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70 Pages·2012·1.36 MB·English

by  Mr System Administrator

First prizewinner
Sarah Pickstone
PSahirlaiph DPiicgkgslteone
Fsoter vYioeu sr mPlietha saunrde the Willow
22000119
ooiill ,o enn acamnevla asnd acrylic on aluminium panel
91928x. 37 5x 2cm29 cm
Thhoew u dnod ewrley idnegf icnoen icmearng oe?f m Iys wimoarkg eis ath veis cuhaal nthgoinugg hret?la tDioon sahlli pim baegtwese ehna vthee t hinediri vsioduuracle a isn
oat hliveirn igm oarggeasn, isomr a asnsodc tihaeti otencsh wniothlo ogtichaelr, icmoangseusm?er environment in which we live.
sAtse rveiea lsitmy iitsh i nacnrde athsien gWlyi lplorwesiesn ate pda iinn tvinisgu afrlolym c oad seedr iefosr mofa wtso, raksn dw hhiucmh anno de xtpoewraierndcse
climreiatetidv et oc obmeimngu npaalirtty .o Ift dheatse ramt iintes dh esaysrtt etmhes ,d mrayw pinagin ttihnagts a sceceokm tpoa enxiperse ssste tvhiee isdmeait ho’fs the
1in9e5s7cappoaebmle, ‘cno-oetx Wistaevnicneg oBfu vt isDibrolew nainndg ’i.n svimsiibthle wnaestw doerfkins iitne loy uarn c oonritgeinmaplo, rwahryose poems
c(aonndsc pioicutsunreesss) ,m wahkeer ea t choen dfliusteinnccteio onf btheetw ceoemni ct haen db iothloeg miceatla apnhdy snicaatul.r Ianl tohne t phea ionntien gh,a nd
athned g tihrle ( maratins-te, npgoiente, erereadd earn, dc hailrdti)f icbiaatlh oens tihne t hoeth wear ties rm uonrdee ar nadn molodr ew beeluprrinegd .willow:
part tree, part self, part story, part rebirth.
In this painting the different colours represent various systems or entities, each at a
cI’evret abiene dne wgroereki nogf cfoorm tphlee tpioans to trh vreiseib yileitayr, sb ount athlle c womaypse itnin wgh fiocrh s fpigaucree sa,n pdl aactetesn atinodn iodneas
tmheee stu arfnadc eo poef nth eea ccahn ovtahse.r, specifically referencing writers who happened, in history,
to pass through London’s regent’s Park. The park has long been a source for my work,
Tah pel abcaes iws hoef rteh itsh ew oprukb ilnicv oalvneds tthhee pprrivoadtuec, ttiohne oexf tsemrnaalll iannkdje tt hper ipntssy cohf omloyg oicwanl wdiogriltdasl,
dcoramwei ntoggs eotfh gerr.id Ist'.s Tahlsroou ag hp ltahcee p orof cceosnss toafn ctu rtetninegw aanl.d T hcoel lpaagiinntgin agn ids athbeonu te tnhlaisr greinnge waanld,
tnraatnusrlaalt ianngd t haeesseth ceotmic,p aucteror-sgse fnoermra,t etidm ed aatnad i nimtoa tghee. materiality unique to the medium of
painting, my artistic practice becomes a mediation between tradition and innovation,
imagination and technology, abstraction and representation, as well as a way of re-
asserting my human presence with its limitations in the face of overwhelming technology
and standardisation.
Biography
Born in Manchester in 1965, sarah and GestureKukje Gallery seoul Korea
Pickstone attended the University of 2008, Double InterviewI-MYU
newcastle upon Tyne 1983-7, royal Projects/seoul Art space Korea 2010,
Academy schools London 1988-91. Layers: John Moores Contemporary
Awarded rome scholarship 1991-2. Painting Prize showseongnam Arts
Group shows include Morpho Centre south Korea 2010. Was a
EugeniaGalleria d’Arte Moderna e prizewinner in John Moores 232004.
Contemporanea republicca di san Based at Cubitt London, her current
Marino Italy 2005, Gibbous Moon work includes an Artist Book project with
Cubitt studios London 2007, Irony writer Ali smith.
20 sarah Pickstone

Prizewinners
Biggs & Collings
Ian Law
Stephen Nicholas
Narbi Price
Biggs & Collings
The Greater Light
2012
oil on canvas
203.5 x 203 cm
Biggs conceives the colour, Collings applies it. our form is a series of triangles in a grid.
We use it not as an idea in itself, or as a quote from life (wallpaper or golfing sweaters,
for example), but as an inert container for colour. Meaning is everywhere, it looms up in
spite of ourselves, but we aim to examine what the world looks like if you remove familiar
forms with their confusing narrative resonances, and substitute a neutral structure.
one that supports a complex, changeable colour harmony - a landscape painting
without the landscape.
Painting is in crisis – what is the point of an antiquated form in a world where
representation is ubiquitous? our answer comes from looking at its origin, both in the
history of art and as the by-product of art’s original intentions: beauty. As with all our
recent work, the title comes from Genesis, whose origin myths are integral to Christian,
Jewish and Islamic history. (In this case, Genesis 1:16:‘God made two great lights
– the greater light to govern the day, and the lesser light to govern the night...’) These
tales inform early Western depiction, which is the starting-point for our visual enquiry.
Biography
Emma Biggs, born 1956, attended Leeds Exhibitions (London unless stated) include
University (Fine Art) 1976-80and is a round TableMoT International 2005,
professional mosaic artist. Matthew hA hA WhAT DoEs ThIs rEPrEsEnT?
Collings, born 1955, attended Byam standpoint Gallery 2012. ‘solos’ include
shaw school of Art 1974-8and Clickclack2006and English Primitive
Goldsmiths London 1990-2. he has 2008FAs Contemporary Art, Five sisters
written and presented Tv programmes York st Mary’s York 2009, Mudlark
about art and was a juror for John Charlie Dutton Gallery 2010, The Whole
Moores 222002. since 1998Biggs & Earthvigo 2012.
Collings have worked collaboratively.
26 Biggs & Collings

Ian Law
M is many
2011
oil on linen
232.7 x 276.2 cm
M is manyoperates as a structure. It retains the dimensions of a wall previously
installed within the gallery it was removed from. The M serves to delineate the
proportions of the canvas, stating itself as a singular character whilst standing
amongst the plurality of multiple readings.
The focus here does not fall upon gesture or authorship, but sets to move the
work outside of its surface, implicating the viewer, artist and structure within its
present context. how might we view a monument without a plaque?
Biography
Born in 1984, Ian Law lives and works in non-PlacePerth Institute of
London, where he studied at the royal Contemporary Art Australia 2011,
College of Art 2007-9. Group exhibitions Young Londonv22Workspace London
include session_3_ImageAm nuden Da 2011. solo exhibitions include Add a
London 2009, Furnished spaceLondon descriptionGaleria Plan B Berlin 2011,
2009, A very, very long catWallspace Is manysupplement London 2011,
new York 2010, history of Art, theThe Co-Laura Bartlett Gallery London 2011
David roberts Art Foundation London and make sureroDEo Istanbul 2012.
2010, Programme Three: The studio as
30 Ian Law

Stephen Nicholas
Gallery
2011
oil on canvas
152 x 183 cm
This painting is one of a series which explores the theme of viewing/observation spaces.
others in the series include parachutists falling and floating inside a room, and monkeys
jumping, as if being disturbed.
The painting explores a number of dualities: gallery and institution, abstraction
(as quotation) and figuration, perception and a viewing purpose/function.
The image was based initially on a shooting range and evokes a gallery space and
modernist viewing room akin to a laboratory.
The targets (figures) are ghosted out through light over-painting, rendering them fugitive.
The black discs (holes, penetrations) are a quotation from op Art and disrupt the picture
surface - they throw off an optical image of white discs if viewed in specific light.
The physical surface of the paint and the handling is just as important to me as the
image; for me they are inseparable.
Biography
stephen nicholas was born in 1958in London 2001and A Thing About Painting
shoreham by sea, hove, and studied Platform London 2002. his solo shows
at st Albans 1979-81then Falmouth include Flicker narcissusBeaconsfield
school of Art 1981-4. Group exhibitions London 1994, It’s my party and I’ll die if
include The happy squirrel Club I want toDe verschijning Tilburg 1996
(curated/produced by BAnK) De Fabriek and LapsePlatform London 2000.
Eindhoven 1996, Instantaneous
Beaconsfield London 1996, Mommy
DearestGimpel Fils London 2000,
The (Ideal) home showGimpel Fils
34 stephen nicholas