Estelle Simpson

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	<title>Estelle Simpson</title>
	<link>https://estellesimpson.com</link>
	<description>Estelle Simpson</description>
	<pubDate>Mon, 25 Mar 2024 22:07:50 +0000</pubDate>
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		<title>Main page</title>
				
		<link>https://estellesimpson.com/Main-page</link>

		<pubDate>Mon, 08 May 2023 19:19:44 +0000</pubDate>

		<dc:creator>Estelle Simpson</dc:creator>

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		<title>Paintings</title>
				
		<link>https://estellesimpson.com/Paintings</link>

		<pubDate>Mon, 08 May 2023 19:19:44 +0000</pubDate>

		<dc:creator>Estelle Simpson</dc:creator>

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		<description>2026

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2025

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&#60;img width="2760" height="3727" width_o="2760" height_o="3727" data-src="https://freight.cargo.site/t/original/i/0eb5d879f5ad05c2f93ed1e0b2c4274df34f680324f530ae3bd1ac5a5673c1bf/IMG_6118.jpeg" data-mid="235005899" border="0"  src="https://freight.cargo.site/w/1000/i/0eb5d879f5ad05c2f93ed1e0b2c4274df34f680324f530ae3bd1ac5a5673c1bf/IMG_6118.jpeg" /&#62;
&#60;img width="3941" height="1510" width_o="3941" height_o="1510" data-src="https://freight.cargo.site/t/original/i/6b09eaf5e015b7d3c12d6e979fbb523c7f05da6a3f1969aa2d20a42ea42758bb/IMG_5010.jpg" data-mid="234694916" border="0"  src="https://freight.cargo.site/w/1000/i/6b09eaf5e015b7d3c12d6e979fbb523c7f05da6a3f1969aa2d20a42ea42758bb/IMG_5010.jpg" /&#62;
&#60;img width="2114" height="2859" width_o="2114" height_o="2859" data-src="https://freight.cargo.site/t/original/i/89aab5a7797d4735dc63baf620cba1cc1dcda5675ce16c636f42ef8e67d8bc1a/IMG_5360.jpeg" data-mid="234299021" border="0"  src="https://freight.cargo.site/w/1000/i/89aab5a7797d4735dc63baf620cba1cc1dcda5675ce16c636f42ef8e67d8bc1a/IMG_5360.jpeg" /&#62;
&#60;img width="1950" height="1116" width_o="1950" height_o="1116" data-src="https://freight.cargo.site/t/original/i/ee3ea492cafea6a4a3d54480a3c608cd85c72471a2de418c5ca399e3fa63c1b8/IMG_5432.jpg" data-mid="234299025" border="0"  src="https://freight.cargo.site/w/1000/i/ee3ea492cafea6a4a3d54480a3c608cd85c72471a2de418c5ca399e3fa63c1b8/IMG_5432.jpg" /&#62;
&#60;img width="2395" height="3122" width_o="2395" height_o="3122" data-src="https://freight.cargo.site/t/original/i/7def8495be9ce20507c915dc34aeb7c87071c79fb9af647a5730c9d6653cab76/IMG_2992.jpg" data-mid="229694243" border="0"  src="https://freight.cargo.site/w/1000/i/7def8495be9ce20507c915dc34aeb7c87071c79fb9af647a5730c9d6653cab76/IMG_2992.jpg" /&#62;
&#60;img width="1691" height="3389" width_o="1691" height_o="3389" data-src="https://freight.cargo.site/t/original/i/dc979b380626f0610181a95aba4c5439ce05e9bf5b447b343181e8e631f49019/IMG_4578.jpg" data-mid="233481470" border="0"  src="https://freight.cargo.site/w/1000/i/dc979b380626f0610181a95aba4c5439ce05e9bf5b447b343181e8e631f49019/IMG_4578.jpg" /&#62;
&#60;img width="2119" height="2826" width_o="2119" height_o="2826" data-src="https://freight.cargo.site/t/original/i/0781010efa02415c80786bba007eb3421204dd7e52d83bb2e97653b770ba2986/IMG_4658.jpg" data-mid="233481437" border="0"  src="https://freight.cargo.site/w/1000/i/0781010efa02415c80786bba007eb3421204dd7e52d83bb2e97653b770ba2986/IMG_4658.jpg" /&#62;
&#60;img width="2163" height="3245" width_o="2163" height_o="3245" data-src="https://freight.cargo.site/t/original/i/b9c8d7b49355d22913ec98475f65da82543a83da1641efe2a180787d416e6445/-Soft-Touch-.jpeg" data-mid="234694882" border="0"  src="https://freight.cargo.site/w/1000/i/b9c8d7b49355d22913ec98475f65da82543a83da1641efe2a180787d416e6445/-Soft-Touch-.jpeg" /&#62;
&#60;img width="1864" height="2518" width_o="1864" height_o="2518" data-src="https://freight.cargo.site/t/original/i/e0e705d996829471b88cb8e6ae0fdd2963fa7863866e7c4522bf939355f139db/IMG_2370.jpg" data-mid="228636313" border="0"  src="https://freight.cargo.site/w/1000/i/e0e705d996829471b88cb8e6ae0fdd2963fa7863866e7c4522bf939355f139db/IMG_2370.jpg" /&#62;
&#60;img width="2318" height="3116" width_o="2318" height_o="3116" data-src="https://freight.cargo.site/t/original/i/32306af2fa095534293b411b74e0190c8d942b112d254e28098a496c4682b834/BigBlueTutu_60x80cm.jpg" data-mid="234299027" border="0"  src="https://freight.cargo.site/w/1000/i/32306af2fa095534293b411b74e0190c8d942b112d254e28098a496c4682b834/BigBlueTutu_60x80cm.jpg" /&#62;
&#60;img width="1074" height="1598" width_o="1074" height_o="1598" data-src="https://freight.cargo.site/t/original/i/d2c4d7792600f7fc5b0f1a36ebf6c47e81ec0d7364aa71d6413b38112298125f/d7hftxdivxxvm.cloudfront.jpg" data-mid="234299046" border="0"  src="https://freight.cargo.site/w/1000/i/d2c4d7792600f7fc5b0f1a36ebf6c47e81ec0d7364aa71d6413b38112298125f/d7hftxdivxxvm.cloudfront.jpg" /&#62;
&#60;img width="2937" height="2159" width_o="2937" height_o="2159" data-src="https://freight.cargo.site/t/original/i/e6685c32bf6f75c51aef9db9ff395d8e75d47a7cfef35c621272b7178a96439d/Pinsandneedles.jpg" data-mid="233481442" border="0"  src="https://freight.cargo.site/w/1000/i/e6685c32bf6f75c51aef9db9ff395d8e75d47a7cfef35c621272b7178a96439d/Pinsandneedles.jpg" /&#62;
&#60;img width="1334" height="1598" width_o="1334" height_o="1598" data-src="https://freight.cargo.site/t/original/i/26c2293868b0ff45bcdfb1fc77a9cff40d249535a09274aaccfad8d46f082320/d7hftxdivxxvm.cloudfront-5.jpg" data-mid="234299058" border="0"  src="https://freight.cargo.site/w/1000/i/26c2293868b0ff45bcdfb1fc77a9cff40d249535a09274aaccfad8d46f082320/d7hftxdivxxvm.cloudfront-5.jpg" /&#62;


2024


&#60;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" /&#62;
&#60;img width="1108" height="2884" width_o="1108" height_o="2884" data-src="https://freight.cargo.site/t/original/i/ef869d1b958cacb4035f367772938c95e47b4fb61fc6a2d9b3998285929b428f/IMG_0609.jpg" data-mid="234299028" border="0"  src="https://freight.cargo.site/w/1000/i/ef869d1b958cacb4035f367772938c95e47b4fb61fc6a2d9b3998285929b428f/IMG_0609.jpg" /&#62;
&#60;img width="1599" height="1256" width_o="1599" height_o="1256" data-src="https://freight.cargo.site/t/original/i/ebb190cdbda521f7c1107b7625911260dcb08d6713d4ce1c978604c198fe6144/d7hftxdivxxvm.cloudfront-1.jpeg" data-mid="234299053" border="0"  src="https://freight.cargo.site/w/1000/i/ebb190cdbda521f7c1107b7625911260dcb08d6713d4ce1c978604c198fe6144/d7hftxdivxxvm.cloudfront-1.jpeg" /&#62;
&#60;img width="890" height="1287" width_o="890" height_o="1287" data-src="https://freight.cargo.site/t/original/i/b7795b6d146d4d12d1389fc944b693d1f1209ba1672b1cf647d7c257389b599d/d7hftxdivxxvm.cloudfront-4.jpeg" data-mid="234299056" border="0"  src="https://freight.cargo.site/w/890/i/b7795b6d146d4d12d1389fc944b693d1f1209ba1672b1cf647d7c257389b599d/d7hftxdivxxvm.cloudfront-4.jpeg" /&#62;
&#60;img width="1150" height="1600" width_o="1150" height_o="1600" data-src="https://freight.cargo.site/t/original/i/57999452bb27f3c44e0677aa3b3be2ad46bdfc3b787d214c7d67850d7f2601aa/d7hftxdivxxvm.cloudfront-3.jpeg" data-mid="234299055" border="0"  src="https://freight.cargo.site/w/1000/i/57999452bb27f3c44e0677aa3b3be2ad46bdfc3b787d214c7d67850d7f2601aa/d7hftxdivxxvm.cloudfront-3.jpeg" /&#62;
&#60;img width="1074" height="1597" width_o="1074" height_o="1597" data-src="https://freight.cargo.site/t/original/i/150086fa3b04d04492089f2824f4514bc2eabf52f56091a344b7cef1785fbfab/d7hftxdivxxvm.cloudfront-2.jpeg" data-mid="234299052" border="0"  src="https://freight.cargo.site/w/1000/i/150086fa3b04d04492089f2824f4514bc2eabf52f56091a344b7cef1785fbfab/d7hftxdivxxvm.cloudfront-2.jpeg" /&#62;
&#60;img width="816" height="1597" width_o="816" height_o="1597" data-src="https://freight.cargo.site/t/original/i/12e9acbea194b068d0c8caef35b71bf0b13be921223e1da289a5cf2ce8bc5387/d7hftxdivxxvm.cloudfront-6.jpg" data-mid="234299065" border="0"  src="https://freight.cargo.site/w/816/i/12e9acbea194b068d0c8caef35b71bf0b13be921223e1da289a5cf2ce8bc5387/d7hftxdivxxvm.cloudfront-6.jpg" /&#62;
&#60;img width="1115" height="1320" width_o="1115" height_o="1320" data-src="https://freight.cargo.site/t/original/i/408bbc7d95fb44c772461f10599ab7f46ca543084c7f048c2ed677c342a45153/Estelle_Simpson_Portraitofaswanlakedancer_15_20_2_Oilcanvas_2025_600.jpg" data-mid="233481474" border="0"  src="https://freight.cargo.site/w/1000/i/408bbc7d95fb44c772461f10599ab7f46ca543084c7f048c2ed677c342a45153/Estelle_Simpson_Portraitofaswanlakedancer_15_20_2_Oilcanvas_2025_600.jpg" /&#62;
&#60;img width="1217" height="1683" width_o="1217" height_o="1683" data-src="https://freight.cargo.site/t/original/i/a8d075e938e0e7be1846e1cab53995f28049f18bad17210dfc7c47c188eb041d/IMG_1926.jpg" data-mid="234299038" border="0"  src="https://freight.cargo.site/w/1000/i/a8d075e938e0e7be1846e1cab53995f28049f18bad17210dfc7c47c188eb041d/IMG_1926.jpg" /&#62;
&#60;img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/87314d3c4b9e01be85a64e0bf5806990e0f813c05f4f8bbcdd567ac7d932aeb8/Two-Swans--35x50cm--Oil-on-canvas--October-2024--450.jpg" data-mid="228235393" border="0"  src="https://freight.cargo.site/w/1000/i/87314d3c4b9e01be85a64e0bf5806990e0f813c05f4f8bbcdd567ac7d932aeb8/Two-Swans--35x50cm--Oil-on-canvas--October-2024--450.jpg" /&#62;
&#60;img width="887" height="699" width_o="887" height_o="699" data-src="https://freight.cargo.site/t/original/i/e0ea88107bcc248954ae43b5463164dd56688123ab41b35c99e2910a31642bb7/Outpouring--Oil-on-canvas--46x35cm.IMG_7433.jpg" data-mid="228235308" border="0"  src="https://freight.cargo.site/w/887/i/e0ea88107bcc248954ae43b5463164dd56688123ab41b35c99e2910a31642bb7/Outpouring--Oil-on-canvas--46x35cm.IMG_7433.jpg" /&#62;
&#60;img width="2786" height="1353" width_o="2786" height_o="1353" data-src="https://freight.cargo.site/t/original/i/916ae87eaad8b8f801b22380d469076a454ce20d2ff0132d493a0ff85d66d6ff/IMG_9355.jpg" data-mid="207572170" border="0"  src="https://freight.cargo.site/w/1000/i/916ae87eaad8b8f801b22380d469076a454ce20d2ff0132d493a0ff85d66d6ff/IMG_9355.jpg" /&#62;
&#60;img width="699" height="1067" width_o="699" height_o="1067" data-src="https://freight.cargo.site/t/original/i/fda905daa068f60939cb6541c31aca1c877b83200dde46c67441c3fcce37baa4/IMG_5971.jpg" data-mid="207581097" border="0"  src="https://freight.cargo.site/w/699/i/fda905daa068f60939cb6541c31aca1c877b83200dde46c67441c3fcce37baa4/IMG_5971.jpg" /&#62;
&#60;img width="1746" height="3179" width_o="1746" height_o="3179" data-src="https://freight.cargo.site/t/original/i/6fd008224477363f17759e1b9df72fef1a53a3da664e5d283a272692f17572f3/IMG_6899-3.jpg" data-mid="207581280" border="0"  src="https://freight.cargo.site/w/1000/i/6fd008224477363f17759e1b9df72fef1a53a3da664e5d283a272692f17572f3/IMG_6899-3.jpg" /&#62;
&#60;img width="512" height="577" width_o="512" height_o="577" data-src="https://freight.cargo.site/t/original/i/d63c58c756d43d65049f30dc9f28599fc3635e75c438817de85b06b8d4fe17ea/Estelle_Simpson_ExquisiteMess.jpg" data-mid="228235299" border="0"  src="https://freight.cargo.site/w/512/i/d63c58c756d43d65049f30dc9f28599fc3635e75c438817de85b06b8d4fe17ea/Estelle_Simpson_ExquisiteMess.jpg" /&#62;
&#60;img width="2167" height="2876" width_o="2167" height_o="2876" data-src="https://freight.cargo.site/t/original/i/d25066749312a4563700c04e3216a579c0465bf9469d8b4a6077880f129094f3/IMG_9603.jpg" data-mid="207572115" border="0"  src="https://freight.cargo.site/w/1000/i/d25066749312a4563700c04e3216a579c0465bf9469d8b4a6077880f129094f3/IMG_9603.jpg" /&#62;
&#60;img width="2639" height="2213" width_o="2639" height_o="2213" data-src="https://freight.cargo.site/t/original/i/174b2bfee5e247fae1800acf306f6ee75faffe20e3c0e2a7718c0c7eef4fe73b/IMG_7419-3.jpg" data-mid="207581484" border="0"  src="https://freight.cargo.site/w/1000/i/174b2bfee5e247fae1800acf306f6ee75faffe20e3c0e2a7718c0c7eef4fe73b/IMG_7419-3.jpg" /&#62;
&#60;img width="1997" height="2411" width_o="1997" height_o="2411" data-src="https://freight.cargo.site/t/original/i/40c6dcd7241d880b6787b8dab99e835e483444e286b8360dacc02f75c8d9db24/Estelle-Simpson---Reborn-Always--2024-Oil-on-canvas-110x125cm.jpeg" data-mid="228235424" border="0"  src="https://freight.cargo.site/w/1000/i/40c6dcd7241d880b6787b8dab99e835e483444e286b8360dacc02f75c8d9db24/Estelle-Simpson---Reborn-Always--2024-Oil-on-canvas-110x125cm.jpeg" /&#62;
&#60;img width="2116" height="2139" width_o="2116" height_o="2139" data-src="https://freight.cargo.site/t/original/i/efa490d4d2194977553f912cecc716b83b11527797be3445af73ce104ee3148a/IMG_9028.jpg" data-mid="207581336" border="0"  src="https://freight.cargo.site/w/1000/i/efa490d4d2194977553f912cecc716b83b11527797be3445af73ce104ee3148a/IMG_9028.jpg" /&#62;
&#60;img width="1743" height="2796" width_o="1743" height_o="2796" data-src="https://freight.cargo.site/t/original/i/6dc4e45c3f7aa705a5d86c1e2c61981bd77be020205e666777bc2d9640342091/IMG_4702.jpg" data-mid="207581559" border="0"  src="https://freight.cargo.site/w/1000/i/6dc4e45c3f7aa705a5d86c1e2c61981bd77be020205e666777bc2d9640342091/IMG_4702.jpg" /&#62;
&#60;img width="2554" height="1979" width_o="2554" height_o="1979" data-src="https://freight.cargo.site/t/original/i/94e00be7d484a05421d6297bf57d1ad63acf1b93854abdeea6bb6522d9c70c51/IMG_5605.jpg" data-mid="207581666" border="0"  src="https://freight.cargo.site/w/1000/i/94e00be7d484a05421d6297bf57d1ad63acf1b93854abdeea6bb6522d9c70c51/IMG_5605.jpg" /&#62;
&#60;img width="2572" height="2531" width_o="2572" height_o="2531" data-src="https://freight.cargo.site/t/original/i/926ba89e2798c1856cd661a16c2d4138bfd4a04e3461e7563cbe3a83c5e1e297/IMG_8578.jpg" data-mid="207581680" border="0"  src="https://freight.cargo.site/w/1000/i/926ba89e2798c1856cd661a16c2d4138bfd4a04e3461e7563cbe3a83c5e1e297/IMG_8578.jpg" /&#62;
&#60;img width="2558" height="2063" width_o="2558" height_o="2063" data-src="https://freight.cargo.site/t/original/i/e8ebc3dc874688d1cb86aae3adfcb177ac25086658cef6cf6be5a806625630f0/IMG_6351.jpg" data-mid="207581705" border="0"  src="https://freight.cargo.site/w/1000/i/e8ebc3dc874688d1cb86aae3adfcb177ac25086658cef6cf6be5a806625630f0/IMG_6351.jpg" /&#62;
&#60;img width="2271" height="3070" width_o="2271" height_o="3070" data-src="https://freight.cargo.site/t/original/i/439adb89888e52ddcfd7707a75a4a508c7609c7b31f3423b43336d502e871794/IMG_0107.jpg" data-mid="207582018" border="0"  src="https://freight.cargo.site/w/1000/i/439adb89888e52ddcfd7707a75a4a508c7609c7b31f3423b43336d502e871794/IMG_0107.jpg" /&#62;


2023


&#60;img width="2490" height="2497" width_o="2490" height_o="2497" data-src="https://freight.cargo.site/t/original/i/004040338d111602cd325a1533a9ad3e1e6c8439ce40bc7b31faf0f8a3b07e4d/ThreadsofReality.jpg" data-mid="207560103" border="0"  src="https://freight.cargo.site/w/1000/i/004040338d111602cd325a1533a9ad3e1e6c8439ce40bc7b31faf0f8a3b07e4d/ThreadsofReality.jpg" /&#62;
&#60;img width="1250" height="616" width_o="1250" height_o="616" data-src="https://freight.cargo.site/t/original/i/3aaf246fb5a228e4772e5999e22d5e42d110713ecc0505942bd06dd7b9ed8d04/rest-on-your-laurels_.jpg" data-mid="207560162" border="0"  src="https://freight.cargo.site/w/1000/i/3aaf246fb5a228e4772e5999e22d5e42d110713ecc0505942bd06dd7b9ed8d04/rest-on-your-laurels_.jpg" /&#62;
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&#60;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" /&#62;
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2022
&#60;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" /&#62;&#60;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" /&#62;</description>
		
	</item>
		
		
	<item>
		<title>Information</title>
				
		<link>https://estellesimpson.com/Information</link>

		<pubDate>Sun, 04 Jun 2023 07:04:13 +0000</pubDate>

		<dc:creator>Estelle Simpson</dc:creator>

		<guid isPermaLink="true">https://estellesimpson.com/Information</guid>

		<description>


	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&#38;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.&#38;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. 


	&#60;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" /&#62;
</description>
		
	</item>
		
		
	<item>
		<title>Installations</title>
				
		<link>https://estellesimpson.com/Installations</link>

		<pubDate>Mon, 25 Mar 2024 22:07:50 +0000</pubDate>

		<dc:creator>Estelle Simpson</dc:creator>

		<guid isPermaLink="true">https://estellesimpson.com/Installations</guid>

		<description>‘Home’, Outhouse Gallery, Camberwell
&#60;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" /&#62;
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&#60;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" /&#62;


‘Graduate Art Exhibition 2024’, Candid Arts Trust, Angel

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&#60;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" /&#62;
&#60;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" /&#62;

‘Dark Materials Tell Stories’, J/M Gallery, Portobello Road

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&#60;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" /&#62;
&#60;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" /&#62;
‘Bloom’, OutHouse Gallery, Camberwell
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&#60;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" /&#62;
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‘Shoebox’. AMP Gallery, Peckham
&#60;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" /&#62;
&#60;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" /&#62;
&#60;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" /&#62;
‘I Don’t Wanna Mess This Up’ Collective, Beer Rebellion, Peckham
&#60;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" /&#62;
&#60;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" /&#62;

StArt Art Fair, Saatchi Gallery, King’s Road

&#60;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" /&#62;
&#60;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" /&#62;
&#60;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" /&#62;


Camberwell College of Art Degree Show 2023
&#60;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" /&#62;
‘Solstice’, Petitou Cafe, Peckham

&#60;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" /&#62;
&#60;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" /&#62;
&#60;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" /&#62;


‘Peculiar Child’, Asylum Chapel, Peckham

&#60;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" /&#62;

‘Thank Heavens for Little Girls’, Safehouse, Peckham

&#60;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" /&#62;
&#60;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" /&#62;
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Southwark Park Galleries
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</description>
		
	</item>
		
		
	<item>
		<title>chris ofili</title>
				
		<link>https://estellesimpson.com/chris-ofili</link>

		<pubDate>Fri, 09 Jun 2023 09:01:45 +0000</pubDate>

		<dc:creator>Estelle Simpson</dc:creator>

		<guid isPermaLink="true">https://estellesimpson.com/chris-ofili</guid>

		<description>


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’. 


&#60;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" /&#62;
&#60;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" /&#62;
&#60;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" /&#62;
&#60;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" /&#62;
</description>
		
	</item>
		
		
	<item>
		<title>Anselm Kiefer</title>
				
		<link>https://estellesimpson.com/Anselm-Kiefer</link>

		<pubDate>Wed, 05 Jul 2023 09:04:31 +0000</pubDate>

		<dc:creator>Estelle Simpson</dc:creator>

		<guid isPermaLink="true">https://estellesimpson.com/Anselm-Kiefer</guid>

		<description>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.&#38;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.&#38;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.&#38;nbsp;


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</description>
		
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	<item>
		<title>Rossetti's</title>
				
		<link>https://estellesimpson.com/Rossetti-s</link>

		<pubDate>Mon, 04 Sep 2023 06:32:13 +0000</pubDate>

		<dc:creator>Estelle Simpson</dc:creator>

		<guid isPermaLink="true">https://estellesimpson.com/Rossetti-s</guid>

		<description>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.&#38;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.&#38;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.&#38;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.&#38;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.&#38;nbsp;

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</description>
		
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	<item>
		<title>Marina Abramovic</title>
				
		<link>https://estellesimpson.com/Marina-Abramovic</link>

		<pubDate>Sat, 28 Oct 2023 18:04:59 +0000</pubDate>

		<dc:creator>Estelle Simpson</dc:creator>

		<guid isPermaLink="true">https://estellesimpson.com/Marina-Abramovic</guid>

		<description>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.&#38;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.&#38;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. 


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		<title>Caludette Johnson</title>
				
		<link>https://estellesimpson.com/Caludette-Johnson</link>

		<pubDate>Tue, 21 Nov 2023 22:09:57 +0000</pubDate>

		<dc:creator>Estelle Simpson</dc:creator>

		<guid isPermaLink="true">https://estellesimpson.com/Caludette-Johnson</guid>

		<description>Claudette JohnsonThe Courtauld&#38;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.


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		<title>Philip Guston</title>
				
		<link>https://estellesimpson.com/Philip-Guston</link>

		<pubDate>Sun, 10 Dec 2023 01:31:21 +0000</pubDate>

		<dc:creator>Estelle Simpson</dc:creator>

		<guid isPermaLink="true">https://estellesimpson.com/Philip-Guston</guid>

		<description>Philip GustonTate Modern - Bankside25 February 2024
By Estelle Simpson


A modern man with a Renaissance ambition from youth which burgeoned into the grit to approach the depths of evil residing within the vicinity of mankind. A tenacious spirit equally laden with trauma, plus the tragic loss of his father - a figure he did not discuss very much for understandable reasons - foreseeing an upbringing tormented with layers of tragedy.&#38;nbsp; This deep experience of anguish was eventually woven into the gutsy paintings he produced; an oeuvre provoked of an urgent assuaging nature. Perhaps his constant reinvention of style throughout his practice is reflective of the way he dealt with the personal tragedy he experienced, choosing to change his name and evolve his character in pursuit of the elusive ‘American dream’ the country he moved to offered. In later paintings,&#38;nbsp; this repressed, weighty baggage can be seen to reemerge in the cluttered imagery dumped into the compositions. To the same degree the subject matter constitutes the rubble of America that forces its way into the work of a man with an extreme political conscience. The disturbing imagery deposited onto the canvas proved to provide relief once imparted. Guston’s unstoppable production of work was powered by the urge to find an unreachable solace in the despicable world. 


A story of a soul taxed with tragedy, a painter born of a distressing generation, and mind all encompassed by his one artistic pursuit. Guston’s style seems to have stemmed from a synergy of an early obsession for cartooning, whilst drawing on his Renaissance heroes - Michelangelo, Masaccio, and Pierra del Francesca. I enjoyed seeing the element of surrealism reminiscent of de Chirico in his early easel pieces, a movement engaged in the absurdity identified in Guston’s later work. He was daring both in the proximity to evil he engaged with in his visual universe and also transformative in his artistic trajectory. While a&#38;nbsp; heavy user of his vices, Guston’s main relief seemed to be painting which signified for him a relentless search for the solace which the art form appeared to offer. This tale ends with a peachy pink plot twist - Guston reaches a stage of soft hued canvases in which self-portraits mirror a large worried head, all forehead wrinkled and wide Cyclops eyes. This is adjoined by household objects swollen to menacing proportions, and puffy KKK men performing activities not unusual to their creator’s life; painting, staring down a bottle of alcohol, or smoking a cigarette. The imagery is a mirror of the way evil routes itself in the everyday, infecting even the normalities of life. Instead of lurking beneath the surface, in Guston’s works this grimace inhabiting the quotidian exists freely and confrontationally, unmasked to a disgustingly benign degree. The works reveal a man restless and troubled by his awareness of this. 


Surrounded by peers such as Pollock and de Kooning, whilst being based in New York, it is not surprising to see Guston’s leap into abstraction considering the 1960’s environment he was in. This may have seemed unforeseen considering his early easel paintings clearly metabolised an influence of the Italian Renaissance. Yet, after finding ‘what to paint’ in early work, Guston’s endeavour into abstraction was driven by an urge to figure out the ‘how’.&#38;nbsp; Prior to the unexpected transition, Guston was enabled to enjoy the government’s support of Public art during the Great Depression. The exhibition demonstrated films of the gigantic Frescoes which show that while Guston was forward thinking and politically aware, he was also compelled by Master’s of painting past. He experienced incredible fortune during this time, seeing many of his fellow artist’s facilitated to make more daring and large work through being nurtured by the projects and mural competitions in New York. Public art commissions complemented Guston’s desires, allowing him to exercise an addressing of issues that spoke to people by aiding a scale of murals which were for everyone. 


Rejecting the contrived, contained or calculated, an absolutely authentic will emerges from the idiosyncratic work. Operating amidst the disruptive period, paintings born from the hauntings of the reality which surrounded him. Despite his return to figuration disrupting the progression his critics expected to see, Guston hastily continued to trust his conscious in rejection of their reproval. This bold shift back to figuratism finally crystallised into was that cartoon-like, slightly coarse style, rendered as caricature - a union of preceding styles. The dualism completely evolved, offering sobering images summoning baggage, disorder and psychological weight to the figure, investing it with political and conceptual dimensions that were grim to describe. He also invested the physicality of ordinary objects with the weight of daily headlines. Paintings revealed the casualness of racialised violence and are products of the artist’s rumination on the systems of repression that flow through our cities, schools, halls of government, museums and studios. Pieces were so powerfully disturbing that they continued to cause disgrace in contemporary audiences, even causing the Tate show to be delayed; this goading evidences the dangerous proximity he had taken towards evil in this return to representation. Fears of the institution reflected little faith in its viewership being able to ascertain it was not racism. 


“If only there were evil people somewhere insidiously committing evil deeds, and it were necessary only to separate them from the rest of us and destroy them. But the line dividing good and evil cuts through the heart of every human being. And who is willing to destroy a piece of his own heart?” 


Aleksandr Solzhenitsyn’s The Gulag Archipelago


My favourite piece ‘Couple in Bed’ bristles with unease, made during a time when Guston and his wife were more physically frail; it is considered one of his most intimate and revealing works. A quivering clutch of paint brushes is observed as he lays in the safety of bed with his wife. This poignant image is a rare place of peace, showing devotion and achievment, whilst not forgetting the horror which continues to make the figure tremble in bed. Painterly work of this period was hoods off, of a nature that was more overtly autobiographical. The tender imagery of this piece excites me. A back brace for a painting - an element used for holding a stretcher bar structure in place - lays within the bedsheets covering the couples embrace. This is an extraordinary visual subject to represent his celebration of the power he percieved in their bond. In view of Guston’s struggle in his value for both painting and his love life, it seems the debilitating effects of age brought a renewed significance to his relationship. While violence erupts outside, this piece portrays that which is inside his domestic life. His temperament was sometimes fiery and his bursts of anger considerable, a passion at least exerted into art which he had a highly emotional and personal relationship with. Guston not only risked his art-world standing and livelihood in his honest, obsessional painting pursuit, but also compromised family life. However, this piece demonstrates a deep appreciation in the committed role his wife played as a someone close to him who tolerated his unshakable artistic activity. 
Guston maintained a ‘Not for Sale’ collection throughout his career, made up of reference paintings which materialised from a process of creating several pieces in order to achieve his exact vision. While his paintings grew inevitably more grotesuqe through the 1970’s, Guston was always seeking to reemerge anew from the meagre, damaged legacy he began with. Forever in pursuit of his ‘true identity’, Guston maintained an existentialist philosophy throughout his career. He even propelled his creativity by incessant drawing during years long breaks from painting, in ceaseless ambition which began with learning how to make a painting and then teaching himself how to unmake one. Self doubt and questioning was personally admitted as crucial to his creative process. He believed that by conjouring from painterly incident he could both indentify and defy the intrinsic parameters of the support and materials. Guston’s ensuing choice in cartoon imagery allowed him to evoke recognisable objects in a fundamentally paradoxical way due to their absurdity. The paintings later are a marriage of the ludicrous and compelling. Striking images that embody the dilemma and accomodate the doubt.&#38;nbsp;


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