May 27, 2017  •  Leave a Comment


Ever read any of those futuristic novels with ultramodern and revolutionary scenes? As a kid, I remember watching films set in the future and being transported to a place where cars hover and we all dressed in weird Vivian Westwood clothing.


In this innovative future, the artwork on gallery walls is mysteriously shape-shifting.


Well folk’s “The Future is here”. For me, the future started when I walked in to the gallery at Nottingham Castle and was mesmerised by “Down Pour” A proper paradigm of moving art. It was one of those experiences, an experience captured in a definition of Art “Art is often considered the process or product of deliberately arranging elements in a way that appeals to the senses or emotions”


MASIE BROADHEAD in conjunction with JACK COLE produced this Outstanding piece of beautiful, beautiful artwork.


But that is not it. REPORTRAIT is an outstanding exhibition of 13 British based artists shown in the Nottingham Castle Gallery and should be visited between now and 10th September.


The information below and the image above are from the Nottingham Castle Web page “Reportrait” 


Glenn BrownMatthieu Leger and Jake Wood-Evans explicitly use iconography of past nobility, aristocracy, government dignitaries and forgotten figures within their paintings, reworking, glitching and interfering with historic artworks in unique ways that leave deceptive hints of the original source intact.
Julie Cockburn and Samin Ahmadzedah use photographic weaving and embroidery techniques to intervene with family archives or found images, presented alongside collection items or as a large scale wall-based installation.
James E Smith and Jasleen Kaur have both subverted traditional ideas of figurative sculpture.  Smith documents an uncomfortable and highly intimate relationship between artist and sitter through film and 3D printing, whereas Kaur has cast a trio of busts in hand-marbled plastic, drawing on parallels between Indian devotional sculpture and traditional Western portrait busts.
Antony Micallef distorts his own image to the extreme by manipulating and pushing thickly applied (impasto) paint upon the canvas surface. The result is a collection of fleshy, sculptural and beautifully grotesque self-portraits.
Paul Stephenson paints directly upon 18th century paintings bought from auction, making palimpsests which comment on the way we consume imagery second-hand through the lens or the shiny screen of mobile devices.
Sasha Bowles removes all human features from Old Master paintings and replaces them with strange growths and alien forms.  Her mischievous interventions are presented within a mobile ‘museum’ based on the Castle’s Long Gallery, inviting the viewer into a more intimate setting to view art.
Maisie Broadhead and Annie Kevans both use portraiture to draw our attention to overlooked female artists, salvaged from the archives of patriarchal art history, or to how we consider the role of women in history and in contemporary society.
Philip Gurrey samples, borrows and plays homage to painters and paintings by creating new, often surreal faces that have been constructed from various elements and time periods.


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