Fine Art Collector | Autumn 2017

FINE ART COLLECTOR AUTUMN 2017 UK £3.00 US $5.50 WASHINGTONGREEN.CO.UK

TAKING LOWBROW TO A HIGH LEVEL XUE WANG IMAGINE WE PUT THE CAREER OF ALEX ECHO UNDER THE SPOTLIGHT

THE FUTURE OF ART THE CHANGING FACE OF ART IN TODAY’S DIGITAL REALM

WHAT’S HOT FOR AUTUMN/WINTER 2017 Autumn 2017

PLUME

DISCOVER A VOYEURISTIC AND HYPNOTIC NEW DIMENSION OF ART

Contemporary art from the country’s finest artistic talent, chosen by Washington Green Fine Art for you. YOUR WORLD OUR ART ®

washingtongreen.co.uk

Nigel Humphries | Swing Into Action

From the

Editor Welcome to the AUTUMN 2017 issue of Fine Art Collector . As is so often the case, the transition between seasons prompts a period of reflection. Thus far, 2017 has taught us to expect the unexpected, prepare for the inconceivable, rally when threatened and to challenge the norm. Art, thankfully, is impervious to world events, and continues to present us with a portal away from events around us. It counteracts reality with realism, juxtaposes fantasists with fantasy and tackles classicism with classical. Taking art as our compass through life’s journey, who wouldn’t want to immerse themselves in the safety of childhood superheroes captured so brilliantly by Nigel Humphries, lose themselves among the crowds in Paul Kenton’s enticing cityscapes or retreat to the peaceful isolation of Richard Rowan’s Icelandic landscapes showing the aurora borealis in all its natural glory? The human spirit takes nourishment and succour from things of beauty, and actively participates in the alternative reality gifted to us by artists – a sentiment echoed by Anais Nin “I will not be just a tourist in the world of images” Continuing the theme, this issue touches on the concept of art and its challenges, from museums struggling to evolve their practices and adapt to a world of funding cuts, to the difficulties faced when art is thrown into a modern realm where digital reigns supreme and usual rules of engagement lay discarded on the studio floor. So, Collectors, we encourage you to sit back, absorb, ponder and debate the very best that AUTUMN 2017 has to offer.

FineArtCollector ispublishedbyWashingtonGreenFineArtGroupLimited. Email art@washingtongreen. co.uk Website washingtongreen.co.uk Alltheartfeatured inFineArtCollector isavailablethrougha networkofPartnershipGalleries.Visitourwebsiteatwashingtongreen.co.uktofindyournearestgallery.The imagescontainedwithinthis literatureareanartistic representationofthecollection.Tobestexperienceourart, we recommendyoucontactyour localgallerytoarrangeaviewing.Prices illustratedthroughoutthismagazine are recommended retailpricesandmayvarybetweenPartnershipGalleriesdependingonstylesofpresentation.

FINE ART COLLECTOR AUTUMN 2017 1

©2017WashingtonGreenFineArtGroupLimited.Printed InEngland

Editor: Daniela Lacey Contributors: Daniela Lacey, Michael Perry, Parveen Kauser, Monika Adamska Charlotte Brazier, Robyn Smith Creative Director: Ak Suggi Designers: Matt Johnson, Christy Guan, Mikyla Edwards Special Thanks: Alex Nicholson-Evans , Koestler Trust and Mauro Paiano

On The Cover Xue Wang

Trends From the Wider World of Art And the part our artists play 18

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CONTENTS

38

Championing Change Exclusive interview with Alex Nicholson-Evans, Commercial Director at Birmingham Museums Trust

Xue Wang The dizzy heights of lowbrow art

48

64

Plume The next steps for our IN:SIGHT success story

Alex Echo A snapshot showcase of his philanthropy, philosophy and passions

70

80

Unlocking the Influence of Art Find out why more and more employers are harnessing the power of art

The Future of Art The dawning of a digital age

90

Christmas Gift Guide 108

Something special for the art lover in your life

110

The Art Our Artists Love Ever wondered what's on our artists' walls?

A Splash of Art History Some fun trivia from the annals of art news

106

In Every Issue 1. From The Editor 30. The Social Edit 60. The Studio Sessions 78, 100. In The Frame Throughout In the Gallery

Your World, Our Art When our art finds a home with you...

FINE ART COLLECTOR AUTUMN 2017 3

Behind the scenes at the museum

WITH ALEX NICHOLSON-EVANS, COMMERCIAL DIRECTOR FOR BIRMINGHAM MUSEUMS TRUST

What opportunities does your role present you with that you might not otherwise experience? The commercial avenues I mentioned previously are pivotal to the ongoing financial health of the Birmingham Museums Trust. I am continually exploring ways of maximising their potential for growth, and that in itself has created some very exciting experiences for me. Whilst the phrase may be reviled by some, we must get better at ‘sweating our assets’ which in this case is Birmingham’s fantastic collection! We need take them from being educationally and

Talk to us a little about your role as Commercial Director for Birmingham Museums Trust… My role has two main areas of focus: I look after Birmingham Museums Trading Ltd, our trading company and I also have leadership of our heritage sites (previously known as our community museums) Aston Hall, Museum of the Jewellery Quarter, Sarehole Mill, Soho House, Weoley Castle and Blakesley Hall. When it comes to trading, we have three core areas; Food and beverage (our cafes and restaurants), Retail (the museum gift shops) and Conference and Banqueting (hiring out our unique spaces).

inspirationally of value, to something that also generates greater revenue for the Trust. We must ensure we are sufficiently commercially- minded to ensure the charitable trust is able to carry on doing what it does best; engaging communities and enthusing the next generation of Einsteins and Picassos. For example, we have recently announced a ‘Drink & Dine with Dippy the Dinosaur’ corporate package for our 2018 programme, which will allow guests to enjoy superb hospitality alongside Dippy when he is on loan to use from the Natural History Museum next year. We are getting much better at using our spaces

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incredible collection, has seen the team and I step outside of our comfort zones and work harder on product development. My view is that the collections within the Birmingham Museums are certainly inspirational enough to warrant their own bespoke product ranges, it’s purely a matter of deciding on the areas within our collections, choosing the products that best compliment them and finding a supplier who can deliver what we want. An example of an item that is very shortly to come to market is the umbrella we have had designed, which looks to be plain black on the outside but you open it up and inside is a replica of the great ceiling at Aston Hall. It really is a thing of beauty! Birmingham Museums Trust, and museums in general, face these days? I doubt you will find a director in the country who wouldn’t say funding, especially for regional museums, these days. The problem is twofold: the public do not always realise that Birmingham Museums is an Independent charitable trust, instead thinking we are part of the City Council. This certainly impacts the public’s willingness to donate. Also, public funding is in decline, and has been over the past five years or so. The trust has been affected by a drop in external funding, and our organisation has shrunk astronomically as a result. We find ourselves, as a sector, trying to do more and more with less and less and this does lead to growing What are the biggest challenges that the

brought a buzz to Aston Hall in September.

creatively to the benefit of our bank balance as well as our audiences. Examples include the Silent Disco we’re hosting in our Edwardian Tearooms, and the Independent Birmingham Festival that

Similarly a focus on our gift shops and seeing the potential of bespoke products as a result of Birmingham’s

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museums operate in the next 5-10 years?

frustrations among all parties involved. It’s often difficult to reconcile a vision for how good things could be, with the realities of budget and resource limitations. How has the landscape changed for museums in recent years, and how are you evolving to stay current? Relating to my earlier point about public funding, we must work solidly to change what would once have been seen as secondary spend, secondary priority, into a primary source of income. For example, I think perhaps museum cafes in the past might not have given much thought to food trends, the quality of the coffee they serve and indeed the environment in which visitors can sit and enjoy refreshments, whereas we now recognise

that this needs to be an area of focus for us. Our offering in terms of visitor journey must be consistent, and every area of experience must be reflective of the quality of our collections. Nowadays, we make decisions on menus in line with other destination restaurants instead of exclusively comparing with other museums and I think cross- sector benchmarking will become increasingly relevant. We absolutely should be looking at who our non-museum competitors are in the conferencing and banqueting market, for example, instead of solely pitching ourselves against other cultural organisations. What do you think will be the biggest changes to the way

I would be very surprised if we don’t see more museums taking bolder investment decisions, such as property portfolios, car parks etc – in fact, we are starting to see that already – to increase revenue beyond the three core trading areas I mentioned previously. I also think that how we evolve our digital landscape will be interesting to see, and I see it following one of two paths: either we will become so much more focussed societally around technology, with apps and smartphones growing more sophisticated by the day, that exhibitions will become even more interesting and interactive, with digital add-ons providing a higher

“it doesn’t matter whether someone is inspired by walking into a retail gallery on their local high street or one of the big national museums, as long as we – as an industry – continue to inspire.”

FINE ART COLLECTOR AUTUMN 2017 7

to inspire. From our collection of Pre-Raphaelites to the many contemporary exhibitions that retail galleries curate throughout the year, we’re all chasing the same goal, which is to cultivate a love for the arts that transcends all genres and price points. We offer elements that retail galleries can’t, but vice versa. For example, we certainly don’t have the advantage of inviting our visitors into the museum to meet with Rossetti or Millais at an artist appearance! Who is your audience? Do you have programmes in place actively to drive diversity & widen your appeal? Our mission is to reflect Birmingham to the world, and the world to Birmingham, so we do truly consider our audience to be global in the respect. Courtesy of our touring exhibitions, people across the world will have the advantage of enjoying the collections that usually take

is sufficiently engaged with a piece it shouldn’t matter what that piece is, where it’s on view, whether or not it’s for sale and indeed who created it. It’s merely enough that it sparked a curiosity in someone, and started a conversation. Are works of the great Masters lessened through being sold at auction, are they made less credible for being in privately owned collections…? No, not at all. I prefer to think that good art is simply good art, and should be experienced and enjoyed as such. How do you feel that museums and retails galleries sit alongside each other in today’s cultural offering? In my opinion, it doesn’t matter whether someone is inspired by walking into a retail gallery on their local high street or one of the big national museums, as long as we – as an industry – continue

level of visitors engagement and learning potential. Or conversely, visitors to physical museums may dip as virtual worlds continue to develop and we need to be ready to play a different role - how can virtual reality be used to put a pre-Raphaelite in the home, for example? We are already reaching new audiences through livestream tours of some of our exhibitions and I would like to see more curated digital gallery tours and educational talks, so anyone around the world can watch and feel involved in what we offer here in Birmingham. There is quite often a divide between what is deemed fine art by the establishment, and that which is seen as being too commercial to be credible. Should retail be a dirty word in the art industry? No, I don’t believe that it should. Art by its very nature is simultaneously subjective and inclusive, and if a person

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have to be braver and make bold decisions, because if we don’t make these decisions, and we don’t find new ways to generate income, it will all have been in vain because our doors will close and we will have nothing to show for our efforts. That’s not to say I don’t still have the odd sleepless night about arranging banquets in unusual and precious spaces, case in point the Great Hall at Aston Hall, but to me it’s all about balancing the risk with the reward. You will never find our team serving a beetroot canapé, for example, just in case one should inadvertently end up staining the historic limestone floor, but we’ve learned to use the space in a respectful way so that people can now enjoy it just as Sir Thomas Holte would have enjoyed it with his friends and family back in the 1600s. And isn’t that magical...the traditions of yesterday are now part of the solution towards guaranteeing a safer tomorrow for these iconic buildings and the treasures contained within them.

to keep the momentum going. For example, Ignite is a forum for 16-24 year olds that allows the younger generation to immerse themselves in the arts, from co-creating galleries with our team to running tours that they have developed themselves through our learning programmes. This programme will develop over the coming year as we work with partners to engage younger people in the city. You are essentially safeguarding the many treasures in Birmingham Museums for generations to come… Does the responsibility weigh heavily? What legacy would you like to leave behind from your time at BMT? traditionally very risk averse, most likely because they have guardianship over priceless and historically important treasures, and are responsible for preserving them for generations to come. But I believe, in order to survive, we In short, yes it does weight heavily. Museums are

pride of place in and around Birmingham. Reaching the widest possible audiences is incredibly important to us. We continually strive to find new and exciting ways to engage the city’s young, multicultural audiences and international visitors to our museums. Community engagement is at the heart of our approach, and we run a range of initiatives

If you would like to support the work being done by the Birmingham Museums Trust, you can donate online [ https://www.justgiving.com/BirminghamMuseums ], encourage your workplace to offer corporate support, or become one of the Trust’s valued members or patrons. For more information, please visit http://www.birminghammuseums.org.uk/support-us

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I N T H E GA L L E RY

PAUL KENTON

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“My cityscapes reflect the many moods of manmade landscapes. I love to capture the spirit of a scene, adding layers of depth and expression which just can’t be captured in a straight pictorial study.”

� LastLight

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� AboveAll

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� UrbanOverlook

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� Monochrome

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I N T H E G A L L E R Y Paul Kenton

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I N T H E GA L L E RY

STUART MCALP INE MI LLER

“Warhol's views on mass consumerism and the way he translated these into his art is something I really relate to and I hope my art does something similar and stands the test of time.”

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I N T H E F R A M E Stuart McAlpine Miller

� CircusSkills BoxedCanvas Editionof25

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FINE ART COLLECTOR AUTUMN 2017 17

TheWider World Of Trends

From

Art

Towards the end of 2016, industry experts and insiders clamoured to forecast how the art world would be affected by the onslaught of social and political changes afoot. Following scandals at both Sotheby’s and Christie’s, then faced with Brexit, Trump,

an immigration crisis and a new wave of ‘fake news’ all compounded the need for transparency and truth among collectors in an otherwise uncertain time. A move into the digital world of augmented and virtual reality

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� TheHeartOfTheKing GicléeonPaper Editionof150 ImageSize22"x14½" FramedSize32"x26" £295

� MarilynWith

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as an artist medium casts ever more shade across the truthfulness of art, which has resulted in several ongoing trends. Taking photography as one example, it would appear society has performed a volte-face and now unfiltered manufactured images cannot. Movement and spontaneity are key, photography now needs to tell a story and demonstrably capture and preserve a moment that is uncontrived and without guile. Turning to our own artists, we can see this exact theme present in the photography of Eve Arnold, Luiz Paulo Machado and Terry O’Neill, the latter of which provided the base images for Simon Claridge’s most recent silkscreen collection in May 2017. Whilst their subjects were all different, these three photographers were all famed for their ability to develop a sufficient rapport with their subjects that allowed them to move amongst them unobtrusively and capture the iconic right time, right place shots that others could not. and candid portraiture provides the authenticity that the more prolific

FINE ART COLLECTOR AUTUMN 2017 19

1mm squared. Viewed with the naked eye, one can just about detect that Mona Lisa’s right pupil has something within it, however one can only establish that this is in fact a miniature portrait with the assistance of a strong magnifier. Wigan, who has to go into a trance-like meditative state to slow down his nervous system so that he can work between heartbeats, has somehow managed to capture the Mona Lisa’s distinctive features on the most minuscule of canvases. Lorenzo Quinn also made waves this year, with his monumental sculpture at the Ca’ Sagredo Hotel during Venice Biennale 2017. Launched in May, Support sees two large hands emerging from the Grand Canal to protect and support the historic building of the

Similarly, the respective styles of our other artists have also resonated with current trends, and given them tremendously successful starts to 2017. John Myatt, legendary for his ‘Genuine Fakes’ has collaborated with world renowned micro- sculptor Willard Wigan to produce a one million pound artwork entitled Mona Lisa: Secret In The Eye, which was launched in August 2017 in the heart of Mayfair. John Myatt has excelled himself by painting a perfect replica of the original Mona Lisa, and ‘the greatest micro sculptor on earth’ Willard Wigan MBE has created a minute version of the portrait that features in her eye – painted with the hair of a fly, the microscopic rendering measures under

Ca’ Sagredo Hotel. The hands symbolise tools that can both destroy the world, but also have the capacity to save it.

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Unsurprisingly, the powerful message and the perfect execution of this installation won headlines across the globe and were a permanent fixture on the social media channels of all art lovers and visitors to Venice alike. Happily, the wider art world continues to rally in the face of global challenges, and 2017 has so far witnessed a number of industry highs also. Sotheby’s in New York recorded a record auction result when Untitled by Jean-Michel Basquiat sold for a record $110.5 million (£85m) in May 2017, representing not only a record for Basquiat sales, but also a record for any work by an American artist at auction. This was swiftly followed by another world record-breaking sale

during Christie’s 20th Century Week in June 2017 when Max Beckmann’s Hölle der Vögel ( Birds’ Hell ) sold for £36,005,000, which was not only the highest price achieved for the artist at auction, but

also the highest selling price for an Expressionistic work. These sales demonstrate an enduring confidence in art, and give great hope for many more triumphs for the industry as we look towards 2018.

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I N T H E GA L L E RY

JOHN MYATT

“Although I frequently use modern paints and canvases, the hope is that the finished painting will deceive the eye into thinking that it is seeing a new work by an established master.”

MonaLisa intheStyleof LeonardoDaVinci StrechedCanvas Editionof95 ImageSize21"x30" FramedSize31"x40" £1,650

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Gift

The ofArt

“The artist vocation is to send light into the human heart.” – George Sand (nineteenth century French novelist)

Art truly is the gift that keeps on giving. It inspires, it makes a house a home, it injects creativity into the workplace and it stands the test of time. Privileged are we who work among it on a daily basis, soaking it up, breathing it in and benefiting from the therapeutic traits it has been proven to demonstrate. We are delighted to reveal that we would now like to share this gift with others, and bring a little beauty into the lives of those who deserve it. This is where we will open the floor to you, our valued Collectors, to nominate a worthy recipient to receive their very own Gift Of Art from us. Whether it be a charity close to your heart, a local hospice or even an unsung hero, write to us at marketing @ washingtongreen.co.uk and tell us a little bit about your nomination. We will be making one donation per month, and you can read all about how we’re spreading a little love through art in our Spring 2018 issue.

FINE ART COLLECTOR AUTUMN 2017 23

I N T H E GA L L E RY

AbovetheTrees Glass Editionof150 ImageSize13½"x13½" FramedSize23"x23" £595

MagicatMidnight Glass Editionof150 ImageSize28½"x14½" FramedSize38"x24" £775

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LuckyStrike Glass Editionof150 ImageSize 20.5"x20.5" FramedSize32"x32" £850

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I N T H E G A L L E R Y Richard Rowan

PerfectingBeauty Glass Editionof150 ImageSize20½"x20½" FramedSize32"x32" £850

“I believe the minute I stop learning is the minute I stop painting. Every single painting has a new technique - no one painting can come close to being the same. My obsession with natural light has always been a big part of my work and the key to the beauty of the world around us. I believe my work can open our eyes to the unique treats that Mother Nature can show us.”

FINE ART COLLECTOR AUTUMN 2017 27

1.Swing intoAction 2.ClownPrinceofCrime 3.DoctorStrange 4.Skyward! 5.LassoofTruth 6.ManofTomorrow AllCanvasonBoard Editionsof295 ImageSize11"x11" FramedSize17"x17" £195

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I N T H E GA L L E RY NIGEL HUMPHR I ES

“I have great fun painting the pieces that I do, and enjoy seeing the characters emerge from the canvas and come to life. Being self-taught, I have studied many artists, particularly the techniques of the Old Masters, which I have adapted to suit my own way of working. My style, I think, would be considered as quite traditional but with a quirky element. I suppose my main aim is to bring a smile to people’s faces.”

DoctoratLarge CanvasonBoard Editionof295 ImageSize18"x13" FramedSize24"x19" £250

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Social

EDIT

In the Queen's Birthday Honours accomplished actor, musician, comedian and artist Billy Connolly was awarded a knighthood in recognition of his services to entertainment and charity. Congratulations Sir Billy Connolly!

Stuart McAlpine Miller ’s fabulous home, as featured in The Times .

We MCR. 'The Hive' by Robert Oxley

@xjessleex

Software & game development company, NetDragon Websoft , commissioned @ brittopopart to make a sculpture for their HQ in China. Check it out!

Behind the scenes! Terry O’Neill signing the certificate of authenticity for collection of silkscreen prints by @ simoonclaridge #TerryONeill

Thank you to all who attended today's exhibition and live painting session. Great fun, best show there for years.

@lawrencecoulsonart

We're feeling very inspired at the Amsterdam International Art Fair! Here's a snippet of the amazing talent - including a familiar face!

Fantastic to see @ BritishGQ feature @ urbisrabbit , which is home to fantastic artworks by Alex Echo and @ LouisSidoli

Multi-talented artist @ AndyKinsman joined @ KasabianHQ on stage

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I N T H E GA L L E RY

CRAIG DAVI SON

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“I want my paintings to take the viewer back to a time in their life when anything seemed possible and the whole of their life stretched before them.”

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I N T H E G A L L E R Y Craig Davison

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I N T H E GA L L E RY

DAVID REES

“I want my work to reflect how wild animals are at threat of slipping away from us, whilst at the same time showing how powerful and majestic they are.”

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Mr.Fox BoxedCanvas Editionof150 ImageSize38"x38" £750

FINE ART COLLECTOR AUTUMN 2017 37

Xue

Wang

Xue Wang’s creative impulse is driven by a fascination with childhood paraphernalia: dolls, toys, fairy tales, stage sets, fun fairs and found objects mixed with whimsy. She breathes new life into these personal recollections with an amalgamation of Victoriana, vintage fashion, film noir and iconic pin-up imagery. The latest collection is a continuation of her dark fairy tale theme. In a new series of four extraordinary paintings, Xue’s signature vignettes range from the cryptic to the

cute and we see the return of her big-eyed maidens and kitsch-looking creatures, typical of the Lowbrow art movement in which she finds her roots. As with her previous works, the subjects are the soul of these new pieces, with an intensely curious connection to the world around them. Not for the faint-hearted, Lowbrow just got high end.

Originally coined in Los Angeles, California, Lowbrow

movement began as an underground visual art

movement, which combined comic art and street culture,

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often tinged with a sense of sarcasm and, sometimes, mischievous humour. In contrast to traditional Lowbrow artwork that is commonly produced digitally, Xue’s alternative method of using oil on boards highlights her meticulous attention to detail within each piece. The Head of the Table sees a new painting technique from Xue

that enables her to perfect the jellified effect of the gruesome banquet on the table. The cinematic elements are tinged with darkness in dramatic Hitchcockian studio lighting, which accentuates both the strength and vulnerability in these feminine figures. Xue explains, “My take on the traditional fairy tale is tinged with a sardonic twist. There is

a juxtaposition of light-headed sauciness with the macabre.” Depending on its size, each painting takes between 80-120 hours to complete. Xue uses multiple layers of glazes when producing her infinitely detailed paintings. Ornately carved frames lend the paintings a baroque aesthetic that perfectly complements their enigmatic themes.

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� TheHeadoftheTable CanvasonBoard Editionof150 ImageSize24"x17" FramedSize32"x25" £450

� TheNightBefore Christmas CanvasonBoard Editionof150

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FINE ART COLLECTOR AUTUMN 2017 41

XUE O R I G I N A L S

Original portrait collection by Xue Wang. From £995 Frames for illustrative purposes only

AVAILABLE NOW New collection of signed limited edition artworks by Bob Dylan

I N T H E GA L L E RY

JEFF ROWLAND

“I have always been fascinated by two areas of art: the implicit meaning, and the inspiration, and I am always inspired to experience what I am about to paint. I was inspired to paint a rain-soaked street by films I saw at the cinema. I like to let the viewer make up their own mind about what is happening with the characters in the composition.”

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I N T H E G A L L E R Y Jef f Rowland

LoveBeneaththeBridge CanvasonBoard Editionof150 ImageSize24"x19" FramedSize26"x31" £495

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PLUME In a world of paint and pencil, Plume’s hypnotic ink art has created a startling new dimension.

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FINE ART COLLECTOR AUTUMN 2017 49

The creative duo – comprising graphic designer Ernest Otoo and photographer Andy Pilsbury – wowed our IN:SIGHT 2016 judges with their other - worldly compositions.

explains. “We’re pushing the boundaries to understand the true potential.” What emerged as an outlet for creativity, away from their self-described mundane work routines, has turned into a quest to revolutionise the way we experience ink art. Describing their work as “escapism through exploring”, Plume are inspired by artists like Leif Podhajský, Samuel Burgess-Johnson, Phill Blake and Richard Mosse. For each piece, lighting is set up around a fish tank of clean water. Ernest then drops in the inks to build a composition

Combining high-speed photography, moving images and ethereal soundscapes, Collective Growth seeks to challenge what can be achieved with ink in water. “It’s a voyeuristic look at the hypnotic behaviour of different coloured paints,” Ernest

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FINE ART COLLECTOR AUTUMN 2017 51

whilst Andy photographs the emerging artwork. Finally, the strongest images are retouched to enhance the vibrancy of the colours. The unique result is the metamorphosis of two juxtaposing skill sets. Graphic designer Ernest views art from a technical and design perspective, allowing him to objectively assess the aesthetics of a piece. Conversely, photographer

Andy uses his technical understanding of light to react quickly to the ink movements. Plume are keen to allow viewers to decipher their own message between the mysterious wisps of ink, with Ernest adding: “The medium is naturally beautiful. We didn’t feel there was a need to weigh it down with a deep and heavy meaning; each viewer takes away their own experience.”

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If you would like to follow in the footsteps of Plume and enter IN:SIGHT 2018 entries are now open online www.castlegalleries.com/insight

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I N T H E G A L L E R Y Plume

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I N T H E GA L L E RY

CARLY ASHDOWN

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� LionHeart

CanvasonBoard Editionof95 ImageSize24"x24" FramedSize30"x30" £550

� Rise

CanvasonBoard Editionof95 ImageSize24"x24" FramedSize30"x30" £550

“All my work is an exploration of the experience of being human, encompassing both the profound beauty and possibility of life alongside the struggle that every human being experiences.”

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I N T H E GA L L E RY

PAUL CORF I ELD

� SummerNights CanvasonBoard Editionof150

� Dawn

CanvasonBoard Editionof250 ImageSize8"x8" FramedSize14"x14" £175

ImageSize14¼"x20" FramedSize20¼"x26" £295

� Dusk

CanvasonBoard Editionof250 ImageSize8"x8" FramedSize14"x14" £175

� TheWayHome CanvasonBoard Editionof250 ImageSize8"x8"

FramedSize14"x14" £175

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I N T H E G A L L E R Y Paul Corf ield

"The ideas and inspiration are there all of the time, and it's something I no longer need to go in search of."

� SunriseOvertheVillage CanvasonBoard Editionof150

ImageSize40"x20" FramedSize46"x26" £695

� SunlightOvertheTree Tops CanvasonBoard Editionof150 ImageSize24"x24" FramedSize30"x30" £550

� TheTreeLined Pathway CanvasonBoard Editionof150

ImageSize28"x20" FramedSize34"x26" £550

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Robert Oxley Studio Sessions is back by popular demand! A great many of you, our valued readers, got in touch to let us know which of our artists you’d like us to feature in this issue…and we listened. So, this time, we’re delighted to give you a glimpse inside Robert Oxley’s spare room turned studio in Stockport. It’s not hard to understand why animals are such an enduring subject in his art; upon our arrival the first welcome we got was from his adored border collie, Elsie, and, whilst taking a tour of his creative hub, we spotted endless posters and sculptures of creatures dotted around for the self-taught artist to draw his inspiration. Whilst there, we also caught Robert working on his new autumn releases as well as an exciting project that we’re not allowed to speak about yet, but watch this space…!

sessions The Studio

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I N T H E GA L L E RY

ROBERT OXLEY

� Diplomat

BoxedCanvas Editionof150 ImageSize48"x32" £795

� RanthamboreII BoxedCanvas Editionof150

ImageSize36"x36" £695

� Harambe

BoxedCanvas Editionof150 ImageSize30"x40" £725

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Alex Echo’s artwork is unique and instantly recognisable, using a technique that has never been seen before. His paintings resonate with the beauty and history of Impressionism, yet they speak with a contemporary voice and structure of abstraction and even minimalism.

SUSTAINABILITY In honour of his respect for the country and

landscape around him, Alex strives to work as green and sustainably as possible, using the highest quality water based paints available. The resin he uses to create his unique “liquid effect” is as non-toxic, and low carbon footprint as the technology currently allows.

CHARITY WORK Alex has worked relentlessly for various charities and institutions, raising nearly £660,000.00 ($850,000.00) from the direct sale of his work for a multitude of projects including The Princess Grace Foundation, The Prince’s Trust, Teenage Cancer Trust, Nordoff Robbins, Aids Project Los Angeles, AMFAR, The Elton John Aids Foundation and WaterAid. He also created one of SWATCH Watches’ most successful artist watches, “The Imagine Love” watch. Selling more than 153,000 units, Alex gave all his royalties to send over 80 children affected by AIDS to a healthy summer camp in New York with full health care. Most recently Alex worked in cooperation with HRH Prince Charles and The Elephant Family in London, creating a one of a kind TUK TUK that was auctioned at the private residence of Prince Charles. The sale raised a record £52,000.00 ($81,500.00), the proceeds of which were dedicated to saving the Asian Elephant. New projects on the horizon for Alex include working with the World Food Program, UNICEF and the United Nations.

COLLABORATIONS Alex has worked on exciting collaborative projects with iconic fashion designer, Sir Paul Smith, who developed a fabric design from one of Alex’s paintings. “Classic With A Twist” was used by Paul Smith as a principal print design for his 2011 Couture Women’s Wear line. Alex was able to watch his artwork walk down the catwalk during London Fashion Week. At the request of legendary recording artist and guitarist Eric Clapton in 2012, Alex Echo painted one of Clapton’s own Fender Stratocasters, which was auctioned to benefit the recovery facility The Crossroads Centre in Antigua, founded by Eric Clapton, raising £20,000 for the charity. Alex has created more advertisements for Absolut vodka than any other artist, with Absolut Echo featured in magazines around the world. He created four, 2,000 square foot, hand painted billboards for the brand which ran for one year on the fabled Sunset Strip in Hollywood California. Each of the four billboards cost $175,000.00 to create, and $25,000.00 per month to maintain. His billboards were seen by an average of 45,000 people per day for one year. Each billboard was disassembled and the individual pieces were auctioned off at several charity auctions and raised in excess of $300,000.00 for various Los Angeles charities, including Aids Project Los Angeles and The Venice Beach Food Bank.

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I N T H E GA L L E RY

CAROL INE SHOTTON

"Most of my earliest memories are of playing with paint and crayons and drawing all the time. I've always created work that stems from personal experience, yet allows others to add their own narrative."

AmooricanGothic CanvasonBoard Editionof95 ImageSize25"x30" FramedSize30"x35" £595

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I N T H E G A L L E R Y Caroline Shotton

NapoleonT-Bonaparte CanvasonBoard Editionof75 ImageSize24"x32" FramedSize33"x41" £650

Tretchikow CanvasonBoard Editionof95 ImageSize25"x30" FramedSize30"x35" £595

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THE FUTURE OF ART Gone are the days when art was confined to a canvas.

paint to reveal the creative journey beneath. For Scarlett Raven’s incredible augmented reality collection, The Danger Tree , the First World War is digitally recreated to the haunting words of poets Wilfred Owen and Siegfried Sassoon. Past, present and future collide for a new breed of art that is as unsettling as it is exciting.

With the click of a button, we are able to transport ourselves to a world where art and technology are intertwined. Instead of a passive spectator, we are agents in our own artistic experience, blurring the line between artist and viewer. Apps such as Blippar act as a portal, allowing us to strip away the countless layers of

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Committee on Legal Affairs voted in favour of drafting regulations to govern the development and use of artificial intelligence (AI) and robotics. Within this proposal was guidance on ‘electronic personhood’, which would ensure rights and obligations for the most developed AI. As technology becomes more autonomous in the creation of art, this begs the question of whether these rights will include creative ownership, and how such ownership will be regulated online. firm Shakespeare Martineau, Mauro Paiano, says: “Although the current regime can protect copyright in digital artwork, the problem for copyright owners is the ease with which digital artwork can be replicated. “For the time being, it is hard to envisage a scenario where a self-aware robot would be recognised as the owner of copyright unless it is recognised as a legal person. This subject has been highlighted in the Civil Law Rules on Robotics report, which challenges the EU parliament to deal with such issues.” While such concepts are still on blueprints, they leave us with a host of unanswered Partner and intellectual property specialist at law

transcending the pages of books.

We can also now teleport art into our homes using the Art Beamer app, which allows viewers to visualise art on their own walls. After pointing a mobile device at their selected space, the screen reveals the artwork in the same space – hovering curiously between real and unreal. In the process, technology is invited into our most private sanctum, becoming part of our everyday life and the fabric of our home. No longer reserved for the privileged, art can be accessed by anyone with a computer or mobile device. While Vincent Van Gogh once showcased his artworks in the cafés of Paris, artists now display their creations on Facebook, Twitter and Instagram. Word of mouth has been replaced by the strokes of a keyboard, as art is dissected and critiqued by virtual strangers. Technology has opened up opportunities of which artists could previously only have dreamed. The world’s largest online community for artists and art enthusiasts, DeviantArt, enables people from across the globe to connect through the creation and sharing of work. And the formerly Instagram-based gallery Unit London was born in 2013 from the desire of artists Joe Kennedy and Jonny Burt to “break down the barriers of elitism” and make contemporary art accessible to all. But with this accessibility comes an inevitable anxiety. Tales of intelligent robots and technology superior to humans, that once seemed so fantastical, are now

In 2016, the first-ever International Robotic Art Competition saw 26 robots competing for the $100,000 prize in two categories: telerobotics (robots controlled by humans via Wi-Fi or Bluetooth), and fully-automated painting robots. The same year, the IK Prize – which is awarded by Tate Britain for a concept that uses digital technology to transform the way we explore art – was briefed in partnership with Microsoft to create a form of artificial intelligence that understands art. Awareness, once thought of as a human trait, can now be programmed into an inanimate object. Whole brain emulation – also known as mind uploading – enables the transfer of brain processes such as long-term memory and ‘self’ to a computer. Man and machine are no longer two neatly-defined entities, but interchangeable. Artist Simon Wilkinson explores this concept through his fusion of art and 3D animation. His robotic pieces analyse, dissect and reassemble the emotions and experiences that make personalising features render them unidentifiable; they are an everyman figure that is both intimate and unobtainable. This synthesis of technology and humanity was illustrated in January 2017, when the European Parliament’s us human. Their generic body shape and lack of

questions. We are left to wonder whether we will continue to live in a world

where technology and art exist in tenuously separate spheres, and if we will face the same jarring illogicality: how can something supposedly without feeling make us feel so much?

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I N T H E GA L L E RY

JOHN WI LSON

“Picasso once said that he spent his life trying to paint like a child. This inspired me to mix children's art with the carefully-planned paintings of an adult artist.”

Aqueduct 3-D Editionof150

ImageSize19"x39" FramedSize22"x42" £850

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I N T H E G A L L E R Y John Wilson

NightShift 3-D Editionof150

ImageSize28"x19" FramedSize32"x23" £695

ThePicassoGallery 3-D Editionof150 ImageSize28"x19" FramedSize32"x23" £695

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Aqueduct 3-D Editionof150

ImageSize39"x19" FramedSize42"x22" £850

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I N T H E GA L L E RY

� Messagesfromthe NamelessGalaxy

TEMPER

BoxedCanvas Editionof95

ImageSize26"x40" FramedSize30"x44" £995

� SuperNature BoxedCanvas Editionof95

ImageSize40"x30" FramedSize44"x34" £995

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I N T H E F R AM E

HEAVENLY CREATURES Hamish Blakely

� Interlude

GicléeonCanvas Editionof95 ImageSize24"x24" FramedSize30"x30" £625

� BodyandSoul GicléeonCanvas Editionof95

ImageSize20"x24" FramedSize26"x30" £595

� LikeAFeather GicléeonCanvas Editionof95

ImageSize21¼"x24" FramedSize27¼"x30" £595

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"Business owners are beginning to understand that displaying artwork in the workplace does more than make the office aesthetically pleasing; it can actually increase employee efficiency, productivity, and creativity." - Forbes.com Unlocking The Influence of Art Influence

Here at HQ, we’re privileged to be surrounded by art every day we come to work, and it seems more and more employers are harnessing the power of our surroundings to drive success within their companies. Humans are far more aware of, and affected by, our immediate physical environments than perhaps we realise – indeed,

we are anthropologically designed to be so. Many

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studies and surveys have been commissioned to demonstrate that very point in recent years, and the results are compelling. So much so that the corporations and organisations are putting the theory into practice and using interior design as a tool to derive improved performance from their workforces. Further to the proven gain in employee retention and productivity, bringing art into the workplace can play a role in showcasing a brand's credibility and authority in the eyes of its consumers or clients. Art can be particularly powerful for companies who rely on a specific demographic or socioeconomic group for the majority of their business. Curating art that resonates with a client base establishes a connection between parties and subliminally conveys the message that there is a meeting of minds, which is a powerful stepping stone in the path to building and maintaining a working relationship.

Ideally, a workplace should be designed as a visual representation of the company, reinforcing its brand identity and values each day to every employee based there. Art is an effective route to achieve this goal. Deutsche Bank is undoubtedly leading the charge with corporate art, and has amassed the biggest collection in the world, which currently stands in excess of 60,000 artworks across their network of global offices. A study conducted by BOSTI Associates, a workplace planning and design consultancy firm in New York, showed that 83 percent of the employees felt that artwork was important in the work environment and, of those employees, 73 percent also said that their perceptions of their workplace and their work experiences would change if the art were removed. working smarter is infinitely preferable to working longer, employers are taking a more creative approach to employee efficiency. The list of leaders in the field of workplace design reads like a who’s who of innovation and success. From Airbnb, who experiment continually with different office layouts and decors, to Google whose famously quirky Soho offices have everything from an old fighter jet ejector seat to rooftop allotments, to the famous oversized Dalek in Twitter’s head office, it seems that infusing a work environment with personality and individuality truly is the way forward. In a generation that has finally recognised that

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LoveInLondon GicléeonPaper Editionof95

ImageSize17½"x26" FramedSize28"x37" £595

I N T H E GA L L E RY

RAPHAEL MAZZUCCO

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