RAD UNION

Collaboration

Over the past 12 – 18 months I have had the pleasure of collaborating with RAD UNION on their advertising campaigns, and also in the creation of my own bag design! The pattern was inspired by a recent painting – Night Dip. I often work digitally pre-painting, so it was interesting to work backwards, and digitise a painting. We named the bag Soft Rave – which is some kind of fictional aesthetic I find myself returning to time and time again.

Night Dip, 2020

The Soft Rave trolley comes in 2 frame colourways: blue/pink and yellow/black. There is an outer zip pocket, smooth wheels, and the folding frame has two hooks for attaching to your shopping trolley.

STICK OR TWIST

Collaboration

This summer I was commissioned to create 4 paintings for the new Wetherspoons Stick or Twist pub, based in Leeds. The paintings focused on the imagery of card games, with my own visual language underpinning them.

each painting is 117 x 97cm, oil on canvas.

FIKA NORTH

Exhibitions

During Summer 2019, I had the pleasure of showing a selection of paintings at Fika North. I had just completed a recent body of ‘all over’ style paintings (better description suggestions welcome!) so it was great to be able to hang these together. This show also proved to be my most successful, as almost all the paintings found new homes!

AFTER SPACE

Exhibitions

Just before the first Covid lockdown, myself and Dan Harland collaborated to show our newest bodies of work at Gallery 164. We both work within abstraction, and we realised after a few chats that we both approach ‘space’ within a painting – Dan links spaces and places with memories and the passing of time – and I explore the fictitious space and planes within the picture surface.

The show was on display 3 January 2020 – 29 February 2020
find more info about Gallery 164 here
view more of Dan Harland’s work here

The Edit, with One Good Gift

Interview

I was recently invited by One Good Gift to select my hot picks of their current works for sale – there is a great range of styles and mediums available, but I settled on the above 4 (clockwise from top left):

Beside the Sea mixed media artwork, £65, by Gill Gathercole

‘Architect Tower’ vessel, £160, by Andrew Walker

Aqua Spaces 2 (2020), £249, by Michael Carter

Linen wall hanging, £850, by Boniface Interiors

You can read more about my thoughts in the full editorial here, and visit my One Good Gift Artist Page here!

Waiting Room

Studio
Waiting Room Series, I – VI (2020)
Waiting Room V (detail)

Waiting Room is an ongoing series of oil paintings, each measuring 81 x 56cm, and using a repeat palette. I have recently taken a step away from thick impasto layers, in favour of a more subtle approach. the oil paint is worked into the raw canvas with a small brush so it sits ‘within’ the surface, allowing the canvas texture to show through. Blocks of colour meet – but aren’t built up in layers – so there are areas of interest in these boundary edges.

As there is usually a major digital aspect to my practise, in this series I wanted to highlight the personal feel of traditional painting, even though I haven’t opted for the usual viscous finish. There are subtle nuances in this body of work; the inconsistencies in canvas texture, paint thickness, and colours. I mixed the colour palettes for each painting individually, rather than batch mixing. This means they are all almost the same, but with slight shifts in colour – a celebration of human error.

This body of work has been very therapeutic. The use of a disproportionally small brush makes the process very meditative, and the subtle texture feels earthy and grounding. Waiting Room was started in August, when the first Covid lockdown had ended. Life was busier, I could access and enjoy more, but needed moments of calm, which this series gave me.

Miniature Paintings

Studio

I have a series of painting ‘miniatures’ for sale, created between 2018 – 2020. they are all oil on ply, measuring approx 8 x 8 cm, and each come with a key hole in the back for easy hanging. I’m selling them for £20 each, email me if you are interested: info@jennybeard.co.uk

KAWS

Artist Research

12697_1

View of the exhibition “WHERE THE END STARTS” curated by Andrea Karnes at Modern Art Museum of Fort Worth Fort Worth (USA), 2016

12700_1

View of the exhibition “WHERE THE END STARTS” curated by Andrea Karnes at Modern Art Museum of Fort Worth Fort Worth (USA), 2016Enter a caption

15012

View of the exhibition at PERROTIN Co,. Ltd. Tokyo (Japan), 2018

Mural Collaboration with Benjamin Craven

Collaboration

LEEDSDOCK (67 of 141)LEEDSDOCK (33 of 141)IMG_1123IMG_1121

Photos by Jenny Briggs and Paul Ellison

Myself and Benjamin Craven were recently commissioned by Yorkshire Design Group in partnership with In Good Company to paint a mural on their ‘floating office’. The office is permanently docked just behind 46 The Calls, and functions as Leeds only floating office – which is available to rent from Yorkshire Design Group.

In Good Company focus on bringing artists and local Leeds businesses together, to spread more art around the city.

the design was a combination of both mine and Ben’s signature styles, executed by just the two of us over a few weeks in September 2019.

The barge is over 100 years old, and is almost twice the size of your regular canal boat. you can see it from Leeds Water Taxi on the route from the station to the Armouries, or via the bridge connecting The Calls and Brewery Place.

ARTIST STATEMENT

Artist Research, Studio

Jenny Beard is a painter working within contemporary painting, and her process is built upon automatic drawing, using digital tools to create and manipulate sketches. Abstract imagery is used to explore optical space, depth, and flatness. The work is open ended and explorative, dealing with the paradox of appropriating abstract marks for abstract paintings. During this mimetic experience, the work could be read as representational.

“The idea of creating an art that self reflectively focuses on and thematizes its own concerns and the correlations of its creation as well as sustaining, at the same time, an open relationship to the world and to meaning as such, came very near to squaring the circle”

(Herzog, 1997)

When approaching the work, Jenny is interested in gestures and marks – and when they become signs. Marks are ambiguous, whereas a sign directs us, informs us. Part of her practice involves pushing paint between gesture and sign. What happens if a mark is isolated – If it is scaled up, repeated, or a pattern is made of it?

Digital methods are embraced in Jenny’s practice, but the work is always finished traditionally and meticulously. Painting doesn’t die; instead digital exploration opens up new ways of seeing and laying paint, which creates a refreshing relationship between artist and painting.

(up to date as of 17/07/2019)

Suzan Frecon

Artist Research

sfdzshow2015_install_view_9_0

david-zwirner-19th-st-suzan-frecon-1

maxresdefault

Influenced by the works of Robert Ryman and Cy Twombly, Suzan Frecon’s abstract paintings are meticulous studies in colour and composition. Using her own hand-made encaustic and paints with varying degrees of luster, Frecon works with a discrete vocabulary of geometric and rounded shapes that achieve balance through size and texture.
Composed with meticulous attention to the physical qualities of her chosen medium, Frecon’s subtle, interacting arrangements of colour and form are at once reductive and expressive.
“Figurative versus abstraction: that’s something that I left behind so long ago. I don’t want to have to insist on that. But I want to have a painting be on a high plane of abstraction. And I love paintings that have figures in them, I go to the museum and look at them all the time. But today, in my time, I know I could never paint like Bellini, nor is that my intent. I don’t want to paint ‘story’.” – Frecon