He says that if it wasn’t for the healing power of art and the support of his sister, he might be in a very dark place right now. However, he has channelled the pain of his formative years and the early memories of painting with his Mother, into a successful career as an artist.

He explains: “I was painting with my mum before she died, not figuratively, she used to paint a lot of abstract seascapes to express her sadness because she had lost a child, and you know this affected her a lot. But we used to paint a lot of seascapes in very grey, dark colours. Then, after she died, I didn’t really think about it (art) for a while, because I mean, it was hard enough to survive.”

The joyful vibe and colourful palette of Cosmin’s art now seems to be in part a reaction or revolt against the sadness of his formative years, and the bright pinks, reds, yellows and greens of his heart-motif portraits counteracts the dark tones of those seascapes he painted as a child with his Mother.

Cosmin’s ‘King of Hearts’ series is the latest step on an artistic mission to create a signature visual alphabet populated by anonymous portraits based on a heart motif. This aorta-shape is repeated throughout the new series of paintings, sculptures and screenprints, inverted and flipped, and repeated in a rainbow of different colour combinations. Perhaps the heart symbol at the core of Constantin’s visual language is a metaphor for the heartbreak of his childhood, but it could also be a symbol of hope for a world experiencing conflict and division.

Cosmin’s portraits are loosely based on friends of his, and there is an element of self-portraiture, but each portrait is stripped back to the essence of a person’s psyche, with simple lines representing eyes, mouth, eyebrows. The portraits merge elements of Pop Art with references to the digital world of emojis. Cosmin explains: “They all have different features or gazes…smiling or kissing.

They can even be like heart emojis. They’re not affiliated with anything that divides people, but they can be associated with the social media world that we live in. Instead of saying LMAO you can have one of these screenprints. I’m taking the emojis out of the digital world and exploring them through art.”

Cosmin cites several artists who inspire or inform his work, although he is wary of imitating the greats and focussed on cementing his own style: “I love Warhol, Picasso, Basquiat, Matisse, Van Gogh. I absolutely love Francis Bacon. But it’s more about their life that attracts me than their art. We all get inspired, and even those artists were inspired by other people. My ongoing mission is to create a signature style which is recognisable as my own.”

Like Warhol, who was a successful graphic designer and illustrator for Vogue and Harper’s Bazaar before finding fame as a Pop Art Pioneer, Cosmin started out as a commercial artist. While he says he doesn’t create art now for monetary reasons, he found a niche for himself as a commercial artist when he arrived in the UK from Romania: “When I came from Romania at the age of 21, within a few months I was earning massive commissions as a commercial artist after doing things for free to begin with. I did a European campaign for Patagonia and the Lansbury hotel in a heritage building in Canary Wharf. I did all these commissions, but then after that I decided to do my own thing, instead of working with clients.”

So, what is Cosmin’s ambition as an artist, and what artistic legacy does he want to leave? His ambitions are as bold as his imagery: “I want to open studios all around the world and take on every artist who mass produced art.

I’m nearly there because I already set up the ecosystem for it by creating the heart-shaped portraits. I can paint them anyhow, anywhere I want, I can make them into sculpture or paintings or screenprints. I’ve created an alphabet that I can repeat in different variations or mediums.

I want the people outside the art world to recognise my art, not only the people inside it. And finally, I ask if he has any advice for young artists? “Be yourself and retain your childlike qualities, because when you’re a kid, you’re not yet moulded by society. It’s so easy to create when you’re a kid. You can be truly creative.”

©2024 Constantin Cosmin

Lee Sharrock

Lee Sharrock is a global creative PR consultant, curator and writer for publications including; Art Doc Photography Magazine, ArtLyst, Creative Review, FAD Magazine, F22, Runway Gallery Magazine, Soho House Magazine and STATE.

For the 2024 edition of Paris Photo, Galerie La Patinoire Royale Bach is delighted to participate in two sectors. In the main sector, in Booth B29, the gallery presents a group exhibition featuring artists working with expanded photography, collage and process-intensive interventions: Gordon Matta-Clark, Carmen Winant, Lebohang Kganye, Lita Albuquerque, Stephen Gill and Rafael Y. Herman. Simultaneously, the gallery highlights Lebohang Kganye’s work in the Voices Sector as part of
Liberated Bodies, an exhibition curated by Azu Nwagbogu.

Curated by Julien Frydman, Galerie La Patinoire Royale Bach’s booth at Paris Photo highlights three artists with innovative practices using collage. Gordon Matta-Clark (USA, 1943-1978), a seminal figure in the 1970s New York art scene, is renowned for his radical building cuts, interventions that transformed architectural spaces into sites of creative disruption. Matta-Clark’s works on view, including collages from his landmark series Splitting (1974) and Conical Intersect (1975), translate his architectural cuts into meticulous, layered photographic compositions, embodying his concept of “anarchitecture.”

His photo-collages encapsulate his vision of exposing hidden layers within neglected urban environments, creating haunting, multidimensional perspectives that echo through contemporary art. The presentation at Paris Photo is concurrent with the major exhibition Gordon Matta-Clark on view through December 21, 2024 at the gallery in Brussels. Matta-Clark has been the subject of major retrospectives at the Museum of Contemporary Art, Chicago, The Whitney Museum, New York, Jeu de Paume, Paris and the subject of countless other major exhibitions.

Matta-Clark’s work is represented in prominent public collections, including The Metropolitan Museum, The Museum of Contemporary Art, Los Angeles, MoMA, and many others.

Alongside Matta-Clark is Lebohang Kganye (South Africa, b. 1990) whose work with cut-outs and sculptural photography infuses her pieces with theatrical dimensionality. Kganye’s practice challenges and reclaims historically oppressive narratives, transforming memory through her unique use of collage and performance. Her layered compositions in Two Stories of (Hi)Stories (2023) draw viewers into complex histories, where Kganye herself steps into the roles of various historical figures, weaving new memories within a contested past.

Through her art, Kganye reimagines postcolonial histories, bringing light, both metaphorically and literally, to the untold stories of her culture. Kganye will hold a major solo exhibition at the gallery in Brussels in 2025. She is featured in the upcoming New Photography exhibition at MoMA, (2025) and was recently awarded the Deutsche Börse Foundation Prize (2024).

The artist has recently exhibited at TATE, The Barnes Foundation, the Art Institute of Chicago, Yale University Art Gallery, The South African Pavilion at the 59th Venice Biennale, and others. Kganye’s work is held in institutional collections including the Smithsonian, the Art Institute of Chicago, Getty Museum, Museum of Fine Arts, Houston, Musée d’Art Moderne de Paris, Victoria and Albert Museum, Verbund Collection, Walther Collection, and Carnegie Art Museum, among others.

Galerie La Patinoire Royale Bach at Paris Photo Booth B29 and Voices Sector is on view the 7th of November, 2024 until the 10th of November, 2024 at PARIS PHOTO 2024

©2024 Galerie La Patinoire Royale Bach

Art Plugged

Art Plugged is a contemporary platform inspired by a relationship with the broader arts communities. We provide our audience with curated insight into the world of art, from exhibitions to artist interviews and more.

Prempeh’s approach will inform this new chapter of Olympia: a venue where art and architecture collide, mirroring the varied histories and communities that make up London’s layered identities.

The regeneration of Olympia is one of the most ambitious cultural projects in the capital. The site will be home to a music venue, London’s largest purpose-built theatre in decades, two hotels, more than 30 restaurants and bars, a school, offices, and public spaces for visitors to enjoy.

Prempeh founded A Vibe Called Tech and, together with Creative Director Lewis Dalton Gilbert, brings an intersectional perspective to their projects. Since 2018, the pioneering Black-owned agency has collaborated with cultural powerhouses like Gucci, Faber, and Frieze, as well as leading institutions such as the RA, White Cube, and the V&A East.

With Olympia’s reimagining on the horizon, Prempeh is poised to establish it as London’s cultural heartbeat.

Hi Charlene, can we start with the story of how your appointment as Olympia’s first Art Ambassador came about? What discussions or opportunities led to this new collaboration, and what initially attracted you to the project?

Charlene Prempeh: I was inspired to take on the role of art ambassador because Olympia was always somewhere I came when I was younger, and it was a place that really struck in memory. When I heard that Olympia was going through a new phase, taking on a new guise and being reimagined as a new cultural hub, I really wanted to be a part of helping to shape its future. I was thrilled when the team approached me with the opportunity. 

As Olympia’s first-ever Art Ambassador, what drew you to take on this role, and how does it align with your work at A Vibe Called Tech?

Charlene Prempeh: Our mission at A Vibe Called Tech is to use the richness of diverse cultures to inform strategic thinking across all audiences. At Olympia, I’ll be embracing the same approach to ensure the art strategy is shaped through an intersectional lens and will nourish all of the communities that Olympia serves. 

The regeneration of Olympia is set to be one of London’s most ambitious projects. How will your role shape Olympia’s broader art strategy, particularly in terms of integrating public art and design into this multifaceted space?

Charlene Prempeh: Olympia feels like a space that is very much in transition, but as it develops, art and culture is going to be central to the DNA. My role is to help shape the broader art strategy for Olympia, advising on which institutions we should engage with and suggesting emerging and established artists to partner with. I also work with the team to look at Olympia’s existing collection of artworks and how we can make the most of the archive. 

You’ll be hosting the first in a series of roundtables during Frieze 2024, starting with a conversation with artist Remi Ajani. Can you share more about your personal relationship with Remi and how it has influenced your own creative vision?

Charlene Prempeh: For my first creative roundtable, I couldn’t have asked for a more perfect co-host than one of my favourite artists and a long-time dear friend, the brilliant Remi Ajani.  

Remi’s works have pride of place in my home, and we had an amazing conversation about how abstract and physical structures shape our psyche. Her work deals with both colour and gesture and is deeply connected to identity and mythology. I love how she investigates how to make a work that allows viewers to connect with a shared emotional space.

The reimagined Olympia will include diverse creative outlets, from a 4,000-capacity music venue to lifestyle hotels and restaurants. How do you envision art and design interacting with these other elements to create a cohesive cultural hub?

Charlene Prempeh: We envisage art and design interacting with all elements of the reimagined Olympia, through ongoing programming, exhibitions and public art, all of which will aim to surprise and delight visitors. 

A Vibe Called Tech approaches creativity through an intersectional lens. How will this perspective inform the projects and collaborations you plan to develop within Olympia’s art Strategy?

Charlene Prempeh: Diversity will be at the core of the strategy. To ensure we are including different voices and communities, we’ll look to balance small-scale installations, exhibitions and commissions that showcase experimental works from emerging artists with bigger scale immersive experiences and recognisable blockbuster works that will attract the broadest possible audience. 

You’ve worked with renowned institutions like the RA and Whitechapel Gallery. How will your previous experiences and partnerships influence the art programming at Olympia?

Charlene Prempeh: Institutions continue to grapple with how they can support emerging works while maintaining necessary audience numbers. Working with the incredible curation and development teams internationally, we’ll be looking at where we can partner to collaborate on off-site co-presentations in the Olympia space. 

With the London Design Festival pavilion and the “Off The Shelf” installation by Rio Kobayashi, Olympia has already begun its journey into the art world. How do you see this installation setting the tone for future art exhibitions and cultural conversations at Olympia?

Charlene Prempeh: The Rio Kobayashi pavilion embraces the journey of transformation already taking place at Olympia. It exists as a creative space in transition, offering a place where people, ideas, and even materials can meet and interact. Not merely just architectural, the space is multi-purpose, playing host to a vibrant hub of activity, something we hope to bring into all elements of future exhibitions.

Olympia aims to be a destination celebrating creativity in all forms. What strategies will you employ to ensure that public art and cultural programming here remain open, inclusive, and reflective of diverse communities and voices?

Charlene Prempeh: My vision for the kind of artistic direction for Olympia starts with imagining a future where the roundtables, for example, will be very specific and diverse. Art is something that can encourage wellbeing, and with Olympia being shaped around this overall ideal of delight, I want Olympia to feel like a space that families, individuals can come to and be surprised by. 

The impact that art can have on community engagement and cultural conversation is incredible. Art permeates everything from mathematics to furniture making, to accountancy. There’ll be lots of different businesses here that are both creative and not and I want our art strategy to appeal to this broad spectrum of audiences. 

©2024 Charlene Prempeh

Len Gordon

Len is a curator and a contributing writer at Art Plugged, a platform for contemporary art; he also engages in web development, design, and marketing.

Juan Antonio Guirado’s daughter Catalina Guirado is a model, TV presenter and former star of ‘I’m a Celebrity’. After her father’s death she inherited the Guirado Estate, and has spent many years arranging international exhibitions of his paintings to preserve his legacy. Guirado was a Spanish Surrealist artist who spent time in Australia and is considered Spain’s leading master painter in the school of “Intrarealism”. 

Previously unseen paintings by Guirado will be exhibited alongside paintings of Igor Gorsky, a Greek Abstract Expressionist who moved to the USA and invented a unique pouring technique. The exhibition is at Red Eight Gallery from 4th October to 14th November, 2024 at Red Eight Gallery in London’s historic Royal Exchange. 

Lee Sharrock: Your father was a Spanish Surrealist artist who was considered to be Spain’s leading master painter in the school of “Intrarealism”. Can you give some insight into ‘Intrarealism’?

Catalina Guirado: Intra-realism is not a widely known school and is a sub-form of Surrealism that was created in 1967 by the creator of the movement Abel Vallnitjana in Barcelona. It soon attracted a strong following of artists across the world of all genres from painters, sculptors, and poets to filmmakers and writers including Federico Fellini and writer J D Salinger (who became a collector of Guirado along with academy award-winning director John Schlesinger) At the core of Intrarealism lies a fascination with the unknown.

Artists of this movement sought to capture the essence of dreams, emotions, and thoughts that transcend the tangible world. Through their artworks, they aimed to transport the audience into a realm where imagination reigns supreme, blurring the lines between the known and the enigmatic. 

Guirado only decided that his paintings fit this school perfectly later in life after being categorized in surrealism and Essentialism in the 1960s and 70s. It was in the 80s that he learned about Intrarealism from fellow Spaniard and art critic Manuel Quintanilla who wrote the book ‘El Pintor Contemporaneo Andaluz Juan Antonio Guirado’. The rediscovery of Intrarealism has proved interesting to art academics like Editor in Chief ABC Culture Laura Revuelta, and Professor Paloma Rodera who created an Unnd Mooc online course in 2017 that covers the history and Guirado’s relevance to Intrarealism. 

After he immigrated to Australia in the 1950s due to the political climate, your Father became interested in Oriental religions such as the Hindu Philosophy Vedanta. How did he reflect this increasing interest in religion and spirituality in his paintings?

Catalina Guirado: Guirado was fascinated by the Veda and metaphysics. He was an enlightened individual who could see things others didn’t and could channel his third eye as he painted. Being away from the darkness of Spain and its Catholic authority as well as Franco’s dictatorship at that time meant he was allowed to explore new perspectives freely.

The landscape he saw in Australia affected him strongly as it was so different from Andalucía. In an interview conducted by Patricia Johnson in 1970, which was featured in a weekly Australian magazine, Guirado revealed that “My pictures in Australia were full of light, not many Australians realized how many things in their land had the quality of “soul”.  colours that he used in Australia compared to those used in Spain ‘were radically different […].

My pictures in Australia were full of light, and I used colours such as blue, white, and yellow. In Spain, all my pictures were in shades of brown and grey.’ On returning to Spain Guirado became great friends with the famous Spanish Yogi Ramiro Calle for whom he painted a series of ‘Karma’ paintings to hang in his Yoga studios in Madrid.

Guirado meditated daily and if you look at his paintings there are often tunnels of white light and shadow-like figures resembling spirits that represent the different realities and the difference between man, body, and soul. One of my favourite paintings is a self-portrait that hangs in my living groom of Guirado’s profile as an aura showing the shaft of white light connecting his crown chakra to the universe. When asked once by a journalist how best to view his work he said ‘It is the type of painting one has to see with the third eye, the eye of the mind’.

Juan Antonio Guirado was one of the most represented Spanish contemporary artists in museums including the National Museum Reina Sofia and the National Museum of Fine Arts in Valletta, and collectors of his art included King Hussein of Jordan, J.D. Salinger, and John Schlesinger. He also received multiple awards including the gold medal at the El Grollo awards at the Venice Biennale in 1976. Since you inherited the Juan Antonio Guirado Estate, what exhibitions have you organised of your Father’s art, and why haven’t you exhibited his work in the UK for so long?

Catalina Guirado: I started working on re-introducing Guirado’s work internationally in 2011 a year after he died. I wanted to see what the reaction was to his paintings as though I had grown up surrounded by his art and attending exhibitions I didn’t pay it much attention as a child. I used my rent money to buy frames for 12 paintings on paper that I had taken to Los Angeles for my home and was kindly given a gallery space between shows for a one-night private view. The reaction to the art was staggering and it became my full-time occupation.

I was lucky enough to find art benefactors to help cover the huge costs and I had a very small team of brilliant women working with me in Spain and the UK. The process of reintroducing an overlooked artist, especially one who is deceased, is long and has to be done properly to gain recognition amongst academics. Being Spanish it made sense to start there. The first major show was in Madrid in 2015 at Pons Foundation in Madrid and included an educational night where Spain’s top art academics including Pablo Melendo and Laura Revuelta held a panel talk to Art history students.

The exhibition VIP night goes down in history as an amazing event in art with Vanity Fair covering it. No one left the gallery until midnight it was such a success! We then held an exhibition during ARCO 2017 showing Guirado’s Environmental paintings and partnering with Green Peace to promote sustainability and environmental issues. This was followed by a solo exhibition of the international guest artist at Coral Gables Museum in Florida where we also premiered a virtual reality installation using Guirado’s paintings by Los Angeles-based VR Studio kicking off Miami Art Week and Art Basel.

Finally, in 2018, Guirado was honoured by the University of Jaén, our hometown in Andalucía, to be inducted into the prestigious Cesareo Rodriguez- Aguilera foundation and exhibited alongside works in the collection including Picasso, Miro, and Tapies. After the pandemic, my priorities shifted as I no longer had benefactors helping and I decided it was time to start working with galleries starting with London as it is the centre of the art world and also where Guirado was often exhibited during the 1970’s. I hope that we can introduce Guirado to a new generation of collectors who appreciate the strong provenance and genius of the work, after all, it is more relevant than ever in today’s society. 

Your Father’s passion for reflecting environmental and spiritual issues in his paintings was rather prophetic, considering the increasing unrest and fear of climate change in the world today. Why did you choose paintings from his 1990-2010 ‘Vision’ series for the London exhibition?

Catalina Guirado: I wanted to start with his most contemporary and previously un-exhibited paintings as he considered these to be amongst his finest works. I feel they might resonate with new collectors for their abstract surreal beauty and the way you can look at one painting a thousand times and see something different. It is like gazing into multiple kaleidoscopic universes and I feel that many collectors are looking for something more interesting and intelligent that will be a conversation piece at dinner parties. His ‘Vision’ series reflects his mantra of opening the third eye and these paintings are his most optimistic about humanity.

As I mentioned Guirado painted in brown symbolizing oppression and depression whilst blues, yellow, and bright colours symbolize light and spirituality. The world is pretty messed up right now so I see these paintings as messages of infinite hope.‘Rediscovered Geniuses: Juan Antonio Guirado and Igor Gorsky’ is at Red Eight Gallery, Royal Exchange, London from 4th October to 14th November. 

‘Rediscovered Geniuses: Juan Antonio Guirado and Igor Gorsky’ is at Red Eight Gallery, Royal Exchange, London from 4th October, 2024 to 14th November, 2024

©2024 Catalina Guirado, Guirado Estate President

Lee Sharrock

Lee Sharrock is a global creative PR consultant, curator and writer for publications including; Art Doc Photography Magazine, ArtLyst, Creative Review, FAD Magazine, F22, Runway Gallery Magazine, Soho House Magazine and STATE.

Ancient origins of watercolour

The earliest evidence of watercolour painting comes from prehistoric cave paintings, where pigments derived from natural sources were mixed with water to create colourful designs. Ancient Egyptians also employed water-based paints for murals and tomb decorations. These early examples demonstrate the enduring appeal of watercolour as a medium for capturing the world around us.

In China, watercolour painting flourished during the Tang Dynasty. Chinese artists perfected the art of ink-wash painting, a technique that emphasises the subtle gradations of tone achieved by diluting black ink with water. This tradition had a profound influence on Japanese watercolour painting, which developed alongside Chinese art.

Development of watercolour in Europe

The Renaissance period saw a resurgence of interest in watercolour painting in Europe. Italian artists like Leonardo da Vinci and Albrecht Dürer experimented with the medium, using it for preliminary sketches and studies. However, oil painting, with its greater opacity and durability, dominated the art world during this time. Watercolour gained popularity in England during the 18th century, thanks to the efforts of artists like Thomas Gainsborough and John Robert Cozens.

These painters embraced the medium’s transparency and portability, using it to capture the beauty of the English countryside and the picturesque qualities of historical ruins. The 19th century witnessed a golden age for watercolour painting. English artists like J.M.W. Turner and John Ruskin pushed the boundaries of the medium, exploring its expressive potential through bold brushwork and dramatic
compositions. Their work inspired a generation of watercolour artists, both in England and abroad.

Watercolour in the 19th and 20th centuries

The 20th century saw a continued evolution of watercolour painting. Artists like Edward Hopper and Georgia O’Keeffe used the medium to create works that were both intimate and evocative.

Abstract expressionists like Jackson Pollock and Mark Rothko also experimented with watercolour, exploring its potential for non-representational expression.

The development of watercolour tube paints in the late 19th century revolutionised the medium. These pre-mixed paints offered artists a wider range of colours and improved portability, making watercolour more accessible and convenient.

Contemporary watercolour: Techniques and applications

Today, watercolour remains a popular medium. Artists continue to explore new techniques and applications, from traditional landscape painting to abstract expressionism. The development of digital art software has also expanded the possibilities for creating and manipulating watercolour effects.

Art Plugged

Art Plugged is a contemporary platform inspired by a relationship with the broader arts communities. We provide our audience with curated insight into the world of art, from exhibitions to artist interviews and more.

Modern & Contemporary Art Day Sale
Auction: 11th October 2024, 11am BST
30 Berkeley Square, London, W1J 6EX
Auction viewing: 3rd October, 2024 – 11th October, 2024

Phillips unveils highlights of the Modern & Contemporary Art auctions in London on 10 and 11 October. The Evening Sale will showcase a selection of Blue-Chip, Contemporary, and Post-War masterpieces, alongside exciting works by emerging talent.

Highlights include David Hockney’s vibrant Yorkshire landscape Path Through Wheat Field, July, Yayoi Kusama’s iconic Pumpkin (M), and Andy Warhol’s celebrated portraits of King Charles and Princess Diana. Notable works include Elizabeth Peyton’s Torino (Tony) Sept. 99 from the Collection of Marcel Brient and Joseph Yaeger’s auction debut, Sphinx without a secret.

The auction will also spotlight prominent artists such as Derek Fordjour and Tracey Emin, Post-War artists including Marino Marini and Sigmar Polke, and rising talents Michaela Yearwood-Dan, and Jenna Gribbon.

Leading the Day Sale are works by Georg Baselitz, Daniel Richter, and Lorna Simpson, alongside cutting-edge works by Francesca Mollett, Jesse Mockrin, and auction newcomer Megan Rooney. The full auction catalogues for both sales are available online, with the preview exhibition open at Phillips’ Berkeley Square Galleries from 3 October until the Evening Sale on 10 October at 5pm, followed by the Day Sale on 11 October at 11am.

David Hockney’s vibrant Path Through Wheat Field, July is a tribute to both the dramatic Yorkshire landscape of the artist’s childhood and the rich tradition of landscape painting itself. Painted en plein air shortly after the artist’s return to his native Yorkshire in 2005, this painting is one of the earliest of this important body of work and was prominently featured in the major exhibition at the Royal Academy of Arts, David Hockney: A Bigger Picture.

Representing a remarkable period of creative reinvention for Hockney as he approached his seventieth year, Path Through Wheat Field, July celebrates the energy and ingenuity of this celebrated artist.

A further highlight of the Evening Sale is Yayoi Kusama’s Pumpkin (M), crafted in mirror-polished bronze in 2016. A favourite motif of the artist, the pumpkin is instantly recognisable as belonging to Kusama’s creative universe. Andy Warhol’s Portrait of Princess Diana and Portrait of Prince Charles were created in 1982 following the couple’s marriage the year before.

These striking depictions of the young princess and (then) prince are based on Lord Snowdon’s official engagement photograph of the couple. Warhol immortalises Diana and Charles through vibrant lines and bold contrasts that recall and revitalise his celebrated 1960s Pop portraits.

Renowned French collector Marcel Brient has, over the decades, built one of the most important collections of Contemporary art and design. A highlight from this esteemed collection, Elizabeth Peyton’s Torino (Tony) Sept. 99 exemplifies Peyton’s luminous, small-scale portraiture. Further Contemporary highlights of the Evening Sale include Derek Fordjour’s Tandem Blue, and Tracey Emin’s This is life without you – You made me Feel like This.

Post-War highlights of the Evening Sale include Marino Marini’s Il Cavaliere Azzurro (The Blue Rider). Though renowned as one of the 20th century’s most famous Italian sculptors, examples of Marini’s painting are highly prized and rare to auction.

Created between 1952 and 1954, during a particularly triumphant stage of the artist’s career following his award-winning 1952 Venice Biennale presentation, the work is a masterful rendering of Marini’s key artistic motif of the horse and rider, and remained in his own collection until 1961.

Sigmar Polke’s Die Motte belongs to the artist’s Stoffbilder paintings, a series begun in 1964 that combines mass produced fabrics with painterly gestures to challenge conventional painting norms. Created during a period of growing international recognition for Polke, the layers of paint in this painting exemplify his alchemical approach to materials and his playful, postmodern exploration of abstraction.

Joseph Yaeger makes his auction debut in the Evening Sale with Sphinx without a secret, illuminating his cinematic and boundary-pushing compositions. Closely cropped and working from a heavily gessoed ground, the work embraces ambiguity and illegibility, evoking conflicting sensations in the viewer. US-born, Yaeger lives and works in London, where he graduated from his MA at the Royal College of Art in 2019. Further cutting-edge highlights include works by Michaela Yearwood-Dan, Francesca Mollett, and Jenna Gribbon.

Modern & Contemporary Art Day Sale

Georg Baselitz’ Ein Moderner Maler (Remix), executed in 2007, is a monumental example of Baselitz’s figurative and expressive artistic practice. A dynamic composition featuring energetic brushwork, the present work belongs to Baselitz’s most recent reinvention of his practice: his Remix series, begun in 2005. Further Day Sale highlights include works by Daniel Richter, Lorna Simpson, Damien Hirst, KAWS and works by Marcel Broodthaers from the Herbig Collection.

South African-born, London-based Canadian artist Megan Rooney will make her auction debut in the Day Sale with Two Dreams, One for Now, One for later. Rooney’s large-scale abstract paintings are imbued with colour and movement.

The artist’s work is held in major international collections including the Fondation Louis Vuitton, Paris, the Museum MACAN, West Jakarta, and the Museum of Modern Art, Warsaw, the Zabludowicz Collection, as well as the Institute of Contemporary Art, Miami. Her first major solo exhibition Echoes & Hours is on view at Kettle’s Yard until 6 October. Further highlights include works by Francesca Mollet, Jesse Mockrin, and Daisy Parris.

Phillips Modern & Contemporary Art Evening Sale starts on 10th October 2024, 5pm BST

Visit Modern & Contemporary Art Evening Sale

Phillips Modern & Contemporary Art Day Sale starts on 11th October 2024, 11am BST

Visit Modern & Contemporary Art Day Sale

©2024 Phillips

Art Plugged

Art Plugged is a contemporary platform inspired by a relationship with the broader arts communities. We provide our audience with curated insight into the world of art, from exhibitions to artist interviews and more.

A respected figure within the Southeast Asian art scene, Tung held an influential role at the Singapore Art Museum as an assistant curator from 2015 to 2020.

During this period, he curated and co-curated numerous exhibitions, making significant contributions to the Singapore Biennale, for the Biennale’s 2016 edition, An Atlas of Mirrors, and the 2019 edition, Every Step in the Right Direction.

Playing a crucial role in shaping the Biennale’s most influential narratives, with three of the commissions under his curation being shortlisted for the Benesse Prize and one ultimately secured the award.

In his latest curatorial project, Déjà vu: Buddha is Hiding, in collaboration with the highly regarded Thai artist Natee Utarit and exhibited at Singapore’s STPI, the exhibition explores a hypothetical journey of Buddha to the West, examining how colonial conditioning has shaped perceptions of Eastern spirituality.

Under Tung’s direction, exhibitions are intellectually and emotionally grounded, a product of his belief that art should engage not just the eye, but also the mind and soul. He continues to push the boundaries of what a curator can be, crafting exhibitions that are as much about the questions they raise as the answers they may—or may not—provide.

I began to realise the significance of storytelling as a means to enact positive social change in the most democratic manner

John Tung

Hi John, thanks for speaking with us! Could you start by sharing your journey into the arts and curation? What were some of the pivotal moments or key influences that significantly shaped your path as a curator?

John Tung: My exposure to the arts began at a young age. I must have been 6 when I was thrust into speech and drama classes by my parents – who, like most Asian parents then, were hoping to reap the positive externalities of being trained in drama, rather than producing a thespian. Life of course had other plans, and I ended up making the appetizer my main course. While I was certain I wanted to be in some ways involved in the arts as a career by the time I was a teenager, I really only started embracing it fully when I embarked on my stint at the Singapore Art Museum as an Assistant Curator.

I had always been in love with storytelling. But it was only after my postgraduate studies at the Chinese University of Hong Kong where I focused on cultural policy, that I began to realise the significance of storytelling as a means to enact positive social change in the most democratic manner. I also bought in wholeheartedly into SAM’s (then) vision of “Inspiring humane and better futures”. I saw exhibitions as a way of sharing ideas, inviting discourse, and – perhaps most importantly – giving the people the option of buying into ideals.

As such, I think my curatorial approach can be seen as a tad – God-forbid – didactic. Afterall, my curatorial impetus was shaped by my former Professors, Prof. Oscar Ho and Prof. Benny Lim from CUHK, and my ever-mentor, Dr Susie Lingham formerly Director of SAM.

Moving on to your approach as a curator, could you discuss how you select themes, artists, and artworks for exhibitions? Additionally, what factors influence the layout and overall presentation of an exhibition?

John Tung: With respect to themes, artists, and artworks, I would say the criteria I prioritise are significance, relevance, and authenticity respectively. I believe it is of paramount importance to focus energies on making exhibitions expressing urgent themes to the contemporary circumstance, seeking insight from artists whose practices exemplify engagement with the relevant ideas, and selecting works that the artists are themselves absolutely committed to.

The layout and exhibition design should always prioritise the requirements of the particular works in the exhibition. And while I do waver between clean spartan spaces in some exhibitions, to complicated scenography and unorthodox hanging methods in others, it is always done with the blessings of the artists and to draw out the appropriate responses from audiences when they encounter the works.

Reflecting on your extensive experience with curating exhibitions that explore cultural dialogues, such as An Atlas of Mirrors and the Déjà vu series, how do you approach curating works that juxtapose Eastern and Western imagery? What are some of the critical considerations in ensuring that this juxtaposition is not only visually impactful but also conceptually coherent?

John Tung: Reading around the art, and not just reading about the art itself. The contemporary curator has the significant challenge of being expected to be a subject matter expert in the same subjects that the artists are engaged with. Even if expertise is too much to expect, I believe there should necessarily be a minimum threshold. And that threshold is being able to ascertain if a concept holds water.

Then, with respect to the juxtaposition of Eastern and Western imagery/themes/concepts, and so forth, in contemporary exhibitions and artmaking, the necessary question that should follow is: when is juxtaposition, hybridisation?  And are we speaking of the perceived East-West dichotomy in geographical terms, geopolitical terms, cultural terms, or historical terms rooted in colonial thought? Moreover, what timeframes are we speaking with reference to? We presently live on an irregularly shaped ellipsoid where everything Far-East enough inevitably ends up being West again. I would like to say drawing lines is a largely colonial occupation, but that would be a disservice to Qin Shi Huang who literally built a line to demarcate the space between us and them.

The important thing about cultural dialogues then really becomes about determining which lines are arbitrary.

In curating Utarit’s exhibition, which concludes his Déjà vu series, how did you interpret his imagined journey of Buddha to the West within a contemporary art context? What role do you think this hypothetical narrative plays in addressing postcolonial identity and cultural exchange in today’s globalized art world?

John Tung: Rather than interpretation, I like to think I seek out points of reference – circumstances that parallel the ideas I am certain the work embodies. This takes the debate of whether there is truth in interpretation out of the equation.

I mentioned the notion of hybridisation earlier. It surprises most people that some of the earliest depictions of the Buddha in sculpture – the Gandara Buddhas from the 1^st to 5^th centuries CE – are the result of syncretism between Greek art and Buddhism. It arose from exchanges that commenced even earlier, beginning with Alexander the Great’s incursions into the Indian subcontinent. On the other hand, it also surprises most people to discover that the Mindfulness movements that proliferate in the West (but really… globally) has its roots in secularised Buddhist meditation techniques. 

In this respect, the images arising from Utarit’s hypothetical narrative emerge as juxtapositions only to the extent that they reflect the contemporary post-colonial circumstance of being blissfully ignorant, or perhaps more accurately, apathetic of origins. We are still embroiled in drawing imaginary lines so as to stake claims of ownership. 

In your role as a curator of nearly 50 exhibitions and hundreds of site-specific adaptations, how do you balance the artistic intent of an artist like Utarit with the broader exhibition theme? In this case, how did you negotiate between his vision for the Déjà vu series and your curatorial framework?

John Tung: I am of the belief that the fundamental role of the curator is to clarify the intentions of the artist, and whatever curatorial embellishments that come after should be just that – but never detracting from the original intention of the work. While one could argue that the job of the curator might also be to open up new avenues and creating new contexts for the understanding of a particular work or body of work, another could also say that this still cannot reveal anything more that was not present in the work to begin with.

I am a big believer in conversation and finding as much as I can around the work in addition to the work itself. My conversations with Natee in the lead up to the exhibition spanned topics ranging from tea ware to bonsai, exchanges specific to the exhibition to random unrelated anecdotes from our daily lives. I think all of these conversations allow for a more holistic view of the big picture, and synchronisation of the curatorial approach to the needs of the artist and the works.

Negotiations, specifically those of a conceptual nature, would suggest a misalignment between curator and artist. I don’t think artists should negotiate with curators, and likewise, curators should not negotiate with artists. An exhibition should necessarily be a shared vision. 

Utarit’s works in the Déjà vu series are characterized by their innovative use of print and paper. How did his collaboration with STPI impact your curatorial decisions for this exhibition? What challenges or opportunities did this collaboration present in terms of presenting new media within a historical narrative?

John Tung: Just to clarify: there are pre-existing works in the Déjà vu series that are not print and paper. It is only the STPI Déjà vu works that employ paper exclusively.

A core characteristic of print is its reproducibility. Buddha is Hiding is the first time I had the opportunity to curate so many variations of similar pieces in a single exhibition. While it could be argued that variations would be inevitable with each work — even if reproduction was the goal — both Utarit and I believed that this characteristic of reproducibility should be a key attribute communicated to audiences with this body of works. This led to multiple variations of what was essentially the “same” work being put on display eventually.

Print confers a very different quality from painting. Where the uniqueness of a painting limits its reach — owing it to being unable to be in more places than one — the multiplicity of prints allows for presentation across a number of spaces. Not unlike the Gutenberg bible, this quality is suggestive of information that needs urgent dissemination. 

I wanted to recognise this quality, while also honouring the inherent uniqueness present in each of the variations, and decided to line all the variations of one particular series up in a row.

Finally, with your experience curating large biennales and smaller independent exhibitions, how did you approach creating a cohesive narrative within Utarit’s body of work for this exhibition? What role did individual artworks play in shaping the overall structure of the exhibition, and how did you ensure that the thematic depth of the Déjà vu series was fully realized?

John Tung: With Buddha is Hiding, the body of work that Utarit developed was already exceedingly cohesive. Individual works in the series here played the role of articulating and elaborating further on the themes that he has already spent innumerable hours considering. In that respect, my goal was to find a method of organisation that could bring these themes to the fore, and at the same time arrive at an exhibition layout and lighting design that would subtly intimate ideas of excavation, research, and study.

After arriving at a coherent sorting of the artworks for presentation in STPI gallery’s various wings, the most time was spent deliberating sightlines for the positioning and encounter of the works. I had wanted to strike a balance between the initial encounter – from a distance and then close-up – and the re-encounter of the work — for devoted audiences who’d circle the gallery multiple times in different directions. Rather than organisation of the works along a linear narrative with a directed flow through the venue, I relied on iteration and re-iteration (from the encounters of variations of works) to drive Utarit’s message home.

The bright defused lighting of the main gallery sought to mimic an atmosphere of scientific study, contrasting the presentation context of a final suite of paper mâché sculptures tucked away in a more atmospherically lit private viewing room. Here, a suite of Buddha torsos, previously encountered clinically mounted outside, are presented seemingly freshly excavated – perhaps just released from the clutches of Roman soil…

As I mentioned earlier, I do tend to waver between spartan presentations and complicated scenographies across my projects. And so I thought this time, why not a little bit of both at once? (:

©2024 John Tung

Art Plugged

Art Plugged is a contemporary platform inspired by a relationship with the broader arts communities. We provide our audience with curated insight into the world of art, from exhibitions to artist interviews and more.

Throughout his life’s work, Howard Greenberg has passionately upheld photography’s place in the art world. As landscape photographer Ansel Adams once said, “There are no rules for good photographs; there are only good photographs”, and for over four decades, Greenberg has built a career recognising what good photography is.

His influence in New York’s scene guided the appreciation of the medium to a respected and valuable art form within the art world, solidifying his reputation as one of the most prolific dealers, collectors and advocates of photography.

I wasn’t supposed to be a photographer, but a couple of friends introduced me to it. I got a camera right after I graduated college and started taking pictures. It basically changed my life

Howard Greenberg

Born in 1948, he started his career as a freelance photojournalist in the 1970s, nurturing an eye for impactful imagery. In 1977, Greenberg founded the non-profit gallery and educational institution, The Center for Photography in Woodstock, before stepping into the commercial side of photography in 1981, exhibiting and selling prints. By 1986, he had relocated Photofind to New York City’s SoHo.

Photofind was trailblazing, one of the few galleries consistently showcasing documentary and street photography. It later became what we now know as the Howard Greenberg Gallery. After 17 years in SoHo, Greenberg moved the gallery to the Fuller Building at 41 East 57th Street in 2003. The midtown space maintains the gallery’s signature blend of flexibility and intimacy, featuring a central gallery, an additional exhibition room, and private viewing rooms.

Greenberg has made strategic acquisitions through meticulous hunting and a discerning eye, accumulating an immense collection of some of the world’s most well-known images. Distinguished by its superb print quality, the collection reflects an eclectic range of interests, from modernist works of the 1920s and 1930s to contemporary photographers.

Today, the gallery represents and exhibits photographs by many acknowledged masters, including Alfred Stieglitz, Edward Weston, Walker Evans, Henri Cartier-Bresson, Joel Meyerowitz and many others, with the Howard Greenberg Collection itself being the foundation of many major museum exhibitions.

Considered one of the world’s foremost dealers, Greenberg has earned his authority in photography through an understanding of the medium and the ability to identify previously overlooked and undervalued photographers, such as Louis Faurer, David Heath, Leon Levinstein, and Saul Leiter, building awareness and establishing the value of their work in the fine art market.

Beyond the gallery and fine art market, Greenberg lends his experience to museums, educational institutions, and industry associations while curating numerous exhibitions and publishing many photographic catalogues and books.

These contributions to the field haven’t gone unnoticed; in 2004, the Lucie Foundation awarded him “Photo Gallery of the Year,” and in 2005, he was named one of the 25 most important people in photography by American Photo magazine, also being honoured by the Aperture Foundation in 2009.

Greenberg’s impact on photography is immeasurable; from his early days as a photojournalist to starting the gallery, his collecting and dealing, his advocacy has played a critical role in advancing photography to its current status in the art world.

We spoke with Greenberg shortly after his exhibition with Ibiza Galería Tambien, “Touring Photography’s History to learn more about his into the art and business of photography; in addition, The Howard Greenberg Gallery will also be exhibiting this November at Paris Photo.

Hi Howard, thank you for speaking with us. Could you walk us through your journey into the arts, particularly in collecting and dealing photography? What were the early moments of your gallery like, and what led you to pursue the path of an art dealer?

Howard Greenberg: I wasn’t supposed to be a photographer, but a couple of friends introduced me to it. I got a camera right after I graduated college and started taking pictures. It basically changed my life. I moved to Woodstock, in upstate New York, which had a great history as an art colony, and started working as a photographer for the local newspaper. I learned a lot about 20^th century art by just being there. I went on a mission to exhibit classic photography to my community and started a non-profit gallery which ran for a couple years -and, I’m happy to say, is still going-. I decided in 1981 that this was going to be my life and finally opened a gallery in Woodstock.

I started off with history. A lot of great photography, historically, was available in those days in many ways. I could find good treasures by Alfred Stieglitz, Edward Weston… just sitting in houses, attics and flea markets. That’s what the gallery was at the beginning, and it has stayed my specialty. Photojournalism came in because the man who owned Woodstock’s movie theater, who I’d become friendly with, had been a photographer when he was young.

He told me he was a member of an organization called Photo League that lasted from 1936 to 1951. One thing led to the next and I wound up doing an exhibition of members of the Photo League in Woodstock, where I also met several of them. All their work was available to me because they were hungry for some kind of representation, somebody to go and show their work out in the world.

Your gallery was a pioneer in exhibiting photojournalism and street photography as significant components of photographic art. How do you perceive the relationship between these genres and more traditional fine art photography? Have collectors’ and critics’ perceptions of these genres changed over the years?

Howard Greenberg: When I was living in Woodstock, I used to make a once-a-month trip to New York to see the new exhibitions. At the time, photojournalism or documental photography was only featured in a couple of galleries and museums, because they had a limited point of view. That’s what led me to show that work.

There is a much wider interest and understanding of photography nowadays and why photography is special, why it belongs in the walls of museums and art libraries. It wasn’t like that when I started. There were only a handful of museums in the world that had separate collections for photography. And then, it snowballed.

How have you seen the perception of photography as a fine art form evolve over time? What do you consider the key milestones that have contributed to this shift?

Howard Greenberg: The number one event was in 1984, when the Getty Museum committed 30 million dollars to the purchase of photography. That was a game-changer, because it meant a lot of money back in those days. They created an enormous collection of photography but, more importantly, they put that money back into the business, into the hands of artists and galleries. Because it became well-known, it gave credibility to the value of photography in a way that it didn’t have before. So, I think that did open up the doors for other museums and collectors. The market really took off.

Documentary photography has often been a powerful tool for social change. How do you view the role of documentary photography evolving in today’s digital and politically charged world?

Howard Greenberg: Our current world has seen a game change: the invention of digital technology and how it applies to photography. Before that, photography was the only medium for real-world image making. We learn a lot about a two-dimensional image on a piece of paper or on a wall. You could crop, or make something lighter, print something out, but there weren’t many options with traditional analog-type photography. 

Then, in the 90s, Photoshop was the beginning of the potential loss of truth of images. Now, what you could do with an image was basically anything you wanted to do with it. We’re in that age now. Digital technology has enabled the dissemination of images unlike ever before. AI is only an extension of the digital revolution that started in those years. It’s moving very fast and in ways we never imagined. None of us know where it is going. It’s great and it’s problematic, but that’s our world.

Is there a particular image within your collection that resonates more with you than others, holding deeper significance or personal meaning?

Howard Greenberg: I couldn’t possibly pick just one. Every picture has its own history and meaning.

As a key figure in the development of the modern market for photography, how do you perceive the current state of this market? What trends or changes have you observed, and how do they influence the gallery’s direction and decisions? How do you see the gallery’s role evolving with the increasing digitization of art collections and the rise of online galleries?

Howard Greenberg: Over many years, the market in general has been gravitating more and more towards contemporary art. That’s for many reasons. The last two generations have moved away from history to contemporary life in all its forms, and the art of photography reflects that. All the curators have grown up in this mentality. Also, again, because of the digital revolution, photography has become very conceptual. It’s often more about the idea, and the image is just the rendering of it. It has really changed, it’s not 1976 anymore. The work that has been produced in the last 20 years has nothing to do with traditional photography. So, the collecting of photography, what’s being put into museums, what’s interesting to people in their 30s to 60s is a different photography than when I started.

For me, my personal sensibility is to stay with those who have a classic sensibility about the medium. Great classic photographers who are a little bit purer in their thinking about photography and the images they make and render. We are fortunate because we started a lot of years ago and we’ve been able to amass both and inventory and a representation of which I’m very proud of. We were always the gallery of classic photography, even when these changes started happening and our kind of material became less and less available. It’s about availability. A lot of galleries went into contemporary photography, which is why a new generation of collectors was born, but we stayed in our lane.

How do you ensure the authenticity and provenance of the works you represent? What common challenges do you face in this area, and how do you address them?

Howard Greenberg: Again, I was once a photographer and it’s not so hard to tell when images have been manipulated. Most contemporary photographers who work in digital, whether they admit it or not, they always do some fixing up. This part of the medium, we accept, but there are limits to how far you can go. They are not making up pictures, they are just using the medium to make the prints look a little bit better.

As for our gallery: all the artists I work with, I know what they do. I have a relationship with them, we talk, I go to their studios, and I understand their work, so I know what I’m putting up in the wall.

How do you approach curating exhibitions at your gallery? What balance do you strike between featuring iconic works and showcasing emerging or lesser-known photographers?

Howard Greenberg: A big part of my modus operandi from when I started, and it just happened naturally in the late 80s, is that I have to come up with creative ways of making money in the gallery to support showing work that I can’t sell very easily.

Back when I started, I was meeting all the modern photographers. It was great work, but it didn’t have a market. There was also the availability of the great masters. There were still ways to get important work by Walker Evans, Alfred Stieglitz, Dorothea Lange… by working with their families and archives. So, what I did was – and again, it wasn’t planned, it just worked this way- sell this great classic photography to collectors and museums to support all the contemporary work that I couldn’t sell but wanted to show. It was kind of that balancing act that enabled me to grow, and stay in business, and create market for these unknown photographers. It was my development over those years that gave me this reputation in real world photography.

Your latest exhibition, TOURING PHOTOGRAPHY’S HISTORY, in collaboration with Ibiza GALERÍA TAMBIEN, sounds intriguing. Can you tell us more about the essence of the exhibition and how the collaboration with GALERÍA TAMBIEN came about?

Howard Greenberg: We came to know Jorge and Nathalie because when we first bought our house in Ibiza and started fixing it up, my wife was brought into their shop in Santa Gertrudis. We really liked their furnishings and that started a relationship. At some point, we were talking about the exhibition they were having at the time and my wife said that maybe I should do a show there. Jorge thought it was a great idea, so we started working on it.

It was a slow process because I wanted Jorge to look at a lot of different pictures and see what he thought would work. The gallery is not that large, so it had to be a tight selection of pictures. Jorge was a pleasure to work with because he has a great sense of professionalism. He knows the right way to do things as a gallery, which we appreciated so much.

It was very exciting from different points of view. For me, personally, it’s always been my mission to exhibit the work of the people I represent as widely as possible. Some galleries just do what they do in their own space, but I feel it’s my job to get their pictures on walls across the world. I’m also fairly new to Ibiza and there aren’t that many galleries that show world-class art, and nothing really for photography, either. I thought doing this would be nice, to meet a wider audience of my neighbors and to contribute to the island, to get better art in the galleries, because there’s a great audience for it and a lot of people who can afford art.

From Jorge’s point of view, that was very important also. He understands the needs of the island in terms of art, he felt very strongly about committing himself to put better work on his walls.

Looking back at over forty years of the Howard Greenberg Gallery, what do you consider to be its most significant achievements? How do you envision the gallery’s future, particularly regarding expanding its collection and influence in the art world?

Howard Greenberg: I think for me, one of the most important parts of my legacy (and the gallery’s) is I have brought up so many great, mostly mid-century, unknown photographers who are now considered integral to the history of this art form. I showed many of them over and over and I was able to put them in other galleries around the world. We also did a lot of books, publications and all that, and I think I have been recognized for my work, thankfully. I was very fortunate to rediscover a lot of these people and bring them to the gallery, to the people and to the museums.

Finally, what advice would you offer to someone looking to pursue a career in art dealing, particularly in the field of photography?

Howard Greenberg: When I changed from a photographer to a gallerist -and it took me about two years-, I realized I couldn’t do both, at least very well. So, I quickly got out of being a serious photographer because I wanted to be a serious photography gallerist. I don’t know what to advise any future gallerist or photographer in general other than to get the work seen as much as possible in every way they can and be prepared for a lot of closed doors. You have to be able to keep pushing, keep throwing it on the wall and, hopefully, one time it sticks. There’s so many ways to get your work out in the world, so many different ways to fail and only a few ways to succeed. 

My experience of being a photographer and trying to achieve some success in galleries in the 70s and 80s was very different than it is today. It’s much tougher out there. You can be a serious photographer, but the competition is enormous. The ways that you can make a living in this business have really diminished because of the internet and the availability of photography inexpensively. I’ll tell you, I’m glad I’m not a photographer anymore.

©2024 Howard Greenberg

Len Gordon

Len is a curator and a contributing writer at Art Plugged, a platform for contemporary art; he also engages in web development, design, and marketing.

There’s a lot of virtue signalling as the industry tries to present a more inclusive image of artists and art lovers, aiming to welcome newcomers who want a chance to enjoy some art without the shadow of exclusivity lurking over them.

Me and my business partner Luke, sat down and discussed what we thought the art world needed, what we thought it lacked and the idea of Helm was born

Eden Maseyk

One gallery that is leading this change is Helm Gallery, Brighton’s largest space for contemporary art. Known for its focus on transparency, openness, inclusivity, and community engagement, Helm Gallery is taking the reins and doing things differently. Founded in 2023 by curator Eden Maseyk and her business partner, entrepreneur Luke Davis, Helm aims to break away from traditional gallery conventions. Their goal is to create an unprecedented exhibition space with a more welcoming environment in one of the country’s most creative cities.

More than a traditional gallery, Helm strives to attract visitors who avoid galleries due to the often exclusive nature of contemporary art. With an all-encompassing philosophy favouring bold and unique artists, they curate diverse exhibitions, events, and performances that appeal to a broader audience in a warm and welcoming space.

Over the past year, the gallery has showcased several notable artists. To mark its first anniversary, Helm continues its transparent ways with its latest exhibition,“Work in Progress,” transforming the space into a live artist habitat. Visitors can get up close to the working practices of nine artists, including Margo in Margate, AROE, Poppy Faun, Euan Roberts, Graphic Rewilding, Dave Towers, Veera Sorri, and Miles Takes, as they work live in the gallery. We spoke to Maseyk to learn more about Helm and what’s in store for the gallery.

Work in Progress is on view until 29th September, 2024 at Helm Gallery

What inspired you to co-found Helm Gallery, and how did the vision for the space come about?

Eden Maseyk: I was inspired to co-found Helm based on the lack of inclusive art gallery spaces available. Me and my business partner Luke, sat down and discussed what we thought the art world needed, what we thought it lacked and the idea of Helm was born.

Can you tell us about the concept behind the “Work in Progress” exhibition and what you hope visitors will take away from it?

Eden Maseyk: The concept of Work in Progress aligns perfectly with our ethos, centred around transparency. We want people who visit helm to feel welcome in art spaces, we do this through various different means, including our bar. But for WIP we did this by inviting the artists in to paint live in front of an audience, this invited people to ask questions and just engage with art on a whole different level, it was inspiring to see.

How do you select the artists featured in your exhibitions, and what criteria do you consider important?

Eden Maseyk: Selecting our artists for exhibitions is a very natural process, we have some planned in advance that we have approached based on their art practice and some of our exhibition ideas come through interesting conversations which sparks and idea for a show. We aim for each show to look and feel completely different to the last so this is very important when we consider what’s in the future.

Helm Gallery aims to engage the community with contemporary art. How have you seen this mission reflected in your first year?

Eden Maseyk: This mission has been reflected in our first year by the various community driven projects we have put at the forefront of our plans. One being our first ever open call exhibition ‘Unity’ – we had over 400 applicants and selected 60. Alongside this all of our exhibitions are free of charge, we’ve hosted free Q&A sessions with artists and offered the community a chance to see so many different sides to the art world first-hand.

What challenges have you faced in the art market during your inaugural year, and how have you navigated them?

Eden Maseyk: We have faced the same challenges as any other art business has done in 2024. Sometimes this may have seemed harder as a brand new business but I am proud of how we’ve faired. We have had some exceptional stand out shows and some slightly quieter ones, overall we have remained firm and steadfast in our mission to keep driving people in to be around art, see an exhibition and feel something, have a coffee and add to their collection.

Can you share more about the recent launch of your podcast series, “Jo Brooks at the Helm,” and its significance for the gallery?

Eden Maseyk: This is incredibly important to the gallery for many reasons, Jo for one, being an integral part of the art world for the last 2 decades and her unique touch and standpoint on contemporary art. Having focused solely on a career in PR she now has turned to managing artists so she has a really authentic nature which each artist being interviewed can feel comfortable around. And secondly Artists’ stories are incredibly important and I’m proud that we have a platform which champions that.

How does the live creation of artwork during the “Work in Progress” exhibition enhance the visitor experience?

Eden Maseyk: It allows visitors the rare opportunity to see the whole process that leads up to the finished work. Viewing the work as it evolves and develops, it demystifies the creation of art and helps clients engage directly with the creatives behind their favourite works.

What role do you think art plays in building community and fostering connections among diverse groups of people?

Eden Maseyk: Art brings people together, it brings people together over emotion, opinion, feeling and prompts discourse on so many different levels. It is an integral part of life.

Looking ahead, what are your aspirations for Helm Gallery in the next few years?

Eden Maseyk: We’re looking to expand our vision further. A lot of this includes developing the artists that we currently work with and also adding to our international roster, as well as placing more of an emphasis on prints and multiples that are produced in-house. We want to use our blueprint on a global scale. We’re constantly thinking of unique and exciting events and refining our schedule – you’ll just have to wait and see!

How do you envision the future of contemporary art galleries, and what innovations do you hope to bring to Helm?

Eden Maseyk: Contemporary art galleries have to steer themselves towards accessibility and transparency. We’re seeing that brick and Mortar galleries have to adapt their model to survive, this means transparency and forward-thinking planning to appeal to a new generation of potential collectors. We pride ourselves on striving towards new ways to bring art to people on a global scale, we’re looking at leaning into prints and multiples and expanding on the kinds of events and attitudes we’ve put forward in the past year.

©2024 Helm Gallery, Eden Maseyk

Len Gordon

Len is a curator and a contributing writer at Art Plugged, a platform for contemporary art; he also engages in web development, design, and marketing.

Since taking the plunge to become a career artist, Hendry has always craved a more immersive experience with her art practice. As she mentioned, “Over the years, my hunger to build concepts bigger than a sheet of paper began to develop.” Staying true to this, her creative exhibitions and ideas have only grown bigger, more imaginative, and come to fruition.

I think it’s always been about pushing myself creatively. Hyperrealistic drawing will always be a part of my identity, but I started to crave something more immersive

Cj Hendry

Over the last few years, we have seen Hendry collaborate with the renowned auction house Phillips for their first-ever Dropshop edition, where she created one hundred bronze crowns reminiscent of inflatables you take to the beach, alongside her signature realistic large-scale drawing of one of the crowns. Hendry then explored kitschy glamour in her ‘Public Pool‘ art installation—an immersive homage that pays tribute to and reinvents the charismatic allure of Vegas hotel pool party aesthetics, with Cj’s trademark flair and cheeky humour, located in the middle of the desert.

In her tenth solo show, Plaid, Hendry presented a suite of large-scale, hyper-realistic pencil drawings in her signature heuristic exhibition format in Brooklyn. Plaid, in its figurative form, is a collection of two-dimensional drawings comprising perpendicular lines in dry brush strokes—a step away from her historical drawings, which are three-dimensional. Hendry articulated this concept in a 5,000 sq. ft. labyrinth installation, Plaidground, designed for adult consumption and play, mimicking the plaid pattern featured in this new series of works.

In December of last year, Hendry revealed her first public and permanent installation, HOOPS Tree, a stunning basketball tree installation. Working with the city of Miami, HOOPS Tree had been in the works for a year. The towering 20 ft installation has 34 hoops reminiscent of chandeliers hanging from the sky, finished in a rich, deep blue that makes it pop against its oceanic backdrop. In addition, anyone who successfully sank 34 baskets in a row on video from its opening until December 9th could claim a prize of 1 million dollars—a nice touch. Hendry’s waitlist has grown to over 3,000 collectors, with a wait time of up to five years to get their hands on a piece.

This September saw Hendry open her most ambitious exhibition to date, Flower Market, in collaboration with luxury beauty brand Clé de Peau Beauté and in partnership with the Four Freedoms Park Conservancy. Hendry reimagined the Flower Market with a 120-foot by 40-foot greenhouse built on the lawn of the FDR Four Freedoms State Park, filled with 100,000 meticulously crafted plush flowers inspired by the natural radiance and botanicals used in Clé de Peau Beauté’s products.

Flowers have long held a timeless allure, captivating artists, poets, and admirers alike with their ephemeral beauty, symbolic depth, and intriguing aromas. The flower market, as an institution, carries a rich history that intertwines with humanity’s desire to cultivate and display nature’s splendour.

Dating back to ancient times, the earliest flower markets were informal gatherings. By the 17th and 18th centuries, flower markets in Europe, especially in cities like Amsterdam and Paris, became formalized as part of urban life. Hendry’s rendition is no different, attracting many flower lovers upon its opening, including business and recipe magnate Martha Stewart.

The American painter Robert Henri (1865–1929) once said, “Art is, after all, only a trace—like a footprint which shows that one has walked bravely and in great happiness.” Just as Henri’s quote describes art as a trace of the artist’s path, Hendry’s journey as an artist—whether presenting her realistically rendered drawings or creating interactive spaces where viewers are invited to step into her artistic world and engage with art on a visceral level—leaves behind a mark, reflecting her brave and joyful exploration of new creative territories.

We managed to catch up with Hendry to learn more about Flower Market and what she has in store next.

Hi Cj, thank you for taking the time to chat with us. Can you update us on what you’ve been up to since our last conversation?

Cj Hendry: It’s been a whirlwind since our last conversation! I’ve been working on some incredible large-scale projects, including the Flower Market exhibit in collaboration with Clé de Peau Beauté. It’s been all about scaling up and creating these immersive environments that really pull people into a different world. 

For Flower Market, I am creating a massive greenhouse filled with plush flowers—it is such a fun challenge and I can’t wait to see it all set up. Alongside that, I’ve got a few exciting projects coming down the pipeline, but I can’t share too much just yet!

Your practice has transitioned from intricate hyperrealistic drawings to physical objects and public art. What prompted this change in direction?

Cj Hendry: I think it’s always been about pushing myself creatively. Hyperrealistic drawing will always be a part of my identity, but I started to crave something more immersive. I wanted to build spaces that people could step into and experience rather than just stand in front of. The shift to public art and physical objects allowed me to play with scale and engage with the audience in a more tangible way. It was a natural progression—an evolution rather than a complete departure from my earlier work.

Your work often explores themes of scale and meticulous detail, as seen in the Flower Market exhibit with its 120-foot by 40-foot greenhouse and 100,000 plush flowers. How does working on such a large scale influence the emotional and conceptual impact of your pieces? Do you find that the immersive nature of this installation enhances the viewer’s connection to the themes of beauty and nature?

Cj Hendry: Absolutely. Scale plays such a crucial role in my work, especially with installations like the Flower Market. When something is this big, it forces you to feel small in comparison, and that shift in perspective can be incredibly emotional for people. With Flower Market, the size of the greenhouse and the sheer number of flowers created a kind of overwhelming beauty that taps into both wonder and nostalgia. The immersive experience definitely deepens the viewer’s connection to nature and beauty—there’s something about being surrounded by 100,000 flowers that shifts how you engage with the work.

You mentioned that the Radiant Lily, with its simple lines and pure white petals, serves as an entry point for your practice. How does the purity and minimalism of this flower align with your broader creative vision? Do you see this botanical element as a reflection of the clean elegance in your work, or does it introduce a new layer of symbolism, particularly in the context of your collaboration with Clé de Peau Beauté?

Cj Hendry: The Radiant Lily is so perfectly aligned with how I like to work—clean, simple, and focused. I love minimalism, and the Lily’s white petals embody that perfectly. It’s about stripping things back to their essence, which resonates with my broader creative vision.

In the context of the collaboration with Clé de Peau Beauté, it also takes on another layer of meaning, symbolizing radiance and purity, which ties into the beauty and skincare world. The flower became not just a part of the exhibit, but a reflection of the brand’s elegance and my own artistic values.

In past works, your hyperrealistic drawings often played with themes of perception and illusion. With your transition to large-scale installations and physical objects, how do you think your audience now perceives and interacts with your art? Do you feel this shift has allowed for a different or deeper form of engagement?

Cj Hendry: I think the shift to installations and objects has allowed for a much more immersive and intimate form of engagement. My hyperrealistic drawings invited people to get up close and study the detail, but with the large-scale installations, people are literally stepping inside the art. It’s not just about looking anymore, it’s about feeling, touching, and moving through the space. It transforms the way people interact with the work, making it a full-body experience rather than just a visual one.

The choice of the Franklin D. Roosevelt Four Freedoms Park as the setting for this exhibition is both unique and symbolic. In what ways do you think the park’s architectural design and its location between Brooklyn and Manhattan add to the narrative of your installation? How does this space contribute to the tension between nature and urban life, a theme central to this collaboration?

Cj Hendry: The location at FDR Four Freedoms Park is so powerful. It’s this serene, architectural marvel that sits right in between the chaos of Brooklyn and Manhattan—almost like an oasis. That tension between urban life and nature was exactly what I wanted to tap into with Flower Market. It’s about creating this artificial natural environment within a space that feels very modern and structured. I think it makes people reflect on the juxtaposition of nature in our increasingly urban lives.

Your collaborations with luxury brands like Clé de Peau Beauté bring together art, nature, and commercial aesthetics. How do you balance your artistic freedom with the brand’s identity and marketing goals? Does this partnership influence the way you approach the storytelling aspect of your work?

Cj Hendry: It’s definitely a balancing act, but the key is aligning with brands that share similar values. With Clé de Peau Beauté, their focus on elegance and meticulous craftsmanship really resonated with me, so it didn’t feel like a compromise. I think of it more as a collaboration where we’re building a story together, rather than me just fitting into a brand’s mold. It challenges me to think about storytelling in a broader sense—how my work can complement and elevate the brand’s identity without losing my own artistic voice.

Lastly, you’ve been incredibly prolific with projects over the past few years. Is there anything you’re working on now that you’re particularly excited to share?

Cj Hendry: Yes, there are a few exciting things in the works! I can’t share all the details yet, but I’m working on something that takes the idea of immersive environments even further. It’s going to be another large-scale installation that pushes the boundaries of how people interact with art. Let’s just say, it will be worth the wait!

©2024 Cj Hendry

Len Gordon

Len is a curator and a contributing writer at Art Plugged, a platform for contemporary art; he also engages in web development, design, and marketing.