Talk Art season 13 continues with an art icon!!! We meet leading artist Tracey Emin to discuss her return to her hometown of Margate, her new art school, her current solo exhibition in the town's Carl Freedman Gallery as well as a further new solo show in Edinburgh at Jupiter Artland.'A Journey To Death' is a comprehensive solo exhibition of new prints, large-scale monotypes and bronze sculptures. The show runs until 19th June 2022 and has been widely critically acclaimed. Free entry, and we strongly recommend visiting Margate for this extraordinary exhibition of new works. Tracey Emin’s first Scottish show since 2008, 'I Lay Here For You' opens on 28th May and runs until 2nd October. It offers an intimate encounter with love and hope set against the domestic architecture and informal woodland of Jupiter Artland. Imbued with connotations of both warmth and vulnerability, resonating with Tracey Emin’s belief of the ‘personal as political’ the exhibition will feature brand new work by the artist reflecting on the possibility of love after hardship.Tracey Emin’s participation in Jupiter Artland’s 2022 season begins with the unveiling I Lay Here For You, a six metre bronze sited personally by the artist in an old-growth beech grove. Larger than life, powerful and at ease, the sculpture presents a radically different view of woman’s place in nature, as well as creating a dialogue with the new work presented by the artist across Jupiter’s indoor gallery spaces.Tracey Emin, CBE, RA is a British artist known for her autobiographical and confessional artwork. Emin represented Great Britain at the 52nd Venice Biennale in 2007 and was appointed Professor of Drawing at the Royal Academy of Arts, London in 2011. She was awarded the honour of Commander of the Most Excellent Order of the British Empire for her contributions to the visual arts in 2012. Tracey Emin’s art is one of disclosure, using her life events as inspiration for works ranging from painting, drawing, video and installation, to photography, needlework and sculpture.Emin reveals her hopes, humiliations, failures and successes in candid and, at times, excoriating work that is frequently both tragic and humorous. In 2020, a major solo exhibition entitled The Loneliness of the Soul, opened at the Royal Academy of Arts, London. The exhibition then toured to the new Munch Museum, Oslo in Summer 2021 to critical acclaim. This summer, Emin will unveil her largest artwork to date, The Mother, a permanent public commission for Oslo’s Museum Island. I Lay Here for You at Jupiter Artland will be Tracey Emin’s first solo exhibition in Scotland since her 2008 major retrospective at the Scottish National Gallery of Modern Art in Edinburgh.Tracey Emin was born in 1963 in London. She currently lives and works between London, the South of France, and Margate, UK. Visit: www.carlfreedman.com and www.jupiterartland.orgFollow on Instagram: @TraceyEminStudio, @CarlFreedmanGallery, @JupiterArtlandThanks for listening!!! Hosted on Acast. See acast.com/privacy for more information.

Talk Art series 13 continues!!! We meet British sculptor and contemporary visual artist Hew Locke. The artist shares the inspiration behind his decades of work and reflects on the process of making his new and exciting large-scale installation 2022 Tate Britain Commission, The Procession.A procession is part and parcel of the cycle of life; people gather and move together to celebrate, worship, protest, mourn, escape or even to better themselves. This is the heart of this ambitious new project. The Procession invites visitors to ‘reflect on the cycles of history, and the ebb and flow of cultures, people and finance and power.’ Tate Britain’s founder was art lover and sugar refining magnate Henry Tate. In the installation Locke says he ‘makes links with the historical after-effects of the sugar business, almost drawing out of the walls of the building,’ also revisiting his artistic journey so far, including for example work with statues, share certificates, cardboard, rising sea levels, Carnival and the military.Throughout, visitors will see figures who travel through space and time. Here, they carry historical and cultural baggage, from evidence of global financial and violent colonial control embellished on their clothes and banners, alongside powerful images of some of the disappearing colonial architecture of Locke’s childhood in Guyana.The installation takes inspiration from real events and histories but overall, the figures invite us to walk alongside them, into an enlarged vision of an imagined future."What I try to do in my work is mix ideas of attraction and ideas of discomfort – colourful and attractive, but strangely, scarily surreal at the same time." Hew Locke.Locke was born in Edinburgh, UK, in 1959; lived from 1966 to 1980 in Georgetown, Guyana; and is currently based in London.  He obtained a B.A. Fine Art in Falmouth (1988) and an M.A. Sculpture at the Royal College of Art, London (1994). In 2000 he won both a Paul Hamlyn Award and an East International Award.His work is represented in many collections including those of the The Government Art Collection, The Pérez Art Museum Miami, The Tate Gallery, The Arts Council of England, The National Trust, The Metropolitan Museum of Art, New York, The Brooklyn Museum, New York, 21c, The New Art Gallery Walsall, The Victoria & Albert Museum, The Imperial War Museum, The British Museum and The Henry Moore Institute, Leeds.Follow @HewDJLocke on Instagram and visit his official website: http://www.hewlocke.net/Visit his galleries PPOW Gallery in New York and Hales Gallery in London. Learn more about his new installation at Tate, it's free to visit until 22nd January 2023: https://www.tate.org.uk/whats-on/tate-britain/hew-locke Hosted on Acast. See acast.com/privacy for more information.

Talk Art is back for SEASON 13!!!! Woohooo!!!We meet leading artist Caroline Walker.Walker’s paintings reveal the diverse social, cultural and economic experiences of women living in contemporary society. Drawing on her own photographic source material, Walker provides a unique window into the everyday lives of women. Blurring the boundary between objectivity and lived experience, Walker highlights often overlooked jobs performed by women and the psychologically charged spaces they inhabit. Walker explains: “The subject of my paintings in its broadest sense is women’s experience, whether that is the imagined interior life of a glimpsed shop worker, a closely observed portrayal of my mother working in the family home, or women I’ve had the privilege of spending time with in their place of work. From the anonymous to the highly personal, what links all these subjects is an investigation of an experience which is specifically female.”Caroline Walker was born in 1982 in Dunfermline, Scotland. She lives and works in London.Blurring the boundary between objectivity and lived experience, the artist highlights often overlooked jobs performed by women and the psychologically charged spaces they inhabit.Previously encompassing locations such as Los Angeles, Palm Springs and the UK, Walker’s scenes hint at the complexity of her subjects’ lives whilst completely avoiding narrative resolution. Recent works have seen Walker cast her eye to her immediate surroundings in East London, reflecting on her wider community and the significance of encounters with anonymous individuals who are nevertheless integral to our daily existence. Often exploring the notion of ‘women’s work’, the artist captures specific spaces such as pharmacies, tailors, beauty salons, laboratories, bathhouses and modernist apartments.Walker presented a new body of large-scale paintings at the historic Fitzrovia Chapel in February 2022. The works were created following her residency at University College Hospital's maternity wing, during which the artist shadowed female midwives, nurses, doctors and cleaners. Sketches from the series were displayed by UCLH Arts at Street Gallery, London and the project was accompanied by an illustrated catalogue.Examples will also be included as part of a two-person presentation with Laura Knight at Nottingham Castle in March 2022.KM21, The Hague hosted ‘Windows’, a significant solo exhibition of the artist’s work in August 2021. An expansive show of Walker’s preparatory studies and large-scale paintings titled ‘Women’s Work’ opened in May 2021 at Midlands Art Centre (MAC), Birmingham, UK. She features in the Hayward Gallery touring exhibition ‘British Art Show 9’ in 2022. Walker’s first solo show at Stephen Friedman Gallery, London will take place in April 2022, focussing on the artist’s sister-in-law Lisa and her experience of motherhood. Walker obtained an MA in painting from Royal College of Art, London in 2009 and a BA (Hons) from Glasgow School of Art in 2004. Walker is also represented by GRIMM, Amsterdam / New York and Ingleby Gallery, Edinburgh. Hosted on Acast. See acast.com/privacy for more information.

We meet Lily van der Stokker (b. ‘s-Hertogenbosch, Netherlands, 1954), one of the Netherlands’ most celebrated contemporary artists at the installation of her first institutional solo exhibition in London at Camden Art Centre.The exhibition brings together a group of works made by van der Stokker between 1989 and 2021, which address ideas of society, home, friendship, work, finances, illness and care; as well as speaking to this extraordinary contemporary moment. While some works have previously been realised in other contexts and spaces, others are presented across Camden Art Centre’s galleries for the first time. The exhibition will also include a number of original drawings on paper and works on canvas produced over the last 30 years.Van der Stokker draws her images with an exacting care and precision, configuring them against one another for the specifics of each space, before scaling them up and executing them directly onto the gallery walls. Her monumental wall paintings – with their distinctive colour palate and highly decorative motifs, including flowers, clouds, patterns and curlicues – play on apparently clichéd stereotypes of femininity, but her work has a depth and toughness that belies its saccharine aesthetic. For more than 30 years she has immersed herself in the supposedly mundane material of everyday life, taking seriously the intricacies of the small, the personal and the overlooked, while at the same time forging a radical feminist practice in a language she has made entirely her own. Behind its apparent softness and sincerity – once described as ‘so sweet it can kill’ – her work remains both provocative and radical.Optimism, joy, gossip and the petty trials and tribulations of everyday life are given a wide birth in most artistic practices, whilst work which centres the domestic and decorative has traditionally been seen as the antithesis of serious contemporary visual art. Van der Stokker’s work disrupts such hierarchical considerations, challenging conventional conceptions of artistic value and merit, whilst firmly positioning itself within the legacies of feminist, post-minimal and post-conceptual art. Despite its exuberance and frivolity, its disarming humour, and its bold celebration of the ugly, the sweet, the beautiful and the silly, her work takes itself and its subjects seriously; reclaiming themes and aesthetic languages that have been routinely devalued, derided and disparaged for centuries by a patriarchal culture that has consistently denigrated the feminine and feminised what it considered superfluous or ‘other’.At a time when we have all been forced to make drastic and once unthinkable changes to our lives, van der Stokker’s longstanding engagement with the supposedly ‘little’ themes of family, relationships, work, home and the domestic, feel more appropriate, more timely and more important than ever.Lily van der Stokker 'Thank You Darling' is now open and runs until 18 September 2022 at Camden Art Centre. Free entry! Follow @CamdenArtCentre & @LilyVanDerStokkerVisit: https://camdenartcentre.org/lily-van-der-stokker-thank-you-darling/Lily van der Stokker lives and works in Amsterdam & New York. Selected solo exhibitions: Migros Museum für Gegenwartskunst, Zurich (2019); Stedelijk Museum, Amsterdam (2018); Hammer Museum, Los Angeles (2015); New Museum, New York (2013); Museum Boijmans Van Beuningen, Rotterdam (2010); and Tate St. Ives (2010). Visit Lily's galleries Kaufmann Repetto, New York and to Air de Paris, Paris. Hosted on Acast. See acast.com/privacy for more information.

New Talk Art!!! We meet London icon PHILIP SALLON at his home in St John's Wood!!! A legendary British club promoter, event organiser, socialite, style innovator, impresario, and clothing designer. He was born in London, England where he still lives and works today in his 70th year. He is particularly known for being a prominent member of the Punk sub-cultural and New Romantic pop cultural movements during the 1970s and 1980s.We discuss how he witnessed the birth of Punk, his friendship with Vivienne Westwood, the Blitz Kids and Boy George, more than 5 decades of his drawings, invitations and designs, supporting young graffiti artists back in 1983 all the way to more contemporary street artists like Stik and Ben Eine.Philip Sallon was born in London in 1951, the grandson of Polish Jewish immigrant tailors who moved to the UK in 1904. His father, Ralph Sallon, was a well-known caricaturist who married his mother Anna Simon in 1945. They had one son (Philip) and three daughters. He was educated at Harrow County School, later renamed Gayton school. In 1970 he enrolled on an arts foundation course at East Ham College. In 1975 he applied and was offered a place at Saint Martin's School of Art to study fashion.He then left St Martins to pursue a career in theatre and later club promotion. Sallon founded the Mud Club in Tottenham Court Road in the 1980s and is best known for his style and outgoing personality. Admirers describe how during one club night in the 1980s he wore a dress made entirely of pound notes; by the end of the evening, after fellow clubbers had helped themselves, he was practically naked.For images of all artworks discussed in this episode visit @TalkArt. Talk Art theme music by Jack Northover @JackNorthoverMusic courtesy of HowlTown.com We've just joined Twitter too @TalkArt. If you've enjoyed this episode PLEASE leave us your feedback and maybe 5 stars if we're worthy in the Apple Podcast store. For all requests, please email talkart@independenttalent.com Hosted on Acast. See acast.com/privacy for more information.

New Talk Art!!! We meet Sharon Walters, a London-based artist who creates hand-assembled collages celebrating black women. 'Seeing Ourselves', Sharon's ongoing series, is an exploration of under-representation in many arenas in particular, the arts and heritage sector and mainstream western media. The work encourages us to "'take up space', be seen and create our own spaces."Sharon's ongoing series ‘Seeing Ourselves' is an exploration of identity, beauty standards, and race through celebratory papercuts and hand-assembled collages, which are available in limited edition print form. These pieces are created using images from women’s magazines, as well as photographs taken by the artist herself, or provided by others. Each carefully constructed collage features a black woman, and is a celebration of natural afro hair and its beauty. Sharon's celebratory approach extends through to her workshop and curatorial work, which continues to explore the representation of black women in many arenas, including arts, heritage and media. Sharon reframes these representations to share her experiences as a black woman in a celebratory, uplifting light. So often blackness is represented as 'other'. Sharon provokes an alternative narrative of empowerment. Each piece is a reaffirmation of the right to ‘take up space’ even when you don’t see yourself in certain settings.Since graduating with a degree in Fine Art from Central St Martins (University of the Arts) in 2011, Sharon has developed her practice and continued her work with community arts organisations and museums, using them as platforms to explore and collaborate with the voices of those who are often unheard.Follow Sharon on Instagram: @London_Artist1 and visit her official website: https://www.londonartist1.com/Sharon Walters: Seeing Ourselves major new solo exhibition is now open! The show runs until Sun 26th June at MAC Midlands Art Centre, Birmingham and Is FREE ENTRY!!!! So what you waiting for? Visit: https://macbirmingham.co.uk/exhibition/seeing-ourselvesFor images of all artworks discussed in this episode visit @TalkArt. Talk Art theme music by Jack Northover @JackNorthoverMusic courtesy of HowlTown.com We've just joined Twitter too @TalkArt. If you've enjoyed this episode PLEASE leave us your feedback and maybe 5 stars if we're worthy in the Apple Podcast store. For all requests, please email talkart@independenttalent.com Hosted on Acast. See acast.com/privacy for more information.

It's the Venice Biennale 2022!!! We meet Pavlo Makov who is representing Ukraine at the Ukrainian pavilion of the 59th Venice Biennale.Makov presents The Fountain of Exhaustion. Acqua Alta (1995–2022). This kinetic sculpture, which speaks to infrastructural ruins, cultural erasure, climate collapse, and war, is the focal point of the pavilion in Venice. Made possible with the support of the pavilion’s curators: Lizaveta German and Maria Lanko, co-founders of the Kyiv art space Naked Room, and Borys Filonenko, chief founder of IST Publishing. The Fountain of Exhaustion is currently paralleling the lives of those involved in its exhibition—rapidly adapting and responding to uncertain circumstances caused by war.Fountain of Exhaustion. Acqua Аlta project for the 59th Biennale di Venezia is first and foremost an attempt to address the present from within the Ukrainian context in order to retrace and reveal how a local concern eventually grows to echo the global conversation.The Pavilion exhibits the works of Pavlo Makov, whose artistic practices in the early 1990s focused on exploring the parallels between the human body and urban space and have since then largely shifted to elaborating the theme of “the world without us”. The artwork Fountain of Exhaustion is a serene and reflective project, which serves as a conscious extension of the original story of Fountain of Exhaustion (at once providing for the particularities of the exhibition location) and comes as a natural response to the theme Milk of Dreams.Makov was born in 1958 in St. Petersburg, Russia. Lives and works in Kharkiv, Ukraine. He graduated from the Crimean Art College, Painting Department (Simferopol, Ukraine) in 1979, Saint Petersburg Academy of Arts in 1978 and Kharkiv Art and Industrial Institute (Graphic department) in 1984.Since 1988 he is a member of the National Union of Artists of Ukraine, since 1994 – is a member of the Royal Society of Painters-Printmakers (London, England) and a correspondent member of the Ukrainian Art Academy, since 2006.Pavlo Makov is a participant and winner of many graphic art exhibitions, among them “Biennale of Graphic Art" (Kaliningrad, Russia, 1990, 1992 and 1998), VI International Biennale of Print and Drawing (Taipei, Taiwan, 1993), “Osaka Triennale 94" (Osaka, Japan, 1994), “National Triennale of Print 97" (Kyiv, Ukraine, 1997), “International Print Triennale" and others. In 2009 he was awarded with the Silver Medal of the Ukrainian Art Academy. Author and participant of many projects in Ukraine and abroad. The artist's works are in museums collections in Ukraine, Russia, Hungary, Italy, Spain, Great Britain, the USA and other countries.Follow on Instagram @UkrainianPavilionInVeniceVisit the Pavlo's website: makov.com.ua and visit the Ukraine Pavilion website: https://ukrainianpavilion.org/ Hosted on Acast. See acast.com/privacy for more information.

We meet leading artist Michaela Yearwood-Dan to discuss her solo show The Sweetest Taboo, which runs until 26th April at Tiwani Contemporary, London. Recently the artist has been thinking about the priorities for affirming spaces of self and collective actualisation, specifically BIPOC and queer space(s), community needs and desires, that include her own.  Projected and inscribed upon the large-scale paintings, extracts of Yearwood-Dan’s experiences, influences, personal thoughts and questions commingle with abstracted and botanical gestures and marks that border, lead towards and give way to speculative clearings; spaces and gaps that have the capacity to be filled with utopic imaginings. The works remain vested in holding and debating the real-life politics and cultural demands of femme, black and queer individuals in the world coming together as communities, manifesting and nurturing critical, safe and joyous environments.  Drawing solely from her own experiences, throughout this body of work, the artist continues to explore the multifaceted nature of love through a theoretical and uncomplicated lense, whilst holding space for elements of humour and nostalgic glances. The Sweetest Taboo is a semi-immersive experience that migrates from the canvases into the space of the gallery, creating a topographic installation of ceramic sculptures and furniture that encourages visitors to contemplate, project and spur plans to dream potential spaces into existence. Michaela Yearwood-Dan’s work reflects on subjectivity and individual identity as forms of self-determination. Whilst her work may be underpinned by an expansive and multivalent repertoire of cultural signifiers borrowing freely from blackness, healing rituals, flora, texting, acrylic-nails, gold-hoops, carnival culture, these reference points enable her to present and privilege the variance of her own individual experience. As such, her work refuses to be framed by narrow expectations of racial or gendered notions of collective identity and history. She defamiliarizes many of those reference points in her work resisting the clichés and strictures of representation.Michaela Yearwood-Dan lives and works in London. Follow @ArtistAndGal and her gallery and @TiwaniContemporary on Instragram.To view images of her new solo show visit: https://www.tiwani.co.uk/exhibitions/68-michaela-yearwood-dan-the-sweetest-taboo/overview/For images of all artworks discussed in this episode visit @TalkArt. Talk Art theme music by Jack Northover @JackNorthoverMusic courtesy of HowlTown.com We've just joined Twitter too @TalkArt. If you've enjoyed this episode PLEASE leave us your feedback and maybe 5 stars if we're worthy in the Apple Podcast store. For all requests, please email talkart@independenttalent.com Hosted on Acast. See acast.com/privacy for more information.

New Talk Art! We meet leading British artist Daisy Parris to discuss their recent solo show 'I See You In Everyone I Love'. We discuss text, rough gestural brushstrokes, large-scale canvases and their punk aesthetic that led to painterly abstraction.Daisy Parris is a painter of psychological space. Direct text-based works and abstract paintings are made up of a vernacular that has developed through experience, relationships and through the depths and the peaks of their human existence thus far. Parris brings intimacy, insight and integrity to their paintings with great psychological and emotional force. The work is imbued with the sensitivity of one who feels everything, taking us through unflinching narratives and moments of reflection and tenderness. An ode to human existence, their work is sometimes silent, sometimes savage, with paintings that construct self portraits of personal battles and triumphs in a fast moving yet contemplative assault on the canvas.Daisy Parris (b. 1993, Kent, UK) lives and works in London, UK and holds BA (Hons) Fine Art from Goldsmiths University, London. Recent exhibitions include Pain For Home, M+B, Los Angeles, USA (solo), Star-Studded Canopy, Sim Smith, London, UK (solo), Talk Like Strangers, with Nico Stone, Sebastian Helling and Jesse Littlefield, Part 2 Gallery, Oakland, California, What Kind Of Spirit Is This?, Sim Smith, London, UK and Poem, Las Palmas Project, Lisbon, Portugal.Follow @DaisyParris and their official website https://daisyparris.com/ Visit their gallery @SimSmith_ and https://www.sim-smith.com/For images of all artworks discussed in this episode visit @TalkArt. Talk Art theme music by Jack Northover @JackNorthoverMusic courtesy of HowlTown.com We've just joined Twitter too @TalkArt. If you've enjoyed this episode PLEASE leave us your feedback and maybe 5 stars if we're worthy in the Apple Podcast store. For all requests, please email talkart@independenttalent.com Hosted on Acast. See acast.com/privacy for more information.

We meet leading British-Nigerian artist Joy Labinjo to discuss her solo exhibition of self-portraits in Lagos at Tiwani Contemporary, her giant public mural for Brixton underground station and her major institutional solo show at Chapter Gallery, Cardiff.Joy Labinjo’s large-scale figurative paintings often depict intimate scenes of historical and contemporary life, both real and imagined and often based on figures appearing in personal and archival imagery that include family photographs, found images and historical material. In the past, she has explored themes including but not limited to identity, political voice, power, Blackness, race, history, community and family and their role in contemporary experience. Exploring multiple modes of representation including abstraction, naturalism, flatness and graphic patterns, Labinjo’s ‘collage aesthetic’ comprises an eclectic visual vocabulary and mixed painterly techniques which echo her experience of multiple identities – growing up Black, British, Nigerian in the 90s and early 00s.  Comprising a series of nude self-portraits – her only works of such kind to date, the exhibition unfolds an interest in the significance of the nude in the history of visual art and contemporary public practices of sending nude digital imagery for example to lovers. These large scale works translate images that Labinjo took using her phone. Each work comprises loose geometric color blocks where her body can be likened to a variegated landscape. Capturing a range of poses, the works are resolutely frank and unapologetic. In this way, they assert an acceptance of self that is divergent from performative nudity and highlight self-love as erotic and feminine and at odds with patriarchy and sexism. Labinjo’s figure is emphasized by muted and simplified backgrounds, distinct from the dense compositions of her earlier paintings. Departing in colour and composition from previous works, these works present muted earth tones alongside a solitude that dominates each image and contrast with the vivid, saturated colours and social exchanges shown in earlier paintings. She continues to hone distorted renderings that percolate between abstraction and representation. Each work positions Labinjo’s body against a new beginning or a space to be populated by unforeseen content.   In the context of historical and contemporary events in Nigeria, the works also recall the significance of female nudity and its link to collective action in the West African country. In the early 20th century, numerous accounts emerged of women using their nude body to dissent against onerous taxation structures and unfair laws during the country’s colonial period. More recently, Nigerian women have threatened and used naked protest against a range of happenings in the country including the abduction of school girls in Chibok in the north-east and, in the north, anti-violence in Kaduna respectively.  As such, Labinjo’s work presents the body as a political agent and platform. By portraying herself nude, she invites the viewer to consider the artist’s position, and the cultural loads that cover the body. Labinjo obscures reference to place, time, and social affiliation and prioritizes her self-perspective, removing much of the representational content that took precedence in earlier work. These works imitate a personal relationship between Labinjo and her body and present a point through which the artist is able to build associations that inform her interpretations of her surroundings and crucially, her own body. Follow @JoyLabinjo and @TiwaniContemporary. Hosted on Acast. See acast.com/privacy for more information.