Damien Meade: News

Updated: 2nd February 2018

Forthcoming solo show

Damien Meade

2 March – 27 April 2018
Peter von Kant

Preview: Friday 2nd March 6 - 9pm

Text by Olivia Fletcher

Damien Meade’s paintings begin as mud, but live on as creatures of dirt. Minerals suspended in water are made compact— first by time, then the artist’s hand—and transform into something that Meade cannot, or at least does not want to name. Paint shifts onto linen panels like dried-up play doh curling at its edges, creating what looks like hair, pairs of lips or the surface of skin, perhaps. In an unusual twist of tradition, this clay will never see the inside of a furnace. Instead, it stays wet and, once he is through, will be crushed and churned into the shape of Meade’s next model. These faces are consumed by an assumed role—as though, each portrait is actually an actor’s headshot auditioning for a play called ‘High Art’—so much so, that they have become indifferent to the eye that is beholding them. Mark, though, there is nothing theatrical about mud—it sits, covers up, and cooks while basking in the sun. There is a push and pull, a child’s gentle yet commanding tug, at the arti ciality of this performance being in opposition to but also dependent on the most natural medium imaginable: mud. (Read More...)

Open Thursday to Saturday 12–6pm or by appointment

Peter von Kant
25 Tanners Hill
London SE8 4PJ
+44 (0)7944 696343


Updated: 22nd September 2016

Forthcoming group show

Some thing as a line

30th September - 5th November 2016
Highlanes Gallery, Drogheda, Ireland

Preview: Friday 30th September 6.30pm

Anna Barribal, Karl Burke, Maud Cotter, Gemma Fitzpatrick, Mark Garry, Caoimhe Kilfeather, Barbara Knezevic, Damien Meade, William Mulready, Niamh O'Malley, Kathy Prendergast

Curated by Brian Fay

Taking its starting point from the small painting Miniature of the Artist's Hand by William Mulready in the Highlanes Gallery collection, Some thing as a line is a group exhibition that looks at the spatial and temporal properties of line. The show considers the ability of line to move from a representational mark to an autonomous entity in space and time. Mulready's painting depicts a hand in the act of drawing from a sculpture onto an ivory surface, suggesting a movement for line between a range of media and disciplines, from sculpture to drawing and painting. Each of the ten invited artists use line in a variety of forms, across a range of media, where line is used to engage with a sense of materials, of space and of time. Works in this exhibition show line being thought of and used in various ways including: as sculptural objects, as paintings of linear sculptures, as video work using line to measure landscapes, as mapping, as visualised data, and using line to trace and record real objects.

Open 6 days a week Monday - Saturday 10.30am-5.00pm, Closed Sunday

Highlanes Gallery
Laurence Street
Drogheda, Co. Louth
Ph. 041 9803311


Updated: 8th April 2016

Forthcoming group show


22 April - 20 May 2016
Wimbledon Space, London

Preview: Thursday 21 April, 5 - 8pm

Sophie Birch, G L Brierley, Simon Callery, Mark Fairnington, Ana Genoves,
John Greenwood, Paul Housley, Damien Meade, Donal Moloney

Curated by Geraint Evans

A group exhibition that explores contemporary representations of objects with reference to the still life tradition and with a particular interest in the notion of thingness and abjection. The starting point is Norman Bryson's description of still life as "...an object world that has dispensed with human attention and in a sense makes human attention and the human subject obsolete"1. The exhibition is concerned with the ways in which paint's materiality resonates with meaning and articulates the relationship between subject and object, the observer and the observed.

1Norman Bryson, 'Chardin and the Text of Still Life', Critical Inquiry Vol. 15, No. 2 (Winter, 1989).

Monday to Friday, 10am-5pm
Closed weekends and bank holidays

Wimbledon College of Arts
Search: 'Wimbledon Space'


Updated: 4th February 2016

Forthcoming group show


6 February - 28 February 2016
Averard Hotel, London

Preview: Saturday 6th September, 12-6pm


Curated by Twelve Around One & Slate Projects

Black Light is a group exhibition which takes Matisse's Porte-fenêtre (French Window) of 1914, distinguished by its heavy application of black paint, as a point of departure. Painted in autumn 1914 at Issy, the sunlit scene outside the window is depicted paradoxically, in absolute darkness. There is a close parallel with the story of Oedipus Rex, as told by Sophocles. Oedipus is cursed by the gods to commit the crimes of regicide and incest as prophesied by the blind oracle of Delphi. He searches in vain for the protagonist of these dark prophecies, not knowing that he is looking for himself. Oedipus' physical sight had blinded him to the metaphorical truth; on learning the truth of his own guilt he gouges out his eyes and finally achieves a prophetic, 'inner' sight. The drama of Sophocles hinges on the dialectic between actual sight and metaphorical sight, on the impossibility of achieving the latter without abandoning the former. Oedipus must be blind before he can see.

In a similar way, Matisse's French Window operates by concealing the very thing it tries to represent. The vibrancy and hue of colour pigments could never really match the light and colour from the window. Thus, Matisse paints with the darkness of inner sight, his knowledge of the light. By now, he knows too much about light to try to paint it directly. By showing presence through absence, and using black as a sign or placeholder for light, Matisse is opening a path to conceptual painting. The ambiguity of whether we are looking through an open window onto a bright scene outside or at a reflection of the room inside in the glass of a close window, itself mirrors the duality of realism and psychological space of this painting. The Great War had just broken out when Matisse painted French Window; its implicit prophecy of these events, makes it a properly Oedipal painting.

The contemporary artists proposed for this exhibition build on the legacy of French Window. Here, painting, understood in its expanded sense, is both material specific and psychological space. It operates as a series of signs, obscures and obstructs to reveal, and plays on the duality of surface as reflection/window and inside/outside.

'Black Light' is part of the second edition of exhibitions at the Averard Hotel.

About of the Averard Hotel:

The Averard Hotel stands at the western end of the Lancaster Gate development. Built in English Baroque with French mannerist touches in the 1850s, Lancaster Gate was popular with wealthy families. The 1920s saw its grand homes divided into flats and hotel rooms, and the introduction of Art Deco interiors. The Averard Hotel has been stripped back to reveal its multi-layered history in a state of arrested decay, as it awaits renovation into luxury flats. An exhibition programme, hosting a series of projects by international galleries, curators and artists, is taking place until October 2016.

Exhibition produced with the generous help of Aurora Multimedia and KitMapper

The Averard Hotel, 10 Lancaster Gate, London W2 3LH
Exhibition Dates: 6 February - 28 February (inclusive). Open Thu-Sun, 12-6pm


Updated: 30th August 2015

Forthcoming two-person show

Damien Meade | Natasza Niedziolka

12 September - 24 October 2015
Sommer & Kohl, Berlin

Private View: Friday 11th September, 6-9pm

Sommer & Kohl are pleased to present new works by Irish painter Damien Meade (*1969) and Polish artist Natasza Niedziolka (*1978).

Starting with the idea of how a sculpture or other artistic object can find a two-dimensional interpretation, Damien Meade and Natasza Niedzioka have developed their own unique approaches to render this translation. Both artists explore differing approaches to making works that are playful yet uncanny and atmospheric.

In beautifully incisive small-scale oil paintings Damien Meade, who studied in Dublin and at Chelsea College of Art in London, transfers sculpture onto canvas, using pieces formed from clay beforehand as a model for painting. These maquettes are not quite topographic and not really human; some resemble busts, while others are free-formed meandering assemblies or even clay surfaces pressed almost flat. Traditional sculptors would then proceed to form a more finished version of the sculptural sketch, but Meade opts to go through this process using the painting surface, deftly employing multiple layers of oil paint to develop rich detail and subtle depth within each work. While the sculpted models are expressionistic the painted translation resists any kind of painterly texture - resulting in a tension between the original ectoplasmic forms and their painted rendition.

Natasza Niedziolka, who studied at Kunstakademie Duüsseldorf under Tal R, displays two series of cross- pollinating works. Combining modernist abstraction with organic symbols, she develops compositions that often employ textiles to refer to the history of painting. Niedziolka's imagery is influenced by archetypes, in this case featuring vessels, birds and plants. The new works for this exhibition are made with silk thread onto silk canvas, giving them a delicate and subtle beauty. Often these works test the limits of sewing in a way that simultaneously acknowledges folk traditions and modernist experimentation in a raw and witty way. In a second series of works Niedziolka employs silk-screen techniques by using the screen itself as a photogram. These have been coated in photo-sensitive emulsion before being exposed, so that the traces of an absent composition remain as an inverted shadow, the surface stained with light.

For further information and images please contact Sommer & Kohl.

Sommer & Kohl
Kurfürstenstrasse 13/14
10785 Berlin

tel + 49 30 2300 5581

Wednesday - Saturday 11am - 6pm and by appointment

U1 + U15 Kurfürstenstrasse
Bus 48 + 85 Potsdamer Strasse / Kurfürstenstrasse

Updated: 13th July 2015

Artists' Editions

Two new editions produced exlusively for Whitechapel Gallery, London

Damien Meade, Untitled (WG 1), 2015

Medium: Unique varnished Inkjet print. Dimensions: 29.7 x 21 cm [11.69 x 8.27 inches]. Series of 15 versions, signed and numbered. Produced by the artist.

As is traditional in editions publishing, prices will rise as an edition starts to sell out. Please contact mailorder@whitechapelgallery.org should you require assistance purchasing this edition. £350.00
(Members £315.00)

Click here for more information on this edition

Damien Meade, Untitled (WG 2), 2015

Medium: Unique varnished Inkjet print. Dimensions: 29.7 x 21 cm [11.69 x 8.27 inches]. Series of 15 versions, signed and numbered. Produced by the artist.

As is traditional in editions publishing, prices will rise as an edition starts to sell out. Please contact mailorder@whitechapelgallery.org should you require assistance purchasing this edition. £350.00
(Members £315.00)

Click here for more information on this edition

77-82 Whitechapel High St
E1 7QX
+44 (0)20 7522 7888

Updated: 8th July 2015

Forthcoming group show

The London Open 2015

15 Jul - 06 Sep 2015
Whitechapel Gallery, London

Private View: Tuesday 14th July, 7:15-9pm

The London Open 2015 is the Whitechapel Gallery triennial exhibition. Sculpture, painting, performance, moving image, photography, printmaking and many other media and practices showcase some of the most dynamic work being made across the capital in 2015.

Exhibiting artist's have been selected by a panel of high profile art world figures, including writer and critic Ben Luke, artist Angela de la Cruz, collector Nicoletta Fiorucci, gallerist Jake Miller and Whitechapel Gallery curators Daniel Herrmann, Eisler Curator and Head of Curatorial Studies and Poppy Bowers, Assistant Curator.


Rebecca Ackroyd, Holly Antrum, Ryuji Araki, Salvatore Arancio, Zehra Arslan, Alex Baczynski-Jenkins, Sam Belinfante, Karl Bielik, Isha Bohling, Jane Bustin, Jodie Carey, Ben Cove, Sam Curtis, Nelmarie Du Preez, Alexander Duncan, Tim Ellis, Adham Faramawy, Gaia Fugazza, Marco Godoy, Lothar Götz, Athene Greig, Buster Grimes, Mark Harris, Emma Hart, Dominic Hawgood, Mary Hurrell, Lucy Joyce, Dominic Kennedy, Sophie Mackfall, Damien Meade, Guy Patton, The Grantchester Pottery, Heather Power, Mary Ramsden, Sarah Roberts, Julie Roch-Cuerrier, Mitra Saboury, Lizi Sanchez, Laura Santamaria, Frances Scott, Eva Stenram, Tim Stoner, Roy Voss, Caroline Walker, Dominic Watson, Demelza Watts, Ben Woodeson, Madalina Zaharia.

77-82 Whitechapel High St
E1 7QX
+44 (0)20 7522 7888

Updated: 15th March 2015

Forthcoming solo show

Damien Meade: Sudo

26 March - 31 May 2015
Scheublein + Bak, Zurich

Private View: Wednesday 25 March, 6-9pm

Untitled (Bust), 2015, oil on linen on board, 70 x 45 cm

SCHEUBLEIN + BAK is pleased to announce Sudo, the second exhibition by Damien Meade at the gallery. In recent years Damien Meade has developed a body of work that engages with painting as a cross-genre hybrid of portraiture and still life, of subject and object. The paintings are at turns irreverent and fanciful, witty and melancholic, solemn and abject, and playfully examine how a subject might be perceived to be both animate and inanimate at the same time. As paintings of sculptures they are 'artifice within artifice', yet paradoxically they can appear to transgress this premise, and to assert themselves as sentient subjects, equal to ourselves.

This latest show reveals a triangulated approach to this enquiry: from his familiar reimaginings of bust portraiture (the subject as object), through to knotted structures of bruised clay (the object as subject) and finally to explorations of kneaded clay surfaces (the mark of the subject in the object).

Resistance Painting falls into this last category. If an index can be defined as a category of sign that maintains a physical tie to its referent, then in this respect every painting is 'indexical', retaining a tie to its maker - painting as the trace of the hand of the painter. Here, the thumbed and fingered surface of clay is an accentuation of this. There is something appropriate about paint mimicking clay, in that it is 'mineral mimicking mineral'; a fusing of surfaces, something symbiotic. The image is a product of the degree of resistance that the clay offers to the force of the hand, a memory of the subject, in its absence.

For the artist, the title Sudo partly refers to Sudocrem, a popular medicated 'soothing' cream commonly used in Ireland for the treatment of burns and skin conditions. But it is also pseudo, that which is supposed, but not really so.

Schloss Sihlberg, Sihlberg 10
CH- 8002 Zurich

phone +41 43 888 55 10

Gallery Hours: Tuesday - Friday 11 - 5pm and by appointment


Updated: 17th October 2014

Forthcoming group show

Jerwood Encounters: Suspicion

Curated by Dan Coombs
5 November - 7 December 2014
Jerwood Space, London

Private View: Tuesday 4th November 2014, 6 - 8:30pm


Curated by painter Dan Coombs, Suspicion takes on the challenging and changing subject of narrative in painting, in the single frame of the painted image, and on painting's unavoidable relationship with film as echoed in the inspiration for the exhibition's title, a reference to the 1941 Hitchcock film of the same name.

Suspicion presents bold paintings from 13 artists, ranging from acclaimed Royal Academician to recently graduated artist. All of the works on exhibition are presented here in London for the first time.

Jerwood Encounters are one-off curated exhibitions which provide artists and curators with new exhibition opportunities and the chance to explore the issues and territories in the borderlands between the main disciplinary fields of the Jerwood Visual Arts programme.

Jerwood Space
171 Union Street,
London SE1 0LN


Find Jerwood Space on Google Maps

Gallery Opening Hours:
Monday - Friday 10am - 5pm
Saturday & Sunday 10am - 3pm
Closed Bank Holidays

Updated: 16th October 2013

Nature Morte: Contemporary artists reinvigorate the Still-Life tradition by Michael Petry

A new book published by Thames & Hudson, featuring work by Damien Meade.

The work of Damien Meade features in this new publication by Thames & Hudson.

Press Release from Thames & Hudson:
This important and timely book reveals in over 400 illustrations how leading artists of the 21st century have reinvigorated a genre previously synonymous with 16th- and 17th-century Old Masters. These audacious new still lifes will redefine what it means to be a work of nature morte, or 'dead nature'.

Whether in painting, photography, sculpture or video, contemporary artists have drawn on a tradition ripe with metaphorical and moral significance to create works of conceptual vivacity and striking beauty.

Michael Petry has structured the book according to the classic categories of the still-life tradition - Flora, Food, House and Home, Fauna and Death. Each chapter explores how the timeless symbol of the memento mori - a reminder of death, change and the passing of time - has been rediscovered for a new millennium.

Also includes works by: John Currin, Saara Ekstrom, Elmgreen & Dragset, Renata Hegyi, Damien Hirst, David Hockney, Gary Hume, McDermott & McGough, Beatriz Milhazes, Gabriel Orozco, Sophie Calle, Cy Twombly, Ai Weiwei ...and many more

Michael Petry is an artist, curator and Director of the Museum of Contemporary Art (MOCA), London. His previous books include The Art of Not Making, published by Thames & Hudson.


Updated: 17th September 2013

Sitting with the Qualities of a Mountain

2nd October - 1st November 2013
Blyth Gallery, Imperial College, London.

Preview: Tuesday 1st October 6 - 8:30pm

Stuart Cumberland | Annabel Elgar | Rita Evans | Patrick Guns | Damien Meade | Simon Willems

Curated by Simon Willems

If the material properties of a towering peak are to be considered, a familiar mantra in mindfulness meditation, 'Sitting with the qualities of a mountain', re-aligns the act of 'focusing' as a point of inertia. The process involves a reversal whereby the anthropomorphic is inverted and the human rendered lifeless, bringing it into question.

Pathetic fallacy is a human instinct as well as a set of possibilities in how we project our associations and on to what we project. The disparate assembly of objects and artworks in this exhibition ask us the same questions. At what point does Damien Meade's painting of a lumpen knot of thumbed clay map out the awkward spread of entwined figures, whilst alluding to the charged emotions such an embrace could induce? Like Magritte's La trahison des images however, this is not a lump of clay let alone a couple caught in the act, merely a simulation of our projection.

In the absurdly titled assemblage What can clay hear? Rita Evans presents the same material like a sonic cocoon, under which a rigged up microphone is wired to an amplifier that makes audible any cracks the lump 'expresses' as it dries. Lend it your ears for a week and you might have to wait for a month to hear anything at all. Like much of the work in this exhibition the piece hinges on its virtual silence, through an evocation of sound, if not speech.

This idea is perhaps most closely echoed in the sculptural text of Patrick Guns, where 'YHVH.H.O.O.Q.', appropriates Duchamp's Mona Lisa readymade, 'L.H.O.O.Q' (1919), with the forbidden Hebrew name for God YHVH. Spelled out in the fabricated femur bones of a Bonobo ape, Guns' Dadaist inscription takes on an impossible phonetic quality, in English at least, beyond the sacrilege of its doctored context.

The work of all six artists in this exhibition underline and expose how our process of looking at and thus experiencing objects in the real world is defined by 'image' as both a screen and physical reality.

Blyth Gallery
Level 5 Sherfield Building
Imperial College
(off Exhibition Road)
London SW7 2AZ


Gallery Hours: Open daily 9am - 9pm

Updated: 16th September 2013

Believing (in) objects

18th - 29th September 2013

Preview: Wed 18 Sept 6-9 pm

Susan Collis | Claudia Djabbari | Corinne Felgate | Joe Frazer | Rowena Harris | Trasi Henen | Caroline McCarthy | Damien Meade.

Curated by Emi Avora and Sabina Muller.

134 Middleton Road
London E8 4LP


Open Sat/Sun 12-5 and by appointment
Tea and Cake Sun 29 Sept 3 pm

This exhibition is the second in a series of house projects at 134 Middleton Road.

Updated: 10th August 2013

Damien Meade

29th August - 19th October 2013
Scheublein Fine Art, Zurich.

Preview: Wednesday, 28th August 5 - 8pm

Scheublein Fine Art is pleased to present an exhibition of paintings by Damien Meade, his first solo show with the gallery. Damien Meade makes paintings of busts, heads and limbs that have been modeled in clay, tape and other materials. The fabrication of these sculpted subjects can appear cursory and improvised, but this crudeness of form is dignified by the trompe l'oeil of their representation. As paintings of sculptures they are 'artifice within artifice', but their phenomenology can move beyond this, to where the inanimate might appear reanimated, something uncanny. As genre, they hover between still life and portraiture; as subjects, between inert matter and sentient beings.

Schloss Sihlberg, Sihlberg 10
CH- 8002 Zurich

phone +41 43 888 55 10

Gallery Hours: Tuesday - Friday 11 - 5pm and by appointment


Updated: 3rd July 2013

Unknown Sitter

3rd to 20th July 2013
Charlie Dutton Gallery, London.

Preview: Wednesday 3rd July, 6-9 pm

Virginia Verran | Dallas Seitz | Galen Riley | Damien Meade | Cathy Lomax | Marcus Harvey | Kirsten Glass | David Dipré | Marianne Basualdo

Curated by Covadonga Valdés

This group exhibition combines painting, installation and sculpture to explore various anonymities of the portrait. Playing with ambiguity, these works call into question the meaning of 'non-identity' in portraiture that comes about perhaps as the result of a suspicion of its true intention or as a consequence of a disguised or even rootless origin.

1a Princeton Street
London, WC1R 4AX

Opening times: Thursday, Friday & Saturday 11-6pm or by appointment


Updated: 13th June 2013


21st June - 4th July 2013
Austin Forum, London.

Preview: Thursday 20th June, 6-9 pm

Ed Allington | Jo Bruton | Bronwen Buckeridge | Jane Bustin | James Capper | Matthew Ensor | Geraint Evans | Nick Goss | Abigail Hunt | Sachin Kaeley | Sam Kennedy | Natasha Kidd | Hannah Lees | Barry Martin | Bruce McLean | Damien Meade | Tom Price | Jo Volley.

An ancient order of friars and a group of young artists will open a new non-profit, contemporary art space in west London with its inaugural show, CHAPTER, on Thursday 20 June.

Priest and artist Gianni Notarianni O.S.A. (Order of Saint Augustine), and artists Robert Phillips, Rose Davey, Donal Moloney, Kieren Reed and Sarah Kate Wilson have invited eighteen established and emerging artists to exhibit in the new Austin Forum, Hammersmith.

The artists have been chosen to represent excellence in a cross section of contemporary art practices, with established artists exhibiting alongside emerging practitioners and with an emphasis on creative ways of responding to the Austin Forum space.

The title CHAPTER, a name given to the friars practice of coming together in the priory to share issues and ideas, alludes to the intentional decision to have no overarching theme for the show, rather a sharing and celebration of contrasting expressions.

Austin Forum Arts
The Augustinian Centre
55 Fulham Palace Road
London, London W6 8AU
United Kingdom


Updated: 7th April 2013

Shape Shifters

Jason Brinkerhoff | Michelle Carla Handel | Damien Meade

4th May - 1st June 2013
ACME Gallery, Los Angeles.

Preview: Saturday, May 4, 6-8 pm

An exhibition of recent works by Jason Brinkerhoff, Michelle Carla Handel, and Damien Meade. All three artists' work reference bodily forms and sensual surfaces. Their work presents three different aspects of abstraction derived from the human body.

6150 Wilshire Blvd.
Los Angeles, California 90048

T: 323 857 5942
F: 323 857 5864
Email: info@acmelosangeles.com

Regular Hours: Tuesday - Saturday, 11am-6pm


Updated: 9th March 2013

Beastly Hall

28th March - 1st September 2013
Hall Place & Gardens, Kent.

Inspired by the historic "Queen's Beasts" topiaries planted in the Hall Gardens, the exhibition presents creatures imagined by contemporary artists.

Francis Alÿs | Charles Avery | Peter Blake | Jodie Carey | Jake and Dinos Chapman | Mat Collishaw | Dorothy Cross | Bouke de Vries | Tessa Farmer | Laura Ford | Nick Goss | Jonny Green | Rachel Goodyear | Thomas Gruünfeld | Damien Hirst | Carsten Höller | Hyungkoo Lee | Sarah Lucas | Susie MacMurray | Rui Matsunaga | Damien Meade | Claire Morgan | Polly Morgan | Nina Saunders | Joana Vasconcelos | Carina Weidle | Hugo Wilson.

Hall Place, Bexley
28 March - 1 September 2013
Hall Place & Gardens
Bourne Road
Kent DA5 1PQ

Updated: 14th February 2013


16th February 2013 - 3rd March 2013
Malgras|Naudet & The Royal Standard.

PV. Friday 15th February 2013, 6 - 9pm @ Malgras|Naudet
[HEAD TO HEAD will also be open 6 - 9pm upstairs in Rogue Project Space alongside the private view of UNSPECIFIC OBJECTS at Malgras|Naudet]
PV. Friday 22nd February 2013, 6 - 9pm @ The Royal Standard

In Belly of Paris, Emile Zola described the artist Claude Lantier (the hero of his novel, The Masterpiece) rearranging the meat products in the window of his cousin's butchers shop. He did this according to an aesthetic sensibility rather than a taxonomy of meat. Chops, confit and charcuterie were instinctively organised into a display that the painter Lantier described as his only true great work. Sales in the shop fell, Lantier was chastised by his cousin and he was never asked to look after the business again. The focus of artistic practice had, in fiction at least, shifted from a rendering of objects in a still life to an arrangement of them.

Artists. Dan Fogarty | Sharon Hall | Rafal Topolewski | Milo Brennan | Tom Fish | Damien Meade | Kevin Hunt | Jo Addison | Laurence Callaghan | Paul Cordwell | Claire Fontaine | Lilah Fowler | Samara Scott | Caroline Achaintre | Tom Railton | Lucy Clout | Matilda Moors | Desmond Church | Benedict Drew | Andrew Mcdonald | Tom Godfrey | Michael White

Open Fridays 12 - 6pm or by appointment
Crusader Mill, 66-72 Chapeltown Street, Manchester, M1 2WH

The Royal Standard
Open Friday - Sunday 12 - 5pm
Unit 3, Vauxhall Business Centre, 131 Vauxhall Road, Liverpool, L3 6BN

Updated: 7th December 2012

Have You Seen Dante?

12 December 2012 - 19 January 2013
Vitrine Gallery, London.

Maurizio Anzeri | David Buckley | Justin Eagle | Samantha Donnelly | Clare Kenny | Damien Meade

Preview Event: Tuesday 11 December 2012. 6-9pm.

A group exhibition exploring the human figure and bodily representations within the practices of artists Maurizio Anzeri, David Buckley, Justin Eagle, Samantha Donnelly, Clare Kenny and Damien Meade. Considered from multiple perspectives, the works in this exhibition do not illustrate the figure in its entirety, but gather some sense of it through fragmentations or marks, presenting representations through an anthropological gaze.

"The human being is this night, this empty nothing, that contains everything in it's simplicity- an unending wealth of presentations, images, none of which occurs to him or is present." G.W.F Hegel, Gesammelte Werke.

Each artist considers the body and representation in a distinct manner, with an interest in how the human form is objectified in contemporary society. They augment our understanding of this depiction, the body often becoming a starting point or 'source material'. The full image of the human form is missing, detached, torn or repositioned, becoming at times a sheer outline or mark of humanness.

Curated by Alys Williams.

VITRINE Bermondsey Street
First Floor, 183 - 185 Bermondsey Street, London SE1 3UW
Wednesday - Saturday 12 - 6pm (& by Appointment)
Visiting Information:
Tube: London Bridge
Buses: 42, 78, 100, 188, 1 and C10 (direct to bermondsey square) or all buses to London Bridge.