KAWS

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

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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

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

Mural Collaboration with Benjamin Craven

Collaboration

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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

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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