3fedde284bc3d857c8df0770087130eb1890/DSCF5617-Large.jpeg" /> “It takes place in an apartment and is told through the account of a woman describing her roommate, who has this tigress-like spirit. The story shines a light on a private world and constantly blurs the line between woman and animal: sometimes she’s described as human, sometimes as a creature, and you’re never sure which is “true.” That uncertainty really inspires me. I love how Telles introduces the idea that a character might be human or animal without resolving it – you’re left wondering whether she’s living with a tiger or simply a very eccentric woman, and that lack of a clear answer is what I find so compelling”. Estelle Simpson Inevitably, the everyday is out of joint in works, juxtaposing and blurring themes touching performance, the fundamentals of nature, and personal memories. This collision of disparate worlds disrupts expected rhythms associated with our solitary, domestic lives: shifting between interior setting and scale, paintings trace these deceptions. The genesis of this series, Infinite Lounging, prompted from an atmospheric fusing of non-linear time and the hidden horrors in domesticity in the novella ‘The Victorian Chaise-Lounge’, captures an inertial horizontal female figure and a bizarre animalistic fur compromising the reflective surface of a mirror. Once again echoed in a compact, in Soft Touch I and ‘’ II, which depicts the primal geometry of fur, in which she goes to great lengths to magnify the complexity of individual hair strands, isolating the protection provided by this second skin worn by the unidentifiable figure. Several small portraits of masked or obscured faces extend this investigation into how we direct or disguise attention, rendered in precise, acid-sharp paint strokes which seem to contradict the unclear identities of subjects. <img width="336" height="399" width_o="336" height_o="399" data-src="https://freight.cargo.site/t/original/i/7ae34e4777e19b90f733f5d2d65dbfef797ab59c9f168b6a0e1ff3c1f979ba02/DSCF5608-Large.jpeg" data-mid="252855158" border="0" src="https://freight.cargo.site/w/336/i/7ae34e4777e19b90f733f5d2d65dbfef797ab59c9f168b6a0e1ff3c1f979ba02/DSCF5608-Large.jpeg" /> “Returning to those beryl glazes of Portière Labyrinth, especially where the face and hands carry the most narrative charge, Simpson intensifies these areas, giving them statements of decay and radiance. Then the painting becomes a stage on which Simpson tests how far a single body (and a single image) can stretch between exhaustion and luminosity, injury and poise.” Alessandro Morter&nbsp; “When I was growing up, I was always being taught sewing and crafts and knitting. That’s been really important for me. So when I think about the relationships that shape my identity – the ones I’m now working through with these alteregos in the paintings – they’re really formed by my grandma, my mum, my sister. They’re all people who make intricate things with their hands. So it’s not surprising that I now sit in the studio, meticulously pinning and arranging things on the canvas. That’s what I absorbed in those early years, just as much as I absorbed ballet.That’s why pins and needles and scissors started to feel like grounding, autobiographical images. When I’m building these worlds, I feel like I’m inside the objects as much as I’m inside the alter egos. It’s another way of being present in the painting.” Estelle Simpson <img width="1280" height="960" width_o="1280" height_o="960" data-src="https://freight.cargo.site/t/original/i/21a8ddb21fe5cb4983090ed42feaf6f8c2ac3313a49cb06449b5b972cabef1f0/DSCF5609-Large.jpeg" data-mid="252855102" border="0" src="https://freight.cargo.site/w/1000/i/21a8ddb21fe5cb4983090ed42feaf6f8c2ac3313a49cb06449b5b972cabef1f0/DSCF5609-Large.jpeg" /> <img width="1280" height="960" width_o="1280" height_o="960" data-src="https://freight.cargo.site/t/original/i/3e0fcec2e28a81c0bf5420e79776b11e4ea09d1697a161eb2c630277484c74b7/DSCF5628-Large.jpeg" data-mid="252855139" border="0" src="https://freight.cargo.site/w/1000/i/3e0fcec2e28a81c0bf5420e79776b11e4ea09d1697a161eb2c630277484c74b7/DSCF5628-Large.jpeg" /> “Whereas I think when you’re a dancer on the stage and you’re suggesting emotions through the body, it can be almost very ambiguous - I think that infiltrated my understanding of how emotions exist in reality. They can be ambiguous, and sometimes they’re a collision of things. And sometimes the body doesn’t actually, like, portray the inner emotion as well”.&nbsp; Estelle Simpson <img width="1280" height="960" width_o="1280" height_o="960" data-src="https://freight.cargo.site/t/original/i/dcedd126919607492db6c77c717b0358ce58b6bd6f469ddf279a360bd170e410/DSCF5622-Large.jpeg" data-mid="252855072" border="0" src="https://freight.cargo.site/w/1000/i/dcedd126919607492db6c77c717b0358ce58b6bd6f469ddf279a360bd170e410/DSCF5622-Large.jpeg" /> “Historically, through a more religious lens, the curtain between spaces marks the divide between human society and the divine. I’m adapting that idea so that the everyday becomes human society, and the ‘divine’ becomes the transgressions we can access on the other side, through disguise and masking. In that sense, the figure in Portière Labyrinth is getting wrapped up, caught in this in-between space. The work stages these right-in-between elements in my practice: the figure, the curtain, the room itself – all suspended between one state and another.” Alessandro Morter This focus on attention is observed most in one of her most recent paintings Quasi Cavort, in which the figure appears to be making a decidedly performative movement for the audience, whilst conversely shifting away off the canvas border to hide somewhere outside of the picture plane. The further fragmentation of the canvas shape into two panels, which results in an adjoining smaller scale canvas taking captive the hand, further interrogates the notion of wanting to be seen and unseen. Even if the character is purposefully attempting to disappear, the isolated spotlighting of the hand signifies a contraproductivity to this, calling into question if we even have the authority to decide. “I feel that I want to almost unmask the performance as well as portray it. I’m drawing on something I know from my brief dance past, and using that familiarity not just to convey the beauty and reverence of it, but also this underlayer that people don’t see beneath the dancer on the stage. When I’m watching, I’m always aware of the hours of practice, the pain, the heaviness of the body after training. Because my works are grounded in reality, I want them to carry that weight as well”. Estelle Simpson <img width="1280" height="960" width_o="1280" height_o="960" data-src="https://freight.cargo.site/t/original/i/5cd5c363c4cad0cb70392094fa8230e7e8f7922cb598d1017636f889104633fc/DSCF5589-Large.jpeg" data-mid="252855076" border="0" src="https://freight.cargo.site/w/1000/i/5cd5c363c4cad0cb70392094fa8230e7e8f7922cb598d1017636f889104633fc/DSCF5589-Large.jpeg" /> <img width="1280" height="960" width_o="1280" height_o="960" data-src="https://freight.cargo.site/t/original/i/3f6aad46d75169d85b55e3ed4b3ec5a9da1c5050267a225c9d42a88c84318520/DSCF5607-Large.jpeg" data-mid="252855077" border="0" src="https://freight.cargo.site/w/1000/i/3f6aad46d75169d85b55e3ed4b3ec5a9da1c5050267a225c9d42a88c84318520/DSCF5607-Large.jpeg" /> <img width="1280" height="960" width_o="1280" height_o="960" data-src="https://freight.cargo.site/t/original/i/99aa8827ef441ab54954c1fcb8ff7256d7ade046e642fc12d4c946e7656d91ae/DSCF5616-Large.jpeg" data-mid="252855078" border="0" src="https://freight.cargo.site/w/1000/i/99aa8827ef441ab54954c1fcb8ff7256d7ade046e642fc12d4c946e7656d91ae/DSCF5616-Large.jpeg" /> This exhibition invites you to step into the heightened drama, darkly humorous, embellished storylines, and the performative self, embracing the oblique nature of being. I would like to thank David and Elsa, and all other contributors, for their generosity and co-opporation in the making of this exhibition. https://estellesimpson.com/Main-page Mon, 08 May 2023 19:19:44 +0000 Estelle Simpson https://estellesimpson.com/Main-page https://estellesimpson.com/Paintings Mon, 08 May 2023 19:19:44 +0000 Estelle Simpson https://estellesimpson.com/Paintings 2026 <img width="2630" height="5353" width_o="2630" height_o="5353" data-src="https://freight.cargo.site/t/original/i/b5d77b0bf53059c09c9cc92b1b077a8360466c0da47315b9eded103518444cee/IMG_8752.jpeg" data-mid="253573748" border="0" src="https://freight.cargo.site/w/1000/i/b5d77b0bf53059c09c9cc92b1b077a8360466c0da47315b9eded103518444cee/IMG_8752.jpeg" /> <img width="2314" height="4876" width_o="2314" height_o="4876" data-src="https://freight.cargo.site/t/original/i/459c6eeddb5a1c8b2506d86f14d0509898a0ac32d656b6631f238df007f781f5/IMG_8878.jpeg" data-mid="253573746" border="0" src="https://freight.cargo.site/w/1000/i/459c6eeddb5a1c8b2506d86f14d0509898a0ac32d656b6631f238df007f781f5/IMG_8878.jpeg" /> <img width="3800" height="4675" width_o="3800" height_o="4675" data-src="https://freight.cargo.site/t/original/i/c04a61e353ce737c5c09714f7bf17250391da28568520b7e38d5b5b10cff3a2d/IMG_8359.jpeg" data-mid="251644443" border="0" src="https://freight.cargo.site/w/1000/i/c04a61e353ce737c5c09714f7bf17250391da28568520b7e38d5b5b10cff3a2d/IMG_8359.jpeg" /> <img width="4037" height="3080" width_o="4037" height_o="3080" data-src="https://freight.cargo.site/t/original/i/47a6346daf8cdead4630c1c04b8b10a0da0e1583ed23645e957c9cadf9ef9ea3/IMG_8262.jpeg" data-mid="251644444" border="0" src="https://freight.cargo.site/w/1000/i/47a6346daf8cdead4630c1c04b8b10a0da0e1583ed23645e957c9cadf9ef9ea3/IMG_8262.jpeg" /> <img width="2199" height="1643" width_o="2199" height_o="1643" 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src="https://freight.cargo.site/w/1000/i/50c73e93b172674281e3e4e895f9ac70389ef990e2e3f87fd4956fb5ad7a05e4/CFB8FC70-834B-4FAE-858D-9296FF59B005.jpeg" /> <img width="1250" height="1537" width_o="1250" height_o="1537" data-src="https://freight.cargo.site/t/original/i/9fe70641a7da7f0670ac33b158d2b88ad8c19fc2f0a5f3473e4b3d7fcd66667f/cognitive-disonance_.jpg" data-mid="207560133" border="0" src="https://freight.cargo.site/w/1000/i/9fe70641a7da7f0670ac33b158d2b88ad8c19fc2f0a5f3473e4b3d7fcd66667f/cognitive-disonance_.jpg" /> <img width="1637" height="1971" width_o="1637" height_o="1971" data-src="https://freight.cargo.site/t/original/i/215a8e8ab8b06a564f59f83c981759d6ea9274d62856f3abd93ae8cdddee6f4b/IMG_7085.jpeg" data-mid="207560244" border="0" src="https://freight.cargo.site/w/1000/i/215a8e8ab8b06a564f59f83c981759d6ea9274d62856f3abd93ae8cdddee6f4b/IMG_7085.jpeg" /> <img width="1080" height="1254" width_o="1080" height_o="1254" data-src="https://freight.cargo.site/t/original/i/cd5464f1bdf3578489f57c000bd47c5566b0f520c03148399b5df3b95266c062/94909EBA-D71D-4B06-ADE6-20A77377F858.JPG" data-mid="207560284" border="0" src="https://freight.cargo.site/w/1000/i/cd5464f1bdf3578489f57c000bd47c5566b0f520c03148399b5df3b95266c062/94909EBA-D71D-4B06-ADE6-20A77377F858.JPG" /> <img width="915" height="1135" width_o="915" height_o="1135" data-src="https://freight.cargo.site/t/original/i/ae630fc26e910a51289aa1a5947dc6082cc4e142f7983ebe4ed81960cc7a2f8b/Screenshot-2022-12-23-at-17.01.16.png" data-mid="207560364" border="0" src="https://freight.cargo.site/w/915/i/ae630fc26e910a51289aa1a5947dc6082cc4e142f7983ebe4ed81960cc7a2f8b/Screenshot-2022-12-23-at-17.01.16.png" /> <img width="1148" height="2005" width_o="1148" height_o="2005" data-src="https://freight.cargo.site/t/original/i/48c0412196ad92b2176301bba04faac437f04e9eb403910563b3e6ee2be628c7/easeofascendency_.jpg" data-mid="207560293" border="0" src="https://freight.cargo.site/w/1000/i/48c0412196ad92b2176301bba04faac437f04e9eb403910563b3e6ee2be628c7/easeofascendency_.jpg" /> <img width="2205" height="1240" width_o="2205" height_o="1240" data-src="https://freight.cargo.site/t/original/i/5e23932d352ebdcf2330f02106794296301468ac1d78ac3aa778a813eb30502f/Moth-Mayhem--640--Oil-on-canvas--2023--.jpg" data-mid="207560319" border="0" src="https://freight.cargo.site/w/1000/i/5e23932d352ebdcf2330f02106794296301468ac1d78ac3aa778a813eb30502f/Moth-Mayhem--640--Oil-on-canvas--2023--.jpg" /> <img width="769" height="890" width_o="769" height_o="890" data-src="https://freight.cargo.site/t/original/i/d21519e90846f03d6e8b29bacfd019395a30f00be63bd2de6113284c1553944c/vase.jpeg" data-mid="207560324" border="0" src="https://freight.cargo.site/w/769/i/d21519e90846f03d6e8b29bacfd019395a30f00be63bd2de6113284c1553944c/vase.jpeg" /> 2022 <img width="750" height="915" width_o="750" height_o="915" data-src="https://freight.cargo.site/t/original/i/49d8efb61e3c7d6f05a09a470f44ada87af6a2eaceb4f675ef930be51c1bef2a/IMG_2038.jpg" data-mid="210722128" border="0" src="https://freight.cargo.site/w/750/i/49d8efb61e3c7d6f05a09a470f44ada87af6a2eaceb4f675ef930be51c1bef2a/IMG_2038.jpg" /><img width="1802" height="2566" width_o="1802" height_o="2566" data-src="https://freight.cargo.site/t/original/i/3da651d82aaa4805a8abc21dcad5c0e22993e9d04a631624441c185b656e8f21/IMG_9891.png" data-mid="228235423" border="0" src="https://freight.cargo.site/w/1000/i/3da651d82aaa4805a8abc21dcad5c0e22993e9d04a631624441c185b656e8f21/IMG_9891.png" /> https://estellesimpson.com/Information Sun, 04 Jun 2023 07:04:13 +0000 Estelle Simpson https://estellesimpson.com/Information Estelle Simpson (b.2001) Estelle Simpson (b. 2001, Leeds) is a figurative painter, writer and curator whose works are concerned with an intentionally internal dialogue: the sense of a haunting experience projected ineffably in smooth, careful oils. Finding her imagination liberated in the sensibility of painting, Simpson renders from her mind's eye imagery which is at once disquieting and delicate. In compositions eschewing life models and sitters, Simpson shifts between scales-intimate studies sit alongside fictitious figures portraited in life size. Under Simpson’s meticulous brushwork, human, animal and object are at once alive: curtains bristle in windowless rooms; the scarlet velvets of an armchair breathe as deeply as the girls hunched atop their cushions. Drawing from the rich histories of Surrealist art, and the grammar of balletic performance, Simpson treats everyday minutiae with reverence. A kitten’s paw, a&nbsp;compact mirror, an untied bow: we glimpse motifs as they slide backstage, only to reappear on another canvas; costume-changed and dancing a new routine. With slender crops and flickering spotlights, Simpson’s compositions set an otherworldly stage for the pleasures and struggles we once thought we knew. Simpson (b. Leeds) graduated from Camberwell College of Arts, London, in 2023, and currently works from a studio in South East London. Upon graduating, she was selected for that year’s inaugural New Blood Emerging Art Prize showcase at Saatchi Gallery. She has since exhibited across the capital, including group shows at Norito Gallery, Outhouse Gallery and Southwark Park Galleries. She has shared artwork internationally, represented by Outhouse Gallery at SWAB Art Fair in 2025.&nbsp;Earlier this year, Simpson returned to Tache gallery, where she had a solo presentation a year prior, for participation in a group exhibition titled 'Rose Jail'. Her 'Reverence' exhibition catalogue is archived in the MET's research library. <img width="1000" height="667" width_o="1000" height_o="667" data-src="https://freight.cargo.site/t/original/i/b0e586e32855c4a8db034f661fdbf9504c3ec5b1adc254da90bb567ffcb706ca/Estelle-portrait-studio-15.jpg" data-mid="233481524" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/b0e586e32855c4a8db034f661fdbf9504c3ec5b1adc254da90bb567ffcb706ca/Estelle-portrait-studio-15.jpg" /> https://estellesimpson.com/Installations Mon, 25 Mar 2024 22:07:50 +0000 Estelle Simpson https://estellesimpson.com/Installations ‘Home’, Outhouse Gallery, Camberwell <img width="1440" height="1800" width_o="1440" height_o="1800" data-src="https://freight.cargo.site/t/original/i/0635aa04fb32f10ecd8353e58c8b233c0a30f6c6406dc723137f25e40c5d371e/E6F85479-A37D-441C-9BF3-A18E6E8243D4.JPG" data-mid="229694501" border="0" src="https://freight.cargo.site/w/1000/i/0635aa04fb32f10ecd8353e58c8b233c0a30f6c6406dc723137f25e40c5d371e/E6F85479-A37D-441C-9BF3-A18E6E8243D4.JPG" /> <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/7e4bfb33f06f119346e19c5b4b81775599df97af5dedff70e63db5dda605e99b/IMG_9610.jpg" data-mid="229694504" border="0" src="https://freight.cargo.site/w/1000/i/7e4bfb33f06f119346e19c5b4b81775599df97af5dedff70e63db5dda605e99b/IMG_9610.jpg" /> <img width="1440" height="1800" width_o="1440" height_o="1800" data-src="https://freight.cargo.site/t/original/i/39a5e91e5584652d67b06b695b394309f7eb7ad37d98f6512fe7877d75ef0fd7/E82B0BDA-FD25-4AD6-A902-258E8A540E05.JPG" data-mid="229694506" border="0" src="https://freight.cargo.site/w/1000/i/39a5e91e5584652d67b06b695b394309f7eb7ad37d98f6512fe7877d75ef0fd7/E82B0BDA-FD25-4AD6-A902-258E8A540E05.JPG" /> ‘Graduate Art Exhibition 2024’, Candid Arts Trust, Angel <img width="2860" height="3217" width_o="2860" height_o="3217" data-src="https://freight.cargo.site/t/original/i/ca6881b1fe86f008675daab2e11d14959d85077a0620aeed9a4c2cd893dd0a39/IMG_6768.jpeg" data-mid="229694521" border="0" src="https://freight.cargo.site/w/1000/i/ca6881b1fe86f008675daab2e11d14959d85077a0620aeed9a4c2cd893dd0a39/IMG_6768.jpeg" /> <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/5a05b7f9adb871067b71e5f8604a25cbb69565563574fc94180c34a29bac4c5a/IMG_6769.jpeg" data-mid="229694522" border="0" src="https://freight.cargo.site/w/1000/i/5a05b7f9adb871067b71e5f8604a25cbb69565563574fc94180c34a29bac4c5a/IMG_6769.jpeg" /> <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/e66c32d159f429251ecd55086dd287c51ac402dd4859416ab55794c58ae108fd/IMG_6782.jpeg" data-mid="229694523" border="0" src="https://freight.cargo.site/w/1000/i/e66c32d159f429251ecd55086dd287c51ac402dd4859416ab55794c58ae108fd/IMG_6782.jpeg" /> ‘Dark Materials Tell Stories’, J/M Gallery, Portobello Road <img width="750" height="750" width_o="750" height_o="750" data-src="https://freight.cargo.site/t/original/i/9ef28f197a64f0d03c78a12d148bd7938b3aa0c397b71c67f1e3990aabcda893/AA768A8E-1E91-408F-AFC4-80C313E291F2.JPG" data-mid="209146412" border="0" src="https://freight.cargo.site/w/750/i/9ef28f197a64f0d03c78a12d148bd7938b3aa0c397b71c67f1e3990aabcda893/AA768A8E-1E91-408F-AFC4-80C313E291F2.JPG" /> <img width="3018" height="3444" width_o="3018" height_o="3444" data-src="https://freight.cargo.site/t/original/i/0d493fb409d4c2cb7adb110c4e4c01b7f145cd5390ffa1ee5a4e851d5882f752/IMG_0529.jpg" data-mid="209146411" border="0" src="https://freight.cargo.site/w/1000/i/0d493fb409d4c2cb7adb110c4e4c01b7f145cd5390ffa1ee5a4e851d5882f752/IMG_0529.jpg" /> <img width="2709" height="3209" width_o="2709" height_o="3209" data-src="https://freight.cargo.site/t/original/i/70dc13b3995cb644b08c330f9817946f99f470c3cabc36613eaa008cfb54fb7b/IMG_0527.jpg" data-mid="209146410" border="0" src="https://freight.cargo.site/w/1000/i/70dc13b3995cb644b08c330f9817946f99f470c3cabc36613eaa008cfb54fb7b/IMG_0527.jpg" /> ‘Bloom’, OutHouse Gallery, Camberwell <img width="652" height="654" width_o="652" height_o="654" data-src="https://freight.cargo.site/t/original/i/24893e685f61edc763a18b3815779d6df7ebb3af964189483577d7ab50dc24e8/IMG_0203.jpg" data-mid="207680357" border="0" src="https://freight.cargo.site/w/652/i/24893e685f61edc763a18b3815779d6df7ebb3af964189483577d7ab50dc24e8/IMG_0203.jpg" /> <img width="3024" height="3024" width_o="3024" height_o="3024" data-src="https://freight.cargo.site/t/original/i/4cd7993b105ccf24ef6b457432aa0497889b1063ac4ea9fd688a22b4feb3d7e8/IMG_0348.jpg" data-mid="209146480" border="0" src="https://freight.cargo.site/w/1000/i/4cd7993b105ccf24ef6b457432aa0497889b1063ac4ea9fd688a22b4feb3d7e8/IMG_0348.jpg" /> <img width="750" height="745" width_o="750" height_o="745" data-src="https://freight.cargo.site/t/original/i/cd1ca991fe907b58bae407e773293e98d18ceac457279e61f2e37b113b5008c1/IMG_0356.jpg" data-mid="209146479" border="0" src="https://freight.cargo.site/w/750/i/cd1ca991fe907b58bae407e773293e98d18ceac457279e61f2e37b113b5008c1/IMG_0356.jpg" /> ‘Shoebox’. AMP Gallery, Peckham <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/71c59c2812b56f1f2d9d52b8e84ac6facfa00df45cd7859d0ad2871d4b52066c/IMG_9749.jpg" data-mid="207679840" border="0" src="https://freight.cargo.site/w/1000/i/71c59c2812b56f1f2d9d52b8e84ac6facfa00df45cd7859d0ad2871d4b52066c/IMG_9749.jpg" /> <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/c98d6b758b286090bd47c4f348c1cf7bd1d417b7246c8c1d4ca1cdd4da924e35/IMG_9752.jpg" data-mid="207679841" border="0" src="https://freight.cargo.site/w/1000/i/c98d6b758b286090bd47c4f348c1cf7bd1d417b7246c8c1d4ca1cdd4da924e35/IMG_9752.jpg" /> <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/7cc0b5cb3582a04fe27b52c342e55843419e4aa16bfe94ac1b06dedd11137f14/IMG_9779.jpg" data-mid="207679842" border="0" src="https://freight.cargo.site/w/1000/i/7cc0b5cb3582a04fe27b52c342e55843419e4aa16bfe94ac1b06dedd11137f14/IMG_9779.jpg" /> ‘I Don’t Wanna Mess This Up’ Collective, Beer Rebellion, Peckham <img width="2689" height="2738" width_o="2689" height_o="2738" data-src="https://freight.cargo.site/t/original/i/e9a072da60d1f5e5aa9fbd0afe1b48cb94de7d4197e02159fa4c1260c41fbc5b/IMG_8694.jpg" data-mid="207680339" border="0" src="https://freight.cargo.site/w/1000/i/e9a072da60d1f5e5aa9fbd0afe1b48cb94de7d4197e02159fa4c1260c41fbc5b/IMG_8694.jpg" /> <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/4a437b0fd4bad7a4bdb0465fecccfddde3a73cfff0591682eb36f023facc6c20/IMG_8697.jpg" data-mid="207680345" border="0" src="https://freight.cargo.site/w/1000/i/4a437b0fd4bad7a4bdb0465fecccfddde3a73cfff0591682eb36f023facc6c20/IMG_8697.jpg" /> StArt Art Fair, Saatchi Gallery, King’s Road <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/ab7384ca314e698a28a80e31c5f279995f90125018617bd4ca09d024e78949ed/IMG_3860.jpg" data-mid="207679505" border="0" src="https://freight.cargo.site/w/1000/i/ab7384ca314e698a28a80e31c5f279995f90125018617bd4ca09d024e78949ed/IMG_3860.jpg" /> <img width="1495" height="1923" width_o="1495" height_o="1923" data-src="https://freight.cargo.site/t/original/i/13da56a4d0c787331b4b03b876ee0c18e6ceb9fdf0d635b38074a25742537bfa/IMG_3861-4.jpg" data-mid="207679523" border="0" src="https://freight.cargo.site/w/1000/i/13da56a4d0c787331b4b03b876ee0c18e6ceb9fdf0d635b38074a25742537bfa/IMG_3861-4.jpg" /> <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/e2cd55250e5441cfdb8729d42e5c6da0624c7abb7e222b483f8fb745ec318332/IMG_3863.jpg" data-mid="207679524" border="0" src="https://freight.cargo.site/w/1000/i/e2cd55250e5441cfdb8729d42e5c6da0624c7abb7e222b483f8fb745ec318332/IMG_3863.jpg" /> Camberwell College of Art Degree Show 2023 <img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/30411bc23e5ee6e3cadbf989544ef577025f00e8aa3f74af8d95d0911fe4555d/IMG_0950.JPG" data-mid="207589929" border="0" src="https://freight.cargo.site/w/1000/i/30411bc23e5ee6e3cadbf989544ef577025f00e8aa3f74af8d95d0911fe4555d/IMG_0950.JPG" /> ‘Solstice’, Petitou Cafe, Peckham <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/c58849739e7b7f3bd4748a8cf4a001a1e479e75c04cb71c9ee4290548c03748c/IMG_9672.jpg" data-mid="207679385" border="0" src="https://freight.cargo.site/w/1000/i/c58849739e7b7f3bd4748a8cf4a001a1e479e75c04cb71c9ee4290548c03748c/IMG_9672.jpg" /> <img width="2685" height="2598" width_o="2685" height_o="2598" data-src="https://freight.cargo.site/t/original/i/fa06358597e2ab23a570da8ad244af87e988d86f0432c95106034553adbfa7f4/IMG_9702.jpg" data-mid="207679390" border="0" src="https://freight.cargo.site/w/1000/i/fa06358597e2ab23a570da8ad244af87e988d86f0432c95106034553adbfa7f4/IMG_9702.jpg" /> <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/03fbf46d48b1754918c76e286c08b31ca35596c010b949ac7bc0a9098b668edf/IMG_9773.jpg" data-mid="207679391" border="0" src="https://freight.cargo.site/w/1000/i/03fbf46d48b1754918c76e286c08b31ca35596c010b949ac7bc0a9098b668edf/IMG_9773.jpg" /> ‘Peculiar Child’, Asylum Chapel, Peckham <img width="1417" height="945" width_o="1417" height_o="945" data-src="https://freight.cargo.site/t/original/i/46c4fc600da6259010a47e4117fad2835d913509c206f4530b1c19cf8df2309b/RestonyourLaurels_Camberwell_EstelleSimpson.JPG" data-mid="207589497" border="0" src="https://freight.cargo.site/w/1000/i/46c4fc600da6259010a47e4117fad2835d913509c206f4530b1c19cf8df2309b/RestonyourLaurels_Camberwell_EstelleSimpson.JPG" /> ‘Thank Heavens for Little Girls’, Safehouse, Peckham <img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/0cdd345e070f7a2f3f1570cd6f80e53b38e1c7b06219e47894107642417a8334/IMG_9812.JPG" data-mid="207589215" border="0" src="https://freight.cargo.site/w/1000/i/0cdd345e070f7a2f3f1570cd6f80e53b38e1c7b06219e47894107642417a8334/IMG_9812.JPG" /> <img width="2592" height="3888" width_o="2592" height_o="3888" data-src="https://freight.cargo.site/t/original/i/b7397a74cdf19c63faee91b69464d8f1c40e26d234d9b99568d3dc2d42a15918/IMG_0317.JPG" data-mid="207589227" border="0" src="https://freight.cargo.site/w/1000/i/b7397a74cdf19c63faee91b69464d8f1c40e26d234d9b99568d3dc2d42a15918/IMG_0317.JPG" /> <img width="3888" height="2592" width_o="3888" height_o="2592" data-src="https://freight.cargo.site/t/original/i/93b30ae2434e3ad5a821bd2dd02e2fe05962c12e6ede8e41654f163950921d5e/IMG_0309.JPG" data-mid="207589250" border="0" src="https://freight.cargo.site/w/1000/i/93b30ae2434e3ad5a821bd2dd02e2fe05962c12e6ede8e41654f163950921d5e/IMG_0309.JPG" /> Southwark Park Galleries <img width="1068" height="712" width_o="1068" height_o="712" data-src="https://freight.cargo.site/t/original/i/7f3b97a2f4ce861897b4b7024a664e9afcc5e5b2b107be7e87439161af243c64/_N1A2917-2.jpg" data-mid="207588596" border="0" src="https://freight.cargo.site/w/1000/i/7f3b97a2f4ce861897b4b7024a664e9afcc5e5b2b107be7e87439161af243c64/_N1A2917-2.jpg" /> <img width="712" height="1068" width_o="712" height_o="1068" data-src="https://freight.cargo.site/t/original/i/e22f6fb2581752cfac13e9585e721df02c08b416bd2d2d7aa73adf5e29dd00e4/_N1A2926-2.jpg" data-mid="207588579" border="0" src="https://freight.cargo.site/w/712/i/e22f6fb2581752cfac13e9585e721df02c08b416bd2d2d7aa73adf5e29dd00e4/_N1A2926-2.jpg" /> <img width="1068" height="712" width_o="1068" height_o="712" data-src="https://freight.cargo.site/t/original/i/d5907091ace93210e52af31555c25603a6b48b35519634f27d46b393398b1254/_N1A2901-2.jpg" data-mid="207588608" border="0" src="https://freight.cargo.site/w/1000/i/d5907091ace93210e52af31555c25603a6b48b35519634f27d46b393398b1254/_N1A2901-2.jpg" /> https://estellesimpson.com/chris-ofili Fri, 09 Jun 2023 09:01:45 +0000 Estelle Simpson https://estellesimpson.com/chris-ofili Chris Ofili: The Seven Deadly Sins Victoria Miro 2nd June - 29th July By Estelle Simpson This indulgent exploration of sin makes engaging in it even more appealing to me. Excessive and transgressive behaviours are put on a cosmic pedestal in this new body of work. Created over 6 years, suggesting 7 sins, each piece sparkles with strange visions of the unconscious state. The series contemplates the human condition, informed by Biblical origins, and ultimately reframes the idea of sinning. Avoiding the cliches of judgement and committal, reflecting on thoughts and feelings that seem to be associated with each misdemeanour. Ofili again shows his compassionate understanding of ontology and temporality. These pieces feel far from an offence. He is always rich in diversity and style. Freed from the realm of rationality, figures are not only presented coexisting harmoniously with nature, but also converse with dazzling creatures of mythology. An air of mystique suffuses each environment. Storms of chromatic constellations are a divine ornamentation of the series, as a painterly perfume emanates from Ofili’s surfaces, and these brilliant sensations stir up within me upon looking. Kaleidoscope fireflies of a yolk-like sun rain down in ‘A Fall from Grace’ causing a spectrum of radiant striations which travel across the whole canvas. A jump from Icarus’ hubris to Satyr reclining under the gaze of egrets in ‘Great Beauty’. <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/5d2f6583d89b6a26ed1f81469d73dba7674942443022c2097df30a67802d25b4/29BE32C8-DBB0-4757-A9C4-41BBDA5C3E2A.jpeg" data-mid="181556394" border="0" alt="Chris Ofili, The Fall From Grace, 2019-2023, Oil and charcoal on linen" data-caption="Chris Ofili, The Fall From Grace, 2019-2023, Oil and charcoal on linen" src="https://freight.cargo.site/w/1000/i/5d2f6583d89b6a26ed1f81469d73dba7674942443022c2097df30a67802d25b4/29BE32C8-DBB0-4757-A9C4-41BBDA5C3E2A.jpeg" /> <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/cf186b11642166d95243210b95bf6470184ab264f848693c065c14da7540efaf/BB91C79E-EB7F-4AC0-8959-30DF37F8D0AD.jpeg" data-mid="181556363" border="0" data-scale="81" data-icon-mode alt="Chris Ofili, The Pink Waterfall, 2019-2023, Oil on Charcoal on Linen" data-caption="Chris Ofili, The Pink Waterfall, 2019-2023, Oil on Charcoal on Linen" src="https://freight.cargo.site/w/1000/i/cf186b11642166d95243210b95bf6470184ab264f848693c065c14da7540efaf/BB91C79E-EB7F-4AC0-8959-30DF37F8D0AD.jpeg" /> <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/628283f9fec2fdd7d96531e3ae01efde62b4bcfd6f455d394bbe778a54f5a963/2490FAE9-BBD6-4E2B-9689-B95420FE80D7.jpeg" data-mid="181556395" border="0" alt="Chris Ofili, 'The Great Beauty' (Detail), 2020-2023, Oil and charcoal on linen" data-caption="Chris Ofili, 'The Great Beauty' (Detail), 2020-2023, Oil and charcoal on linen" src="https://freight.cargo.site/w/1000/i/628283f9fec2fdd7d96531e3ae01efde62b4bcfd6f455d394bbe778a54f5a963/2490FAE9-BBD6-4E2B-9689-B95420FE80D7.jpeg" /> <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/50ce27618f9bc4fb148ac2fcacebd6861113b0365769dd6e26cf6cbb0c8e9a47/B17C1D7E-6C8D-498A-B888-00009474D6CB.jpeg" data-mid="181556396" border="0" alt="Chris Ofili, 'The Harvester' (detail), 2021-2023, Oil and charcoal on linen" data-caption="Chris Ofili, 'The Harvester' (detail), 2021-2023, Oil and charcoal on linen" src="https://freight.cargo.site/w/1000/i/50ce27618f9bc4fb148ac2fcacebd6861113b0365769dd6e26cf6cbb0c8e9a47/B17C1D7E-6C8D-498A-B888-00009474D6CB.jpeg" /> https://estellesimpson.com/Anselm-Kiefer Wed, 05 Jul 2023 09:04:31 +0000 Estelle Simpson https://estellesimpson.com/Anselm-Kiefer Anselm KieferWhite Cube - Bermondsey7th June - 20th August By Estelle Simpson Considering I have been to many exhibitions this past year at the White Cube in Bermondsey, Keifer’s current show is indistinguishable from the prior as the artist really transformed the space, making it completely unrecognisable. The now 70 year old remoulds this site with his prophetic heavy output, fusing together Joyce’s prose and fabled earth shattering paintings installed in what becomes his apocalyptic realm. A the final part of a trilogy of the artist’s shows at the Bermondsey space, this exhibition threads together the Norse mythology and string theory of his 2016 and 2019 practice. It culminates with a manifestation of these subjects and metaphors consistently drawn upon, and now intermingled with Joycean references. This show is inspired by Finnigans Wake, a James Joyce novel I admit I will have to add to my future reading list. Notoriously it begins in the middle of a sentence and ends with the first half of a sentence which loops it back to the opening, and thus this justifies my jump to the exploration of my favourite and final room. The fateful Monet-esque lilypads and looming Gogh sunflower reiterations line the walls, juxtaposed with a field of concrete rubble and wire which assumes the central area. While the artist explores post war German history, these destructed fields are effiges of Keifer’s personal history, connecting to the bombing of his own family home as a baby; this demonstartes the proximity of these brutalities to the artist. The rubble also seemed to evoke the grave imagery perhaps experienced on morning news earlier that day, highlighting the cyclical nature and fact that all that has changed is the geological position of barbarity. Through a modern lens these scenes become calamitous. The centre of skeletal sunflowers are deep cavernous black holes, empty and desolated. The opposite piece presents dozens of artists palettes that become spirits which rip through the canvas up close, yet from a distance seem to blend into an unhinged riverscape. Striations cutting vertically through each canvas echo an impressionistic energy, yet this enthusiasm is more perverse in rhythm. Big, dark and heavy, this show was a contrast of the glorious sunshine outside. You first enter a dimly lit corridor filled with natural, biological and bygone relics. This tunnels off to gallery rooms containing installations and momentous multi media works which take up walls, interspersed with quotations. This exhibition is strikingly curated to evince themes of destruction and rebirth, becoming a visual representation to accompany the novel. You can see from these works how objects are extracted from Keifer’s ‘Arsenal’ and combined into the texture of the canvases, refelcting the artist’s obssesive collecting and making. In the painting of shattered people, actual shoes loom in a tempetuous sky above crowds of people. These swarming entities are adorned in real garments, as clothing and paint coagulate on a thickly rendered surface.&nbsp; The sulphurous green and brown residue in this exhibition is constrasted with golden tones, introducing light into intriguing landscapes. Landscapes are also a memory of history, they are packed with its ruins. Hacked, burned and blackened, they are attacked by human instruments which leave breif imprints on nature. With the chaotic spectacle of these compromised landscapes juxtaposed with a golden grandeur, Keifer seems to show us both heaven and hell in several immense paintings. Like many of Keifer’s works, literature plays a signisficant role in bonding together this exhibition. This is testement to the artist’s informed perspective and political awareness. A room with large books of a verdigris patina swarm the floor, their heavy metal pages squirming. They are appariritions mirroring a collective human consciousness; sharing our equivalent fragility, they have been burned and committed to corrosion. Nightmarishly sprawled, their pages are tarnished with a bleak and dense history.&nbsp; Language is used as a medium - with inscriptions scribbled throughout, words materialise and take on sculptural form, celebrated as a strong genetic code which translates our history. In a world oversaturated with information which often seems to dampen meaning, Keifer’s apocolyptic realms remind us of the weight of words, as recorders of our collective human activity. As a sanke eats its own tail, this show is designed with the dreadful cyclical nature of time, supporting Niezsche’s anti-linear theory; literature’s ouroboros will continue to chronicle and document. These books become haunting contributions to the present with their wisdom emmiting warnings of the impact of actions now on future chapters. Unrelentlessly unfolding, our collective decisions and choices will only continue to be recorded as a relfection of human nature.&nbsp; <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/73219a56cdd1c6fb25b50b171000d77c4de0a7fe73f0374f5b5d7cb0ec07a263/IMG_1918.jpeg" data-mid="184206227" border="0" src="https://freight.cargo.site/w/1000/i/73219a56cdd1c6fb25b50b171000d77c4de0a7fe73f0374f5b5d7cb0ec07a263/IMG_1918.jpeg" /> <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/a5390fccc8d9adaa857f03c8b719d807e661d01bf6442120f078fc3a016e8d3d/IMG_1919.jpeg" data-mid="184206228" border="0" src="https://freight.cargo.site/w/1000/i/a5390fccc8d9adaa857f03c8b719d807e661d01bf6442120f078fc3a016e8d3d/IMG_1919.jpeg" /> <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/357a047da764f17a3c52a047a82a2f72b2af21f3418f1e076ebbd7de0e079ace/IMG_1898-2.jpeg" data-mid="184206225" border="0" src="https://freight.cargo.site/w/1000/i/357a047da764f17a3c52a047a82a2f72b2af21f3418f1e076ebbd7de0e079ace/IMG_1898-2.jpeg" /> <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/1ce7f9c2d00d764ad60b4dd84af914534cecf2933091bb026ea02cabd4d15497/IMG_1913.jpeg" data-mid="184206223" border="0" src="https://freight.cargo.site/w/1000/i/1ce7f9c2d00d764ad60b4dd84af914534cecf2933091bb026ea02cabd4d15497/IMG_1913.jpeg" /> <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/6d916c3b6e1bf186fb94db84d6d27e8022e7f8c9061003b608f57c31af5c974e/IMG_1904-2.jpeg" data-mid="184206224" border="0" src="https://freight.cargo.site/w/1000/i/6d916c3b6e1bf186fb94db84d6d27e8022e7f8c9061003b608f57c31af5c974e/IMG_1904-2.jpeg" /> <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/9459e957ddeb0b1dd3b618b902dd8ba6bf8c29f78ca87cd08287f31911213ca6/IMG_1890.jpeg" data-mid="184206226" border="0" src="https://freight.cargo.site/w/1000/i/9459e957ddeb0b1dd3b618b902dd8ba6bf8c29f78ca87cd08287f31911213ca6/IMG_1890.jpeg" /> <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/081f13d0deb6a9b5468869f4804177eb5a93906e323deebd0ecbbadba0775f31/IMG_1921.jpeg" data-mid="184206229" border="0" src="https://freight.cargo.site/w/1000/i/081f13d0deb6a9b5468869f4804177eb5a93906e323deebd0ecbbadba0775f31/IMG_1921.jpeg" /> https://estellesimpson.com/Rossetti-s Mon, 04 Sep 2023 06:32:13 +0000 Estelle Simpson https://estellesimpson.com/Rossetti-s Rossetti’sTate Britain - Chelseath August - 24th September By Estelle Simpson Unfortunately, what was eulogized as ‘revolutionary’ was lost for me in the cinnamon swirls of lurid characters. An exhibition promising the “daring” and “radical” seemed misleading, portraying what I saw relfected as the Rossetti’s ‘brotherhood’ and a fixation with their flirtings with objectified pre-Raphelite muses. Confined within heavily-worked canvases are peaky stunners staring out towards the viewer with sultry, pouting gazes. The show may have been celebratory of its exquisite beauties - but who are they? One man’s fairytale sees their true lives concealed between shiny rouge lips. These paintings were as wan as Ophelia’s macarbre body floating on the river in which they echoed. This show displays Dante’s gaze predominently and should be credited seedy rather than subervise. Claims of the insurgent family felt messy, and the true story of torment, guilt and grief remain a tangle, hidden under fiery tresses of rich red hair.&nbsp; Firstly you are introduced into a room filled with murmers of Christina’s poetry facilitated by some clever sensor-orientated technology. Yet this seems to be the only curatorial success of a show in which you will have to reach the final two rooms to experience the most noteworthy works. Her dramatic prose haunts the room with an intensity of feeling and emotion captured with exquisite, painful precision. An established, significant voice of her time, this highlights her powerful poetry which had an influence on her brothers work. Yet, it seems her masterpieces were translated creepily into the Brotherhood’s canvases which fed on a handful of muses. Despite a brief overview of Christina and Liz, these ladies quickly become folklore in the exhibition which swiftly forgets their prolific creative output. Even the Virgin in Dante’s 1882 recreation of ‘The Annunciation’ seems to recoil awkwardly; displayed in the first room, her disturbed presence seems to forebode the trend of the rest of the exhibition. Gabriels murky drawings predating the founding of the Brotherhood in 1848 are destinctively lacking in his typictal angular style. Thank god Edgar Allen Poe’s poem the ‘Raven’ was also illustrated more successfully by Odilon Redon and Manet.&nbsp; This show is tinged with the idealist fantasies of Dante Gabriel Rossetti who focused his attention on capturing his lovers in what he perceived as the ‘new modern beauty’. While these ladies were working-class class women, it felt that DG emptied them of their true identities, refusing to draw them freshly from life. Instead the models haunt the work, stripped of their character and transfigured to elign with the artist’s relish for Victoriana aesthetics. His character is often less than respectable when you consider the myth he influenced his own wife to become; a pallid phantom of his artworks. Whilst she struggled with drug use, poor health and psychological distress, Dante ruminated on her image. For an artist praised for his desire to create art which was closer to nature, these pieces feel incredibly overworked and depict worlds far away from his models’ realities. For this reason, the exhibitions vision of a social-feminist critique felt as aneamic as the image of Siddel’s Ophelia alter-ego. While Siddel is renowned for being John Everett Millais’s muse, a positive of the exhibition was that it highlighted her rare surviving watercolours and drawings. It’s a shame this is drowned out by Dante’spresence and only her 30 paintings attest she was more than a eroticised figment of his imagination - a small repertoire due to her premature death at the age of 32. These dreamy, watercolours hint that she was more than simply a Pre-Rapahelite muse, yet her artistry is only presented within the context of her husband. She would be turning in her grave at the knowledge of this exhibition’s praise of her husbands radicalism if the Highgate Cemetery in which she rested wasn’t opened and exhumed on request of her lover to retrieve his writings a few years after her burial.&nbsp; Realities are masked under a blanket of the Pre-Raphealite Brotherhood’s vivid dreams and medieval inspired fantasy. The grandiose portraits are festooned by Dante’s trance. At least William Morris was a visionary - a break from this reverie - who was fully engaged with the issues of his day. As the precurser of the Arts and Crafts movement, founding the cooperative design company, with Gabriel and others, which would become the family firm Morris and Co. Unfortunately Morris ardently fought the socialist battles whilst behind the enchanting wallpaper GD was busy shagging and painting his wife, Jane Morris. Morris convicted that the overthrow of capitalism could liberate humanity, meanwhile the secret affair involving his wife saw Jane become another trapped within her obsessive lover’s canvases; she became just another essential part of Dante’s regressive sexual boastings.&nbsp; Considering the pre-Raphelite stimulus seemed to always be a nameless girl, the shows preoccupation with a revolutionary narrative applied largely to a retrospective of Dante conceals the real trailblaizers of the group, Christina and Liz.&nbsp; <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/257a1a117daa24c6a1f0ca71d0154a91753e560a83e717f33e88475b4676ab50/IMG_2954.jpeg" data-mid="192493947" border="0" src="https://freight.cargo.site/w/1000/i/257a1a117daa24c6a1f0ca71d0154a91753e560a83e717f33e88475b4676ab50/IMG_2954.jpeg" /> <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/508df4e3ceab874ed49c9f85e6c21e63bbb4fb1dcb242c988d1c93b40cc128a1/IMG_2959.jpeg" data-mid="192493944" border="0" src="https://freight.cargo.site/w/1000/i/508df4e3ceab874ed49c9f85e6c21e63bbb4fb1dcb242c988d1c93b40cc128a1/IMG_2959.jpeg" /> <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/bbe14831511c984729bd9e606bec19779ff73944b6cbbf47ff80ae71d938b4fc/IMG_2916.jpeg" data-mid="192494165" border="0" src="https://freight.cargo.site/w/1000/i/bbe14831511c984729bd9e606bec19779ff73944b6cbbf47ff80ae71d938b4fc/IMG_2916.jpeg" /> <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/fd01c1cb9c77a895f33b3ed60d2963e8db71315ce5351d22714e1658040d7b90/IMG_2920.jpeg" data-mid="192493961" border="0" src="https://freight.cargo.site/w/1000/i/fd01c1cb9c77a895f33b3ed60d2963e8db71315ce5351d22714e1658040d7b90/IMG_2920.jpeg" /> <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/9fec9ecb7cbd847a6f25ae034549af999ae6d5ffc6020fc1242e5994708b97e5/IMG_2922.jpeg" data-mid="192493958" border="0" src="https://freight.cargo.site/w/1000/i/9fec9ecb7cbd847a6f25ae034549af999ae6d5ffc6020fc1242e5994708b97e5/IMG_2922.jpeg" /> <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/1061ba35f211f95457633198a1579a57048212ac39f1f57848cdebcc072d7fde/IMG_2936.jpeg" data-mid="192493953" border="0" src="https://freight.cargo.site/w/1000/i/1061ba35f211f95457633198a1579a57048212ac39f1f57848cdebcc072d7fde/IMG_2936.jpeg" /> <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/6e277fae4f7681cfdd157dff5b258d89f415ceae044e65a58ddfae40b419f6e8/IMG_2947.jpeg" data-mid="192493950" border="0" src="https://freight.cargo.site/w/1000/i/6e277fae4f7681cfdd157dff5b258d89f415ceae044e65a58ddfae40b419f6e8/IMG_2947.jpeg" /> <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/990ce9e41af411066cea3e12aff6e44fd44fa2ec4c70492008c75ed70aff78f5/IMG_2950.jpeg" data-mid="192493949" border="0" src="https://freight.cargo.site/w/1000/i/990ce9e41af411066cea3e12aff6e44fd44fa2ec4c70492008c75ed70aff78f5/IMG_2950.jpeg" /> https://estellesimpson.com/Marina-Abramovic Sat, 28 Oct 2023 18:04:59 +0000 Estelle Simpson https://estellesimpson.com/Marina-Abramovic Marina AbramovicRoyal Academy - Mayfair23rd September - 1st January By Estelle Simpson Highlighting over 5 decades of significant performance art, the RA has just launched a retrospective dedicated to its first female artist, Marina Abromavic. Marina is an enlightening figure in the contemporary art world. She has demonstrated the power of commiting a lifetime to art in liberating oneself. She has freed her own body by creating light in dark places, and her work to date now centres on reaching a stage of ‘luminosity’ - emancipating the mind. In her own pursuit of this inhibition, she has also involved audiences to release their own restraints. What has stemmed from this practice is an extraordinary body of work which deeply explores the intrinsic nature of humanity.&nbsp; I studied Marina’s work for an essay I wrote as a student in Leeds, so it was wonderful to immerse myself in her oeuvre a few years later in this retrospective. Her pioneering work introduced me to performance art practices with captivatingly distressing potency. As a painter and ballerina at the time, I was struck by the potential of this expressive form to utilise the body directly as the medium in a fine art context. Not only that, but Marina’s work appeared especially touching, closing the boundary between artist and observer, involving audiences at first hand through participation. From that moment on I was obsessed - her inspiring artistic voice is epitomised by formidable courage, anger, and heartbreak. Due to the temporal nature of her art, we are lucky her early works are captured on video, so that they can be watched nearly 5 decades on; the content is as vigorously evocative as it were at the time. Through both documentation and live recreations of seminal pieces, this exhibition honours the intrigue and complexity of Marina’s work to date. The exhibition manages to trace the arc of Marina’s career from her very physical early ‘Rhythm’ pieces to the stillness of her ‘The Artist is Present’ performance. Upon entrance, a wall is filled by the many exhausted faces of the artist who sat for 75 days in the MoMA, and this is contrasted with the energised and charged emotions of each new sitter on the opposite side. Even though a plethora of videos uploaded to youtube capture the connection made between the artist and participants, presenting these shoulder to shoulder highlights the profound continuity of Marina’s fixed gaze and the vulnerability of the sitters. It also demonstrates the simplicity the artist has reached, placed in proximity to the ‘Rhythm 0’ piece, we see ‘The Artist is Present’ has completely removed the paraphanelia involved in her early work. Marina has reached a way to profoundly connect with audiences, achieved by the refined act of sitting.&nbsp; When researching the artist, I was first captured by the disgrace she made of humanity, a depravity which was exposed in ‘Rhythm 0’. It was great to see the set table recreated alongside archival footage, facilitating a chance to observe each individual tool of pleasure and pain involved in the 1974 work. This allowed me to venture into the details of the six hour performance, providing a deeper appreciation of its construction. Over the 6 hour duration, audience’s actions escalated to a shocking degree of humiliation and abuse, played out onto Marina who declared herself a ‘passive object’ in this work. Chillingly, Marina allowed herself to be mutilated, stripped, and wounded. This is presented for us now in crude black and white photographs, projecting the horror around the gallery space. Marina bravely instructed the audience she took “full responsibility”, and this nerve led to the unruly turn the piece took, producing a disturbing reflection of the exploitation of women and power dynamics which exist in society. Still relevant today are the truths it exposed about human nature, authority, permission, and accountability. Perhaps, I thought, Marina’s braveness sought to release the deep anger and pain suppressed within the human condition, tapping in to a part of existence that very few feel or experience. The Serbian performers rebellious nature and strong-minded attitude that is evident in her work can be considered a result of a brutal upbringing, a strict childhood dominated by religion from her grandmother, who partially raised her, and experience of the Communist state. In rooms titled the Communist Body, I am reminded after her potent ‘Rhythm 5’, performed at age 29, Marina had to return home by a 10 O’clock curfew. Despite the rebelliousness of this artwork, in which she lay in the centre of fire in protest, Marina still abode by the control present in her personal life. Astride a white stallion, a very motionless image of Marina - with the Yugoslav anthem playing in the background - is a not only a mournful tribute to her father, but also coincides with the ceasing in existence of the Communist state he had helped to create. I loved reading the scripts which accompanied the works on show, revealing the precise instructions made by Marina. Of course, her ex-partner Ulay was a key asset of her artistic career at some point and shows up in the exhibition. He shared an interest in the involvement of the body in art. These collaborative artworks form part of the centrepiece of the exhibition , comprising of several screens. Snogging, slapping, screaming - facing each other, these performances on video seem to compete for my attention. It is stunning and fascinating to witness these works on this enlarged scale. As a crucial part of Marina’s practice being her presence when her works are realised in galleries, this is an example of the way the exhibition managed to employ technology to make up for her omission. While praised for the authenticity involved in performance art’s liaison with the real and physical body, I love the sense of drama and extravagance which can be found within the practice. The artist’s work has involved fire and ice, dangerous props, intense emotional screams to impassioned embraces, as well as dangerous stunts, and freakish repetition. She tested her physical and psychological boundaries by lending herself unwittingly to her audience. This is a great survey of Marina’s risqué and raw artistry. Undoubtedly courageous, delving into the heart of what it means to be human, Marina continues to create ritualistic performance pieces which are cathartic and liberating. <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/9a1ba60afbc95b5fcd2f35d8e19f697db051475420954c4eea6f038aca3e241f/IMG_3445.jpeg" data-mid="195958984" border="0" src="https://freight.cargo.site/w/1000/i/9a1ba60afbc95b5fcd2f35d8e19f697db051475420954c4eea6f038aca3e241f/IMG_3445.jpeg" /> <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/282eee9e5dc499ac84f857bfbe30f5c7a78bc05935b46eb206edf82a88d38f8b/marina1.jpg" data-mid="195958992" border="0" src="https://freight.cargo.site/w/1000/i/282eee9e5dc499ac84f857bfbe30f5c7a78bc05935b46eb206edf82a88d38f8b/marina1.jpg" /> <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/5c6a51bba8da455349ed6917854764c325f85504f06818882cefeeaf321d5883/IMG_3480.jpeg" data-mid="195958991" border="0" src="https://freight.cargo.site/w/1000/i/5c6a51bba8da455349ed6917854764c325f85504f06818882cefeeaf321d5883/IMG_3480.jpeg" /> <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/53a83d2dfc62af65b4789a286945f4c45a5641e13545f90fe4647bde50c7b12b/IMG_3476.jpeg" data-mid="195958990" border="0" src="https://freight.cargo.site/w/1000/i/53a83d2dfc62af65b4789a286945f4c45a5641e13545f90fe4647bde50c7b12b/IMG_3476.jpeg" /> <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/b98a05203d6be15b8c7ae0e3636238ee61207e49eb322f0449c1cdbefe857300/IMG_3474.jpeg" data-mid="195958989" border="0" src="https://freight.cargo.site/w/1000/i/b98a05203d6be15b8c7ae0e3636238ee61207e49eb322f0449c1cdbefe857300/IMG_3474.jpeg" /> <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/f2866e98286872e50a53c6d6b98f75255a72c853bea3bedfcb5b185278a1e0ee/IMG_3462.jpeg" data-mid="195958988" border="0" src="https://freight.cargo.site/w/1000/i/f2866e98286872e50a53c6d6b98f75255a72c853bea3bedfcb5b185278a1e0ee/IMG_3462.jpeg" /> <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/83dd461439f7aff77d710c72e5d0a943cd5faf6c3e2a70b7525ddd070abd6cad/IMG_3460.jpeg" data-mid="195958987" border="0" src="https://freight.cargo.site/w/1000/i/83dd461439f7aff77d710c72e5d0a943cd5faf6c3e2a70b7525ddd070abd6cad/IMG_3460.jpeg" /> <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/f988e74912154d4a21784e0110756017b66700e1e3334f753f2304574de63250/IMG_3459.jpeg" data-mid="195958986" border="0" src="https://freight.cargo.site/w/1000/i/f988e74912154d4a21784e0110756017b66700e1e3334f753f2304574de63250/IMG_3459.jpeg" /> <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/8c33f1b4943edde2b40e17ff15fcac10ac7e5315e8d2251c88889bb2615314b7/IMG_3452.jpeg" data-mid="195958985" border="0" src="https://freight.cargo.site/w/1000/i/8c33f1b4943edde2b40e17ff15fcac10ac7e5315e8d2251c88889bb2615314b7/IMG_3452.jpeg" /> https://estellesimpson.com/Caludette-Johnson Tue, 21 Nov 2023 22:09:57 +0000 Estelle Simpson https://estellesimpson.com/Caludette-Johnson Claudette JohnsonThe Courtauld&nbsp; Gallery - Somerset House29th September 2023 - 14th January 2024 By Estelle Simpson Claudette really asserts her place and vision within the Courtauld, in a show aptly named ‘Presence’, recapturing her muses and realising her own identity with the dignity and boldness her predecessors failed to imagine. The language used to label groups holds equal power to the visual language used to express them. In her interview for Channel 4 news, noting the transition from her and her peers use of the term ‘artist’s of colour’ to ‘black artists’, Claudette’s work presently confronts the histories invested in the muse, giving an unprecedented platform to her individuality and culture. Her works are sensitive and stimulating, with a subtle but insistent evocation of her sitters’ lives. What is striking in this exhibition, whilst surrounded by the treasures of the Courtauld’s of prominent paintings - prooving both formally inspirational and politically problematic - is the compelling connection found in Claudette’s large drawings. These charcoal renderings have a great presence when standing within the rich history documented by the gallery’s collection. The life and energy captured by oils by revered painters such as Gaugin and Picasso is equalled by the skilful charcoal strokes employed by the contemporary artist. This show defintely asserts the power of drawing, a previously preliminary medium, now holding the space with enthralling potency in the midst of the gems of the paintings archived. People are captured standing tall, their existence emanates beyond the preditermined margins of the artwork. Replacing canvas for paper, the medium liberates Claudette from the burdening theory and history invested in the late painters’ works, allowing her to question the legacy of these modernist masterpieces with rousing vitality. Particularly in the treatment of the muse, I observe Claudette’s brilliant celebration of the bodies of Black men and women. This is fostered when Claudette finally steps in to subvert the repressive male gaze in ‘Standing Figure with African Masks’, taking from the Modernist’s formality to say something urgetly powerful about the Black female experience. While referencing those such as Picasso, fusing the artist’s dynamic scale and colour with her own expression of individuality, it was pieces such as ‘Kind of Blue’ which caught my attention. This artwork had a great sense of originality despite pulling very evidently from Francis Bacon’s line and citing the rhythm of Miles Davis. Working from a photograph by the South African photographer Peter Magubane, Claudette creates an atmosphere of wistful contemplation accentuated by the young man’s striking features, crafting a composition which replicates these artist’s energy whilst rejecting the absense of black people. Her muses occupy the space, not only breaking down the narrow dimensions previously established by painters who dominated the art world, but also emobodying the genius which existed before her in paintwork which captures the emotional impact ushered by the mystical chords of Davis. This results in artwork which crucially interrogates the past but also celebrates powerful influences. Witnessing this dance between beautifully smooth and soft marks to raw and textured sweeps of undulating charcoal applied to her models and self portraiture, I can see the artist coolly invoke what resembles the furniture of a Bacon or the classical poses of Seurat and Degas. Adjoined with the freeing energy of her expression, this awareness of tradition ceases to confine the figures of their poise and dignity. Claudette recognises the horrible reality which has succumed the female muse, for too long represented naked and entrenched in passivity and negative sexuality. She responsibly reasserts the sexuality and identity of her subjects, working against this great weight of history, male power, artistic practice, classical literature and mythology which is against us. Later works continue to excite in the mixed media of pastel and gouache. As she matures we see her become more economic, her work is now full of space and pictorial proficiency. Increasingly minimal and spare, the texture of the skin feels all the more vivid. While formal arrangements and choices of material are vastly diverse in her oeuvre, her artistic cannon is aligned by her powerfully consistent visual politics applied to monumental muses. The monolithic appearance of her models in each piece harmonises the selection on display, yet it is the sense of restlessness which exists beneath their relaxed poses, rendered with a duty to confronting the tonnage of the past, that is incredibly enigmatic. Claudette Johnson Channel 4 interview here. <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/95b1ee5a2133db193a067f56d80badaa3087522d80613bcd8918e4064bb653b1/IMG_4795.jpeg" data-mid="197586686" border="0" src="https://freight.cargo.site/w/1000/i/95b1ee5a2133db193a067f56d80badaa3087522d80613bcd8918e4064bb653b1/IMG_4795.jpeg" /> <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/ccbad191cbe2379c2225babf56484ae6cc246b514380113a047e174d8d887ff1/IMG_4794.jpeg" data-mid="197586685" border="0" src="https://freight.cargo.site/w/1000/i/ccbad191cbe2379c2225babf56484ae6cc246b514380113a047e174d8d887ff1/IMG_4794.jpeg" /> <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/75c772f8c41765165b4a9f03d17a94483b9a36fedf04e4226272a3b464af03ec/IMG_4793.jpeg" data-mid="197586684" border="0" src="https://freight.cargo.site/w/1000/i/75c772f8c41765165b4a9f03d17a94483b9a36fedf04e4226272a3b464af03ec/IMG_4793.jpeg" /> <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/a1fa121960a2bad1d4ed87ee099c1fcdb3d98dc04bb1c64b0aafa3aec272abca/IMG_4792.jpeg" data-mid="197586683" border="0" src="https://freight.cargo.site/w/1000/i/a1fa121960a2bad1d4ed87ee099c1fcdb3d98dc04bb1c64b0aafa3aec272abca/IMG_4792.jpeg" /> <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/5f4b404753f5b0ff8fc5a741dc28055009729dec6892f4267cb57c3d62f79672/IMG_4789.jpeg" data-mid="197586682" border="0" src="https://freight.cargo.site/w/1000/i/5f4b404753f5b0ff8fc5a741dc28055009729dec6892f4267cb57c3d62f79672/IMG_4789.jpeg" /> <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/9e460ab91583f9524f5af6a3f12f3d94a69682f541903060171dcf1b50099bfc/IMG_4788.jpeg" data-mid="197586681" border="0" src="https://freight.cargo.site/w/1000/i/9e460ab91583f9524f5af6a3f12f3d94a69682f541903060171dcf1b50099bfc/IMG_4788.jpeg" /> <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/240131206398ef6ecb63ff2a008288d2d1b30a93e4ce44e81c6b6108123235eb/IMG_4785.jpeg" data-mid="197586680" border="0" src="https://freight.cargo.site/w/1000/i/240131206398ef6ecb63ff2a008288d2d1b30a93e4ce44e81c6b6108123235eb/IMG_4785.jpeg" />