THE united kingdom
Art & Language
1969 - Chipping Norton
Art & Language is a conceptual artists' collaboration that has undergone many changes since it was created in the late 1960s. The group was founded by artists who shared a common desire to combine intellectual ideas and concerns with the creation of art. The first issue of the group's journal, Art-Language, was published in November 1969 in Chipping Norton in England, and was an important influence on conceptual art in the United States and the United Kingdom
Art & Language, Open Book, 2006.
Acrylic on canvas and écoline on plexiglass, 35 x 30 x 3cm.
1975 - U.K.
Becky Beasley lives and works in St. Leonards on Sea, East Sussex, UK.
She achieved an MA Fine Art (Photography) degree at the Royal College of Art, London.
2018 -2021 Paul Hamlyn Award
2017 Artist's Research Centre Writers Programme
2014 Nominated for the Contemporary Art Society Award
2009 Shortlisted for the Max Mara Art Prize for Women
2009-11 Senior Lecturer in Fine Art (Studio Practice), Goldsmith College, London
Beasley Becky, Figure (Part 1), 2008.
Selenium toned gelatin silver print, green acrylic glass, 166,5 x 107 cm.
Beasley Becky, Tristram, 2008.
American walnut veneer, MDF, iron, iron pedestal, acrylic glass, black board paint,
23 x 53 x 17 cm.
Phil Collins' (B. 1970) Britney was made in 2001-2003, this work is the first one of three editions. It was aqcuired through Provenance Maccarone, New York in 2003.
Colins Phil, Britney, 2001-02.
C-print face mounted onto aluminium, 181,5 x 121,6 cm.
1973 - U.K.
Adam Leech is a conceptual artist, video artist and painter. His works have been shown in contemporary art galleries, museums and festivals worldwide. He's part of the YouMe Project wich is a conceptually based painting project which offers custom paintings in peoples’ homes.
Leech Adam, Do you love me?, 2006.
1971 - London
Edward Lipski is an artist and sculptor known for successfully expressing uncomfortable places in the human psyche through super-real mannequins as well as cartoonlike figures. His work often has a certain unsettling playfulness to it, distinguishing his particular approach to the grotesque. Lipski has said of his art: “My sculptures are mistakes in the same way language itself is kind of a mistake… language is an approximation, an attempt to describe the world, but an attempt that is doomed to fail”. By combining his conceptual thought process with this pre-linguistic means of conveying imagery, Lipski’s work stands apart from the current generation of young British artists.
Lipski Edward, Brown Bird, 2013.
Feathers, fibreglass resin, 90 x 34 x 35 cm.
Lipski Edward, Bambi.
75 x 80cm.
Lipski Edward, Yellow Incantation, 2011.
Mirror perspex, custom car paint and steel, 200 x 200 cm.
Lipski Edward, Superman Suicide, 2003.
72 x 91 cm
Lipski Edward, Monkey Wants, 2007.
Lipski Edward, Seal Pup, 2005.
Mixed Media, 134 x 84 x 102 cm.
Lipski Edward, Marble Bust.
Paint, wood and glass, 56 x 60 x 126 cm.
Lipski Edward, Fuckers, 2002.
Mixed Media, 71 x 69 x 39 cm.
Lipski Edward, Jesus , 2016.
Silverleaf on fibreglass resin, mild steel and acrylic, 175 x 50 x 50 cm.
Lipski Edward, Chinese God Stackk, 2011.
Resin, ceramic, perspex, steel, 234 x 56 x 55,5cm.
little white head
Craig Little and Blake Whitehead
Littlewhitehead is and artist duo consisting of Craig Little and Blake Whitehead. Hailing from Glasgow, they take their inspiration from the city’s working class and post-industrial culture. Their darkly humorous sculptures provocatively explore the phenomenon of violence as an increasingly normalised means to identity and community.
Littlewhitehead, When will it end?.
Persian Rug, 397 x 291 x 63 cm.
Littlewhitehead, The Dangerous Fantasist, 2015.
Fibreglass, resin, polyrethane, spray paint, peacock wicker chair, artificial plants, polo neck, jogging suit, towel, socks, slippers and wood.
Brendan Lynch is a London based music producer, who has produced for Paul Weller, Primal Scream and Ocean Colour Scene. He has also worked with the 22-20s, Carleen Anderson, Pete and the Pirates and Le Volume Courbe.
Lynch Brendan, Scribbles, 2014.
Graphite and aluminium foil on wooden panel, 76 x 61 cm.
1982 - London
Appropriating visual sources and phrases from all corners of modern culture, British artist Michael Pybus uses the language of contemporary society as a means of commentary on consumerism and the icons of our era. Creating dynamic pastiches of various ephemera from advertising, television, and other aspects of popular culture, Pybus uses his art as a vehicle for both himself and the viewer of his work to consider the ways in which our identities and existence are formed by these various elements. His goal is to encourage a critical look to the ways in which these fragments come together to frame our world, and in doing so he begins to dismantle it.
Born in 1982, Pybus earned his BA in Fine Art at Goldsmiths College in London in 2004 and subsequently completed his MA in Sculpture at the Royal College of Art in 2006. He has been an active exhibitor of his work in locations around the world.
Recent solo exhibitions include “Hive Mind” at Jonathan Hopson Gallery in Houston, Texas, and “Pretend the world is funny and forever” at Amor in Mexico City, Mexico (2017); “soft play” at Lungley in London, United Kingdom (2018); and “Reality Apathy” at Tatjana Pieters in Ghent, Belgium (2019).
Pybus Michael, Pan, 2017.
Acryl, permanent pigmented ink, golden micaflakes, blacklightpaint and rainbowcoloured paint on canvas, 200 x 180cm.
1979 - UK
British artist Gino Saccone works in a variety of media, creating chaotic, cacophonous exhibitions that address the communication of information—and the way we digest the glut of it today. Along those lines, he explores the mutability of objects and language in sculptures and drawings by arranging color and texture into form, often referencing numbers. Two-dimensional objects are interjected into three-dimensional space, as gestural, childlike paintings of flowers wrap around corners, and colored textiles based on scanned watercolors and computer-generated forms (as in _L7_, a collaboration with Elliot Dodd) are set at the intersection of the wall and the floor. Similarly, Saccone explores the relationship between dimensions in textiles based on the autostereogram, a technology that allows flat images to be seen in 3D.
Saccone Gino, Plant based workout, 2017.
Watercolour, 43 x 52,5 cm.
Saccone Gino, Bandist, 2017.
Cotton woven jacquard, 85 x 105 cm.
Saccone Gino, Weightlifters, 2017.
Cotton woven jacquard, 85 x 105 cm.
1982 - Scotland
Caroline Walker’s large-scale paintings and intimate drawings focus on women within psychologically charged public spaces such as hotels and beauty parlors. As a cohesive body of work, her paintings hint at a larger narrative that is never fully revealed to the viewer.
Walker Caroline, Overnighter.
Walker Caroline, Study for Aperitivo, 2019.
Oil on paper, 44,5 x 59,5 cm.
David Wojtowycz took an art foundation course at Cambridge College of Arts and Technology, a BA in Fine Art at Goldsmiths College and an MA at the Chelsea College of Art & Design.
Wojtowycz David, Die Besteigung, 2013.
Watercolour on found paper, 27 x 20 cm.
Wojtowycz David, Still Life, 2008.
Watercolour on found paper, 37 x 27 cm.
Wojtowycz David, Nr. 3993, 2011.
Watercolour on found paper, 32,5 x 25,5 cm.
Wojtowycz David, Das Ietzte Weekend, 2010.
Watercolour on found paper, 40 x 29 cm.