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Candida Stevens Gallery  Encouraging Collection via Informed Curation. Bringing the best of Contemporary British Art to West Sussex. Gallery and Consultancy.

Perfume, 2016 by Eileen Cooper RA OBE
Oil on canvas
76 x 107 cm "I grew up in the Derbyshire peaks and their moody landscapes and dramatic weather remain my touchstone for nature. There was a freedom there but since I left for the city at the age of 18, my experience of nature has been seen through the eyes of an urban dweller. Here, cut flowers, parks and gardens are my natural world. I would say that my access to the wide spaces of nature is irregular now, and for me, and many of us who live in the city, we can become overwhelmed by its beauty and vastness. I have long been fascinated with flowers and often bring them into my studio to examine and paint. They are symbolic throughout art history, which is something I examine a lot in my work and the idea of their relationship to creativity, fertility and sexuality.
My painting, Perfume, for Good Nature not only shows the flowers in their full beauty, with their long, cut green stems and open red rose and white lily petals but also how they are bursting out of the vase, uncontained, almost wrapped around the female figure. Whilst she is entranced with their scent and beauty, I sense that she is possibly unsure about their abundance and slightly threatening presence. There is a superficial sweetness in this image but, perhaps, like the natural world, this demonstrates the balance between us containing nature but also the power of the flower. "

Eileen Cooper RA OBE was born in 1953 and studied at the Royal College of Art and Goldsmiths University of London. Eileen has exhibited in the British Museum, Imperial College, the Arts Council Collection and the V&A. Elected a royal academician in 2001, in 2011 Eileen Cooper became the first woman to be appointed ‘keeper’ of the Royal Academy of Arts since it’s inception. She was appointed Officer of the Order of the British Empire (OBE) in the 2016 Birthday Honours for services to the arts and arts education.

#eileencooper #royalacademician #obe #goodnatureexhibition #contemporaryart #contemporarypainting #contemporarylandscape #artcollector #naturalworld #environmentalconcern @eileen_cooper_ra

The Sense of Humour House, 2017 by Stephen Chambers RA
Oil on panel
80 x 90 cm

It was many years ago, that feeling rather self pleased, I told an old friend – ‘old’ in that he had many years on the clock – that I had just bought a house. He looked at me across the top of his glasses and said, “Stephen, if you’ve bought a house you’ll need a sense of humour.” I thought it funny at the time. Now I know it to be true.
When Professor Sir David King in 2001 incensed George Bush by saying that global warming was a greater threat than global terrorism, he was not kidding. This however, is not the painting to attest to that truth. It is an image to acknowledge that were all things equal, the result would be: Nature 1, Mankind 0.
Like all paintings, it is about other things too. You, the viewer, can fill in those gaps. Some of them I will not yet have realised myself. No matter. It is though an image built of coloured mud on an environmentally sourced timber panel. I guess in time it too will decay. In the meantime…

Stephen Chambers studied at Winchester School of Art from 1978 to 1979 and then at St Martin’s School of Art from 1979 to 1982. He graduated with a Masters from Chelsea School of Art in 1983, was elected to the Royal Academy in 2005 and in 2016 he was awarded an honorary fellowship by Downing College, Cambridge. In 2017 he became the first British artist to hold an exhibition at the Palazzo Dondola as part of the 57th International Art Exhibition, Venice Biennale.
#royalacademy #venicebiennale #courtofredonda #stephenchambers #goodnatureexhibition #contemporaryart #contemporarypainting #contemporarylandscape #paintbritain #naturalworld #environmentalconcern #senseofhumour #candidastevensgallery

The Benevolent Tree, 2016 by Emily Ball
Oil on canvas
139 x 95 cm
GOOD NATURE Exhibition, 16 September - 28 October
31 Contemporary artists make a new piece in response to the theme.
A celebration of our natural world. “Painting from Nature is not copying the object. It is realising one’s sensations.” Paul Cezanne.
The majestic, bejewelled, frothy, full skirts of the tree are beautifully reflected back by the still waters of the lake. I sit opposite my tree and breathe in the inspiration that it gives. Everything is still and quiet. I kneel on the damp red earth, scrabbling around; playing with my materials in an attempt to draw and paint the shifting light, the life force and intricate abundance and variety of growth and foliage. This is my trees’ finale for the year. A fantastic display, a blaze of colour before the winter wind strips it of its leaves and the tree sleeps; waiting patiently for the start of the process all over again in the spring.
Working out in Nature never ceases to amaze me. Spending hours and hours sitting with it, observing and trying to melt into it, I am aware of the fact that this is all a cycle of change, that it is a much bigger force, an unstoppable motion of life, death and regeneration that I can merely reflect a tiny glimpse of in my painting. All I can do with my marks, colours, scraping, excavating and layers of sensations is to try and give form to my experience of being with the tree, the earth and water.
#emilyball #goodnatureexhibition #contemporaryart #contemporarypainting #contemporarylandscape #paintbritain #naturalworld #environmentalconcern @emilyball_painting

Smoke II, 2014-15 by Tom Hammick
Oil on canvas
210 x 150 cm
Image courtesy of Flowers Gallery, London & New York
Opening night Saturday 16th September, 6-8pm

Tom Hammick (born in 1963) is a British painter and printmaker, based in East Sussex and London. He was the winner of the V&A Prize at the International Print Biennale, Newcastle, in 2016, and the print Violetta and Alfredo’s Escape, 2016, was acquired by the V&A. Hammick has work in many major public and corporate collections including the British Museum (Collection of Prints and Drawings); V&A (Victoria and Albert Museum); Bibliotheque Nationale de France (Collection of Prints and Drawings); Deutsche Bank; Yale Centre for British Art; and The Library of Congress, Washington DC. In 2016 Tom Hammick curated Towards Night at Towner Art Gallery, Eastbourne.
@tomhammick4890 @hammickeditions #tomhammick #contemporaryart #contemporarypainting #etna #mountetna #volcano #smoke #goodnatureexhibition #candidastevensgallery

The Listening Field by Hen Coleman
Charcoal on paper
152.5 x 102 cm

The Listening Field had its beginnings in another work, formed of rubbings over the wooden edges of cut waves. I like transforming one material into the feeling of another - I guess it’s a form of transformation or translation between things. Over the last ten years, I have included references to satellites and to satellite dishes in work. They are the ears and mouths of our buildings and landscapes - throwing and catching signals across space. In this drawing, made of dust, the surface field is simultaneously water, land and air, without really needing to be one or the other. It’s the stuff across which a thing might travel, a thought about our basic nature and the need to communicate.

Hen Coleman, born in Venezuela in 1964, graduated with a BA in Fine Art from Farnham UCA (2003) and a MA in Printmaking from the Royal College of Art, London (2006). Her studio practice is based in East London. Since 2010 she has also worked as a Printmaking Tutor at The Royal Academy Schools in London specialising in 'hybrid' forms between traditional and new print processes. Important Collections include the Royal College of Art and the V&A (Victoria & Albert Museum) Print Collection.
@hencoleman #hencoleman #goodnature #listeningfields #charcoaldrawing #victoriaandalbertmuseum #tutor #royalacademy #ra #masterprinter #printmaking #hencoleman #candidastevensgallery

Earth Time by Briony Marshall
Rammed Earth and Carbon Black
47 (h) x 25 x 20cm
Disruption by Briony Marshall
Rammed Earth and Iron Oxide
25 (h) x 40 x 40cm

GOOD NATURE 26 SEPT - 26 OCTOBER 2017 “Those who contemplate the beauty of the earth find reserves of strength that will endure as long as life lasts. There is something infinitely healing in the repeated refrains of nature - the assurance that dawn comes after night, and spring after winter.” - Rachel Carson

In her influential book Silent Spring (1962), Rachel Carson charted the destruction of the careful balance of nature by large-scale and indiscriminate use of pesticides. Toxic poisons such as DDT have since been banned, yet human ingenuity creates thousands of new chemicals each year. From flame retardants to medicines, tarmac sealants to cosmetics, this Pandora’s box of new chemicals is astounding and often lifesaving. But the rate of their introduction doesn’t allow time for earth’s ecosystems to adjust and cope with them.

The paired sculptures Earth Time and Disruption allude to this idea of balance and change. Made using an ancient architectural technique called Rammed Earth, soil and pigment are pounded and compressed into colourful striations in a process akin to the formation of sedimentary rock. The technique has been used for thousands of years across the planet, but has been rediscovered as a green building technique.
If we follow Rachel Carson’s advice and contemplate the amazing beauty that the slow process of evolution has generated on our unique planet, we can’t help but notice an irresolvable clash with the frenetic pace of creativity and change that humans seem to thrive on. Hopefully the solution lies in our own creativity.
Briony Marshall has a Biochemistry Degree from Oxford University (1993-97) and a Diploma in Fine Art (Sculpture) from The Art Academy (2001-2004). In 2008 she was awarded a 2 year Bursary by the Royal British Society of Sculptors and was appointed a member (MRBS) in 2010. In 2016 she was elected a member. #fineartsculpture #brionymarshall #rachelcarson #pandorasbox #earthtime #mrbs #candidastevensgallery #goodnature @artbriony

Detail of Frosted Mars Dunes in Winter, Mars Reconnaissance Orbiter, November 26, 2006, 2011 by Michael Benson
Digital C-print
68.6 x 254 cm
Image courtesy of Flowers Gallery, London & New York
Due to exhibit @candida_stevens as part of

Benson takes raw data from planetary science archives and processes it: editing, compositing, and then ‘tiling’ individual spacecraft frames, producing seamless large-format digital C prints of landscapes currently beyond direct human experience. A major museum show titled Otherworlds: Visions of Our Solar System at London’s Natural History Museum took place in 2016, and featured new music composed by Brian Eno. The show contained extraordinarily large and detailed views of Earth — perhaps the largest, most detailed prints of our planet ever exhibited.
Otherworlds subsequently travelled to the Vienna and Luxembourg Natural History Museums. His largest show to date was a 7-room, 150-print retrospective staged from 2010-2011 at the Smithsonian Institution in Washington D.C. titled Beyond. Powerful in their depiction of alien landscapes, currently beyond direct human experience, Benson’s work makes the case that the visual legacy of sixty years of robotic planetary exploration constitutes an exceptional chapter in the history of visual representation.
#michaelbenson #michaelbensonphotography #mars #marsdunes #sanddunes #planets #planetaryscience #marsorbiter #goodnature #goodnatureexhibition #candidastevensgallery

Spring IV, 2017
By Giorgia Siriaco
100 x 100 cm mixed media on canvas.

Giorgia is a scientist and artist, in this piece you can see references of the micro.
It is also all the colours and effects of where I am currently sitting, bright blue sea, orange cliffs and light play on water. @giorgiasiriaco #abstraction #mixedmedia #contemporaryart #scienceinart #microscopic #lightplay

Following an enquiry from a client in Switzerland I rediscovered the joy of this piece by Olivia Stanton. I see a duck swimming happily downstream. Appropriate for a night like tonight, good night for ducks, not for campers! Earthed, oil on canvas by Olivia Stanton. #oliviastanton #earthed #oiloncanvas #duck #gooddayforducks #stream #swimming #abstraction #figurativeart #abstractart #contemporaryart #contemporarypainter

As the work moves around the gallery new relationships form. Most love the subtle almost moonlit waters in the background of the Gina Parr painting to the left and the blue slits of fireflies in this Polly Dutton. Must be seen to be believed. @gina.parr @pollydutton_artist #ginaparr #pollydutton #contemporarylandscape #oilpainting #landscape #landscapepainting #newrelationships #theland #onnow

Scottish artist Marion MacPhee has made this wonderful new etching for Good Nature, our September exhibition celebrating the natural world. Following her huge success selling at the Royal Academy, the Affordable art fair with us, the London Art Fair with Glasgow Print Studio we look forward to returning to the Battersea AAF with this new piece and others this October.
Whale calf, etching, 64 x 44.5cm. @glasgowprintstudio @london art fair @affordableartfairuk #marionmacphee #whalecalf #humpbackwhale #scottishartist #affordableartfair #glasgowprintstudio #candidastevensgallery #goodnature #naturalworld #saveouroceans #savethewhales

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