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Hawthorne & Heaney visits Bridget Riley at the Hayward

November 20, 2019 by Natasha Searls-Punter

On Thursday we were lucky enough to visit the eagerly anticipated exhibition of Bridget Riley’s most comprehensive body of work (spanning an incredible 70 years), on display at the Haywood Gallery.

It was quite a unique experience in the way that the concept behind the paintings made you really think about the theory behind colour, art is about looking; and this exhibition really brings that to your attention. It was also unique in the physical way that the paintings made your eyes and brain hurt – (but in a good way of course!)

The following images are from my favorite series of works:

Stripes and Diagonals. “At the core of colour is a paradox. It is simultaneously one thing and several things – you can never see colour by itself, it is always affected by other colours.” (Bridget Riley, 2009).

Bridget Riley, Chant 2, 1967

Finding that colour is unstable and tangible, Riley used stripes and to bring about powerful colour interactions – pairing or grouping colours along horizontal or vertical stripes, mixing and creating an illusion of hues.

This was one of my favorite series as the work is simple, in the form of perfect clean lines of pigment, but the mixture of colours really make your eyes work and see colours that aren’t there. It isn’t until you go close up to the painting that you can really see what colours the paintings really possess.

Curves “When colours are twisted along the rise and fall of a curve their juxtapositions change continually” (Bridget Riley, 2009).

This series really made my head go in a spin – I think that even from the photos that I took, you can see the illusion of the waves moving and swirling. It is amazing to think that the paint is static, yet with the application of line and colour, there is so much movement.

Bridget Riley, Drift 2, 1966

Studies “The working process is one of discovery and it is worth remembering that the word discovery implies an uncovering of that which is hidden.” (Bridgit Riley, 2019). – I love this quote – it complies the meaning of creative experimentation perfectly.
I found this part of the exhibition fascinating as it showed us the ideas and some of the mathematical and theoretical workings behind the pieces. They were in themselves, very much pieces of art – intricately applied and thought out. It also made you really appreciate just how much thought and time goes into creating the final pieces of work.

Riley produces full-scale preparatory drawings, from which studio assistants under her assistance complete the final work. This gives her the time to solely work on the theory and studies behind the paintings.

Black-and-White “The basis of my paintings is this: that in each of them a particular situation is stated. Certain elements within that situation remain constant. Others precipitate the destruction of themselves by themselves.”(Bridget Riley, 1965).

Bridget Riley, Fall, 1963

Bridget Riley, Blaze 1, 1962

Even with the absolute basic level – simply black and white paint, the illusion is arguably even stronger. Maybe it’s the contrast or the simplicity that draws it back in but it was an amazing way to end the exhibition.

Overall I was really impressed by the exhibition, I thought it was well laid out and portrayed a real story. The surroundings didn’t take away from the paintings but added something to them – they really made you focus in on the work and allowed space for reflection.

“The eye roams and the brain roams with it. You think you get it, and then you don’t”.

(Guardian, 2019)

The exhibition is on until 26th Jan 2020 and I highly recommend a visit if you get the chance.

Hawthorne & Heaney on the World Illustration Awards 2019

July 15, 2019 by Natasha Searls-Punter

The Association of Illustrators (AOI) have partnered with the Directory of Illustration to bring another year of the World Illustration Awards. With over 3,600 entries, the judges have whittled them down to the final shortlisted 200, showcasing some amazing and diverse up and coming talent. The show has been held annually, in various forms for over 40 years now. Categories range from children’s books to experimental designs.

Full of clever, quirky designs and powerful messages. Important and popular themes such feminism, gender equality, environmental change and the power of technology were all covered throughout the art shown. As well as a broad range of subject matter and mediums, with works in graphics, embroidery and even plasticine!

If These Walls Could Talk by Astrid Jaekel, 2019.

One of my favourite pieces, shown below, Karolina Miękisz has focused her work based on a New York Times article “CSI: Earth” by Gavin Schmidt, where the idea that fingerprints can be traced to find out who and what is responsible for climate change. In the small but effective little artwork, the image slowly moves to show the finger prints moving and spreading into the sky, like smoke out of a factory chimney. Hopefully this gets more of us thinking about our own environmental fingerprints and encourage us to do something to reduce them and help tackle the huge problem of climate change.

Who is to blame? By Emilia Karolina Miękisz, 2019.

Modified Man by Tim Easley, 2019.

Tim Easley’s brief was to design an album cover for the band Modified Man. Taking into account the bands electronic sound, his vision to create a circuit board visual has come to life. Using plasticine and hand techniques to create the intricate work, piece by piece of plasticine layers, the overall effect looks quite something. A really original way of creating this circuit board pattern, Easley shows there are other ways to take illustration.

(Left) Stand design for Freda at Stylist Live by Hazel Mead, 2019. (Right) Alphabets: Phenomenal Women by Elen Winata, 2019.

Gender equality and the promoting of female empowerment were other strong themes within this years exhibition. I was especially drawn to these two based on the bright colours, cool layout and little female icons covering both. In Stand for Freda, the message ‘Period products for all.’ as one of the many slogans within promoting a no shame policy when it comes down to the topic of periods and that free sanitary products should be a basic human right.

Alphabets: Phenomenal Women, show a different branch to female empowerment through capturing our most famous and treasured female icons through time in these fun, stylistic illustrations. The idea that this could educate and teach girls to look up to these kind of role models and inspire them to achieve greatness.

Under the Skin of Endangered Animals by Under the Skin (Duo, Ed and James Harrison), 2019.

Of course, in the current state of the world, issues of the environment, ocean plastics and our endangered species have been another strong topic I’ve seen. Duo Ed and James Harrison are brothers and have teamed as designers to make ‘Under The Skin’, who donate 20% of print sales to charities that specifically work to protect the animal within the print.

Under a UV light, the beautiful animal illustrations show the inner skeleton of the animal is seen, “all that remains if a species falls into the darkness of extinction”. This thought provoking and clever way of incorporating design, activism and unusual materials is a fun way of getting across a strong message and a lot of people stopped to have a go with the UV torch!

Overall, the finalists this year have impressed me. A range of entertaining, interesting and thoughtful works. An exciting exhibition and one to definitely have a visit too.

All images from:

Association of Illustrations, World Illustration Awards 2019: https://theaoi.com/world-illustration-awards/

By Abi Tominey-Smith

Hawthorne & Heaney visits the Sunbury Embroidery Gallery

February 7, 2019 by Natasha Searls-Punter

It is safe to say that there are not that many places around that can say that they are a gallery dedicated to embroidery, but The Sunbury Embroidery Gallery is one of those few. Located in the very quaint Lower Sunbury in Middlesex, this collection of traditional embroidery makes for a highlight in an already lovely bit of the world. Only 3 miles down the river from Hampton Court (where the Royal School of Needle Work is) makes this area a bit of the stitching hotspot.

The gallery is situtated within a historic walled Garden, displaying a collection of work celebrating the local area and commemorating the Millennium. All the work was completed in the year 2000 by 140 local embroiderers taking around 100,000 hours, all overseen by Pam Judd.

In the body of the village panel, a great variety of thread and stitches have been used to build up the effect. Silk shading and french knots are widely used, with some parts stitched separately and applied on later in a stumpwork style giving the piece more depth.

On either side of the village panel are 120 tent stitched community logos showing the supporting organisations such as Spelthorne council. Along side the permenant embroidery exhibit, they have temporary exhibits from other artists such as the current exhibit Jason Hart: A Passion for Wood and Carol Naylor: A Stitched Timeline which goes on display from 26th Feb 2019. Though the gallery may be small, it is a lovely example of community spirit in the form of traditional embroidery. Open Tuesday- Sunday 10am-4pm, admission is free though donations are welcome as it is run by volunteers. The Sunbury Gallery, Walled Garden, Thames Street, Sunbury on Thames, Middx, TW16 6AB

Hawthorne & Heaney visits Anni Albers at Tate Modern

January 21, 2019 by Intern

Six Prayers (1966-7)

Anni Albers (1899- 1994) was a leading innovator of 20th Century modernist abstraction. Her work combined the ancient craft of weaving with the ideas and styles of modern art. She was a lady of many trades: an artist; a designer; teacher and a writer. The exhibition explores different aspects of her life: how her work transitions and evolved as she experienced new things as well as the processes she used to develop her ideas about textiles.

Anni Albers’s eight-harness Sructo-Artcraft 750 loom (Date unknown, wood and metal)

Her career and passion for weaving started when she began her studies at the Bauhaus (Weimar, Germany). It was her that she met her husband Josef Albers. They emigrated to the US (after the rise of Nazism in Germany resulted in the closer of the Bauhaus) where they both became teachers at the Black Mountain College in North Carolina.

Development in Rose II (1952- Linen)

This piece has a subtle colour palette with black used to creates accents within the weave. Lots of texture is created with small twists and knots throughout. These are achieved using a technique known as leno or gauze weave; the vertical warp threads twist over each other around the horizontal weft threads.

Top left to bottom right: Anni Albers and Alexander Reed: Necklace (c.1940- plastic rings on black grosgrain ribbon), Necklace (c.1940- Bobby pins on metal-plated chain), Necklace (c1940/88 reconstruction of the original made by Mary Emma Harris, Eye hooks and pearls on thread), Necklace (c.1940s- Aluminium washers and red grosgrain ribbon).

An interesting section of the exhibit was a glass box filled with wonderful jewellery creations by Anni and a colleague, Alexander Reed. The necklaces shown at the exhibition feature everyday objects such as bobby pins or metal washers. These pieces take items that are mundane and turn them into something unique and sophisticated. Anni Albers was definitely ahead of the times with her inventive ideas, clearly demonstrated here!

Open Letter (1958, cotton)

Featuring a wide range a weaving techniques, Open Letter is a striking monochrome piece. Accents of red are dispersed throughout, breaking up the linework that is similar to zentangling that is seen throughout illustration work popular today. Each column of the piece is constructed from little bars, each with their own personality and style.

Dotted (1959, wool)

This piece was among many ‘pictorial weavings’, created as artwork to be hung as opposed to fabric for everyday use. Utilising an ancient technique, Anni was able to create bobbles on the weave surface. The gradient of colour and the scattered placement of the dots results in a highly textured, playful piece of work.

Intersecting (1962, Cotton and rayon)

Using only four colours for the plain weave ground, a floating thread has been used to create a raised brocade effect. The unplanned nature of these threads was very pleasing to view; the organised base with the random thread creates a visual oxymoron. Work similar to this one stemmed from drawings of knots, tangled lines and mark making that Anni Albers created.

Overall, the exhibition was an excellent glimpse into the creative-mind and thought process of a lady who was an innovator, ahead of her time. This is not a display to be missed, if you get the chance to see it as it closes soon!

By Amy Pickard. All photos by Amy Pickard.

Exhibition Details:

Anni Albers Exhibition

11th Oct 2018- 27th Jan 2019

Tate Modern

53 Bankside, London SE1 9TG

Open:

Sundays to Thursdays: 10:00- 18:00

Fridays to Saturdays: 10:00- 22:00

Ticket Pricing:

Adults £18 / Concessions & Student £17

See the Tate Modern website for further discounted tickets and details.

Hawthorne & Heaney Visits the Yayoi Kusama Exhibition

December 13, 2018 by Intern

The exhibition features new paintings, including works from the iconic My Eternal Soul series, painted bronze pumpkin and flower sculptures, and a large-scale Infinity Mirrored Room, created for this presentation, Kusama’s twelfth exhibition at the gallery.

Yayoi Kusama exhibition Victoria Miro: Infinity Mirrored Room, 2018

Upon arrival, we were ushered up a vertigo inducingly narrow staircase into a dark upstairs, after a brief queue, we were told that we will have 60 seconds in the Infinity Mirrored Room. Infinity Mirror Rooms are an iconic staple of Kusama’s repertoire of work; once these rooms open their doors to a new city, social media swiftly becomes inundated with these tiny universes of cosmic infinity. 60 seconds is nowhere near long enough to fully appreciate this all encompassing experience, however one cannot complain as the queue was but a fraction of the size of a theme park’s.

Courtesy Ota Fine Arts, Tokyo/Singapore/Shanghai and Victoria Miro, London/Venice. © YAYOI KUSAMA

In the following room, we were greeted with the vision of three immense spotted pumpkin sculptures, another recurring theme in Kusama’s work. Accompanying the sculpture are paintings from the series ‘Dots Obsession’ and other polka dot dominated paintings, this is almost a real-time amalgamation of the whole body experience from the Infinity Room and the everyday life as we see it; fusing both installation and painting together to create a quasi-reality.

Courtesy Ota Fine Arts, Tokyo/Singapore/Shanghai and Victoria Miro, London/Venice. © YAYOI KUSAMA

Once through this room, we were guided outside to step amongst three larger-than-life sculptures of childlike fantasy polka dotted flowers. Walking through this sculpture terrace feels like entering a scene from The Day of the Triffids, only on a sugar high. Kusama’s poignant hallucinations, for which her art is therapy, are clearly an inspiration for these gigantuan florals. Almost in correlation with Kusama’s rise to fame in recent years, has been the explosion of discussion around mental health and destigmatisation of mental illness.

Courtesy Ota Fine Arts, Tokyo/Singapore/Shanghai and Victoria Miro, London/Venice. © YAYOI KUSAMA

The final room in the exhibition consisted of a wall of 20 square canvases presented edge to edge; each canvas shows a completely unique composition, we could gather no running theme in these paintings bar Kusama’s distinctive painting style. The sensation of feeling overwhelmed returns; each canvas portrays a keyhole insight into Kusama’s mind, thousands of tiny staring eyes wriggling around in the negative space upon the canvas surface. The shapes appear to move around your peripheral vision; as if they are slothing about when their guardian is not watching.

Our intern stood next to the paintings for some size reference!

We left the exhibition feeling satisfied that our pattern cravings have been satiated – for the meantime at least! Although small, the exhibition packed a mighty, colour filled punch. We’ll be keeping our eyes peeled for the next Kusama exhibition in London anytime soon and will be sure to let you know in advance!

Yayoi Kusama – The Moving Moment When I Went To The Universe Exhibition Visit

3 October – 21 December 2018

Free Timed Tickets, Currently Sold Out

Victoria Miro Gallery, 16 Wharf Road, N1 7RW

By Jessica Strain

Frida Kahlo: Making Herself Up – Exhibition Visit

September 5, 2018 by Natasha Searls-Punter Leave a Comment

The exhibition Frida Kahlo: Making Herself Up is currently at the Victoria and Albert Museum in London and we recently took the chance to visit. This unique show gives a detailed overview of Kahlo’s life: her family and heritage; her politics; her relationship with mural painter Diego Rivera; the near-fatal accident that caused her a lifetime of pain; and most importantly, how she constructed her image and the way in which she lived her life.

Upon Kahlo’s death in 1954, her husband Rivera locked up her most valuable possessions in the bathroom of the Casa Azul (The Blue House, their home in Mexico) and instructed that it not be opened until 15 years after her death. In 2004 this bathroom was opened, and the contents of the room went on display at the Casa Azul as a museum dedicated to her life. These objects are what now fill the exhibition space at the V&A, carefully shipped thousands of miles to be shown outside of Mexico for the first time.

The exhibition begins with old photographs of Kahlo and her family, some of which are adorned with Kahlo’s handwritten notes. Some simply label family members, whereas others are more personal: for example, on the back of Kahlo’s Communion photo she has scrawled “¡IDIOTA!” as she renounced Catholicism later in life.

The show continues through a series of rooms to Kahlo’s accessories: heavy jade necklaces; crescent earrings featuring paired birds, which are traditional of Mexican jewellery; and hand-woven ‘Rebozo’ shawls and ‘Morrale’ sack bags. These items highlight Kahlo’s pride in her Mexican heritage.

We then move on to Kahlo’s possessions, perhaps one of the most personal parts of the exhibition. Intimate items are on display such as used lipsticks and empty medicine bottles accompanied by letters to and from her various doctors.

Kahlo’s suffering due to childhood polio and a car accident at the age of 18 lies at the foundation of some of these objects. For most of her life she wore uncomfortable corsets to help support her back and alleviate pain, some of which were made of plaster and decorated with painting as Kahlo used them like a canvas.

Finally, the main feature of the exhibition is a stunning display case of Kahlo’s clothing. Kahlo is renowned for her combinations of indigenous garments from different regions of Mexico, and she was photographed in such outfits many times. To see them up close in real life is breathtaking.

Detailed embroidery is present in most of the outfits, from complexly shaded flowers and birds to cross stitch to traditional Chinese embroidery (due to Kahlo’s fascination with Chinatown when she moved to the USA with Rivera). The exhibition gives details of her most striking outfits, describing how she was followed by children when in the USA, who asked “Where is the circus?”.

There are some of Kahlo’s paintings – mainly self portraits as she used herself as a subject when painting from her bed – but the exhibition mainly focuses on Kahlo’s items and how she presented the complex layers of her identity within her life. It states that her wardrobe was not staged: she dressed up even when she wasn’t expecting visitors, and even when she was in bed rest.

Frida Kahlo: Making Herself Up is a bewitching and intimate exhibition. The items on display are fascinating, and through them the personal details of how Kahlo naturally lived an artistic life – despite her misfortunes and pain – are revealed. A must-see for anyone interested in textiles, and anyone interested in Frida Kahlo’s complex and inspiring life.

Purchase tickets at the V&A website here.

Written by Laura Hill

Hawthorne & Heaney visits the Von Unwerth Exhibition

June 28, 2018 by Natasha Searls-Punter

A few weeks ago, we seized the opportunity to visit the new photography exhibition at Opera Gallery. Featuring german photographer Ellen Von Unwerth, titled ‘Ladyland’, whose fashion work have been published in American, Italian, and British Vogue, Interview and Vanity Fair . Stepping into the gallery, we were greeted by a series of playful yet sensual photographs, which are Unwerth’s celebrated style. Although provocative in nature, there is an atmosphere of silliness and spontaneity, we often do not see in fashion and beauty photoshoots.

Upon unearthing more about Unwerth, we discovered that much of her photo taking style is attributed to her experience as a model. She explains “I know how vulnerable and naked people can feel in front of the camera, so I’m very positive.” She gives girls roles to play, for example, because she found the lack of freedom to express herself as a model frustrating. “I like to go big and wild! I want the models to be silly in front of the camera, I want them to live their life!” Being frustrated with standing still in fashion shoots, Unwerth decided to be behind the lens instead, giving her subjects the freedom to be silly.

In some of her photographs, the spontaneity shines through in absurd poses that happen often when the models think she has finished shooting. This contributes to the feeling of movement, and heightens the carefree spirit that runs through much of her work, that makes it so appealing.

Check out her work! It is definitely not unwerth it to see.

Hawthorne & Heaney Visits the Louise Dahl-Wolfe Exhibiton

January 25, 2018 by Eleanor Rowlands

The Fashion and Textiles Museum, London, has just opened an exhibition dedicated to Louise Dahl- Wolfe, an American photographer who is credited with modernising fashion photography. The exhibition spans the the whole of the long gallery as well as part of the upper area. It looks at Dahl-Wolfe’s early works and how she defined the image of the post war women. It has over 100 photographs on display which some contain the work from various designers such as Chanel, Balenciaga and Dior.

Located in the long gallery, you must first pass a room on the left which currently has a small display of work from Wallace Sewell, who designed the upholstery fabric for Transport for London, continuing on you walk through a corridor of Dahl-Wolfe’s colour Harper’s Bazaar covers and enter a large open space full of beautifully framed photos. The airiness of the room allows the work to breath and gives you space to enjoy it.

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The gallery displays mainly black and white image from Dahl-Wolfe’s career as well as a selection of coloured work. Dahl-Wolfe trained in San Francisco’s Art Institute in 1914, and it was here that she took classes on anatomy, composition and colour theory fundamentals. These proved to aid her later in life when starting out in photography.

Dahl-Wolfe’s first photo to be published, Mrs Ramsey, was in Harper’s Bazaar’s November 1933 issue. Mrs Ramsey was Dahl-Wolfe’s neighbour when her and her husband moved to Tennessee. As with a lot of Dahl-Wolfe’s photos there is an element of calmness about them whilst simultaneously displaying the soul and character of her subject.

Hawthorne & Heaney Visits the Louise Dahl-Wolfe Exhibiton London Hand Embroidery — Mrs Ramsey,Tennessee-Smokey Mountians,USA,1931

Dahl-Wolfe started working at Harper’s Bazaar from 1936 until 1958. During this time they published 600 coloured photographs, 3,000 black and white images and 86 front covers taken by the artist. During her Hollywood period, 1938-1946,Dahl-Wolfe shot on her Rolleiflex camera using natural lighting and had her models posing outside, providing an alternative to the “clever lighting and retouching”1 that was already apparent within the industry.

Even within the black and white photos Dahl-Wolfe took, the texture and material of the clothing still stood as as one of her key focal points. This was achieved by clever set dressing and good use of composition within the photographs.

Continuing through the exhibition it looks at Dahl-Wolfe’s era within Fashion photography, 1938-1949. When Dahl-Wolfe started, fashion photography was still among its early stages, this meant that there was room to develop and evolve the practice. Took in a variety of settings including Arizona, California Desert, North Africa and Mexico Dahl-Wolfe’s photos erd towards simple compositions that compliment the Dior and Balenciaga dresses.

Dahl-Wolfe had a knack for capturing her subjects unaware and in seemingly natural movements. Mary Jane Russell, who was one of the most successful fashion models of her time, worked with Dahl-Wolfe for over 12 years, producing 8 Bazaar covers and 100’s of editorials and adverts.

The exhibition has a good amount of information spanning Dahl-Wolfe’s early career and through to her retirement as a photographer. It is running from 20th October- 21st January 2018 at the Fashion and Textiles Museum, London. Prices are £9.90 for adults, £7.70 concessions and £6 for students (Remember your Student ID).

All images and videos courtesy of Charlotte Pearson (@c_textiles) unless otherwise stated.

[1] Louise Dahl-Wolfe- A style of her own, Fashion and Textile Museum. Pamphlet pg.3. 2017.