daisycarricksmith daisycarricksmith

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Daisy Carrick-Smith  University of Exeter, Economics Graduate. Previously interned at the Saatchi Gallery, and currently interning at Phillips Auction House. Lover of art!

Meet Elvis, the Greatest Of All Time (and absolutely fabulous). He loves long walks and human contact, and is looking for a like-minded lady-goat to share his grass and settle down with. He’s pretty damn fast, very smart and has a spectacular beard and pair of horns!

Luminere London is brilliant! My highlight has to be ‘The Light of the Spirit’, a magnificent kaleidoscopic projection on the facade of Westminster Abbey (1st, 2nd & 3rd image), created by Patrice Warrener. I also enjoyed the luminous balloon installation on Trafalgar Square, called ‘Childhood’ by Collectif Coins, which, with the sound, was a weirdly therapeutic experience (4th, 5th and 6th video). There were some great, eye-catching works dotted around Southbank too. Being surrounded by illuminated, smiling faces, it all just goes to show the wonders that light and colour can do for the soul. Thank you @connorordish for organising the evening, you know me too well 😘 #lumierelondon #art #lights #colour #london

I desperately want to take a trip up to Edinburgh just to see this painting, ‘The Virgin Adoring the Sleeping Christ Child’, by Alessandro di Mariano di Vanni Filipepi (otherwise know as Sandro Botticelli), in all its Renaissance glory! What I love about this painting - beyond the immediate allure of the colour and symbolism - is that it is so clearly the masterful work of Botticelli, with the distinctive, chiselled facial features, and many undeniable similarities to his other works. For example, here the Virgin Mary shows a striking resemblance to Botticelli’s depiction of Venus in his most famous painting, ‘The Birth of Venus’, while he also conveys an identical delicacy of the pink roses, in the same two works, through the translucency of the petals. Though this piece is painted on canvas instead of wood panel (which suggests it was created for a domestic setting), the painting is rich in symbolism, a common characteristic throughout the Florentine master’s oeuvre. The unmistakeable Virgin Mary is the protagonist of the composition, surrounded by thornless, pink roses within an enclosed garden, alluding to Mary’s protection and exemption from original sin. The bloom of strawberries and violets in the bottom corners suggest ‘righteousness’ and ‘humility’ respectively, which together imply that “the truly spiritual are always humble”, while the golden decoration on Mary’s shoulder references her epithet of Stella Maris, emblematic of her role as the ‘guiding star’ and protector. In the painting, Mary looks over the infant Jesus with a sorrowful expression, as he lies with his eyes closed - a possible reminder of Christ’s death - and with the large rock in the background - most likely a reference to the tomb - this is a scene of lamentation, in which Mary mourns the inevitable death of her son. There doesn’t seem to be much information regarding this exceptional painting, at least compared to the rest of Botticelli’s work, most likely because it was only recently rediscovered and restored (despite being autographed), having been hidden away, and it’s status demoted, in East Lothian, Scotland. #botticelli #art #renaissance @natgalleriessco

Today, in a moment of spontaneity and completely by chance, I wondered into the most wonderful shop, @w.a.greenlondon overflowing with colourful fabrics, ceramics and trinkets. It was here that I came across the street artists Pakal and Unga @unga_bfc who recently collaborated in their modest, yet wildly energetic textile experiment/exhibition, titled “Schmiracles” (a piece from this collaboration is in the second picture). Pakal is the alter-ego of an anonymous contemporary street artist, and the mastermind behind some of the street art dotted around Shoreditch, as well as other creations made using a variety of materials (one of which is the Poseidon vase in the third picture). Pakal’s intricate and animated works, filled with vibrancy and imagination, suggest Far Eastern and Native American artistic influences (this can be clearly seen in the last picture). It turns out that Pakal’s work is due to be shown, and I think for sale, at @saatchi_gallery in March, the second time it will have been displayed there. Pakal’s anonymity, lack of boundaries and labels, and the intricacy of the work, invites the observer to interpret and connect with the artwork in their own way, allowing for a unique viewing experience. The first picture, on the other hand, is a screenprint titled ‘Siesta’ , by Unga, a member of the Broken Fingaz crew which is comprised of a group of street artists who produce graffiti murals in different cities across the world. I fell in love with this print, apparently inspired by a trip to Italy - if it’s still there in the near future I may be compelled to buy it. Also, excuse the backwards order of the pictures, the Unga print is my favourite so it gets to go first. #streetart #print #art #emergingartist

The Dalí / Duchamp exhibition @royalacademyarts presented an endearing, thematic insight into the unlikely friendship between the two artists: Dalí, an extrovert who was the epitome of Surrealism, using his celebrity platform to gain global recognition; Duchamp, a private, solitary man, now deemed the father of contemporary art, who never fully identified himself as a member of an artistic movement. The exhibition discussed some of the mutual interests and ideas of the artists, including identity, language, science and eroticism, as well as how they influenced one another, making you wonder whether Duchamp was purely a chess-playing intellectual, and Dalí just a self-promoting show-off, by introducing less-observed aspects of their characters. Despite the obvious differences in their personalities and visual art production they shared similar views on art and life. They both questioned artistic convention at the time: Duchamp through his ‘anti-art’, in which he challenges viewers to interact with the artwork beyond the ‘retinal’ level, by exhibiting ‘readymades’; and Dali’s later anti-painting phase during which he was searching for an original, unique artistic style, to utilise his impressive painting skills for something greater than merely imitating other artists. Dalí eventually found Surrealism, employing the paranoiac-critical method, in order to hallucinate and perceive reality in a multitude of ways, much like we practise when we see different shapes in clouds, but through an induced state of paranoia. I particularly loved the humour of the artists, as reflected in the titles of their work. Such as, Duchamp’s famous moustached Mona Lisa postcard, titled L.H.O.O.Q, phonated like the French phrase “Elle a chaud au cul”, which translates to “She has a hot arse”. It is Duchamp’s use of phonetic puns and playful language (observable through the name of his female pseudonym and alter-ego, Rrose Sélavy, believed to be pronounced like the French adage, “Eros, c’est la vie”), and the visual puns within Dali’s work, which makes their art enigmatic and enjoyable to decipher. There is so much to say about the exhibition, but all I can do is urge you to see it.

Tate looking turnt, thanks to Alan Kane blurring boundaries in his ‘Home For Christmas’ illumination of the entrance. What a wonderful day it was, filled with my beloved Pre-Raphaelites @national_gallery, and impressionists @tate. Giuseppe de Nittis’ Westminster painting in the Impressionist in London exhibition, is a MUST see, no prints or photos seem to do it justice. Seriously, if there is a single reason to go to the exhibition, it is his painting! @richardcarricksm #TateLights

‘Twas grapefruit and basil 🎄

So, it seems that Norwich Castle have been hiding a large and most exquisite collection of Rembrandt prints (courtesy of Percy Moore Turner), and they finally decided to share them in their Rembrandt: Lightening the Darkness exhibition. They’ve been locked away for conservation reasons, and they will be concealed once more when the exhibition ends, so I thoroughly recommend giving it a visit if you are in Norwich over the Christmas period. The prints are beautiful, intricate demonstrations of Rembrandt’s communication through light and darkness, offering insight into his seemingly tragic life, some of which are the size of a postage stamp (the second picture for example). His distinctive ability to differentiate shadow from night, while illuminating the face and revealing the expression of his subjects is unparalleled, especially through etched lines - no wonder he was a renowned print-maker. @norwich_castle_art #etching #prints #oldmasters #Rembrandt #arthistory #gallery

Reunited with my beloved cats and speckled mirrors

Last night I helped the lovely @suzimorrisart with her beautiful exhibition opening event, and it was so lovely hearing herself and others discuss her visually captivating work. The work in her exhibition ‘The Viral Sublime’, which is currently being shown at @herrickgallery in Piccadilly, approaches the subject of the virus, and the body as it’s host, through the use of oil paint, and gradually building layers in order to achieve a visceral, and otherworldly, viral landscape. Through her paintings, she explores - while drawing on her own experiences - the concept of the virus as both malignant and benign to the organisms that host them, allowing the work to be open to interpretation. A large triptych is due to be loaned to Imperial College, who recognise the current scientific relevance of Suzi’s work, as she acknowledges the revolutionising medical effect that the harnessing of viruses have had on scientific genomic advances in order to cure diseases - a somewhat paradoxical notion. Suzi’s work has the ability to evoke a variety of responses, as although the paintings convey the mesmerising beauty and wonder of the virus through gradients and intensities of colour (along with a multitude of techniques to give each painting its own character), there is also a strong sense of the unknown, and vastness of the viral -almost cosmic - abyss. Once contextualised, there is endless room for discussion with regard to how you read the painting, especially in her outstanding piece ‘The Naked Virus’ (a part of which is in the first picture). What I found interesting, is that each of her paintings feature at least one, predominately vertical, line (though sometimes more) which seem to differ in each painting. Varying in length, thickness, colour and subtlety, these minimalistic lines are a common theme throughout her work, and are a sort of signature, which ties the collection together perfectly. #art #artgallery #mayfair #fineart #artwork #artfido

Lovely Cézanne portraits exhibition at the National Portrait Gallery followed by one of THE BEST buskers I’ve ever seen (in my opinion). Seeing as I wasn’t able to take pictures of the paintings, I thought I’d share a video of the violinist absolutely smashing With Or Without You using the loop pedal. It was a cold cold day, but boy it was good (and boy did he make me miss my violin). 🎻

‘This drove my mother up the wall’ by Katharina Grosse was absolutely fantastic! The title completely reflects the human behaviour that the work conveys; after all, most of us will recognise that explosive feeling of wanting to do something rebellious. She used a variety of stencils and materials on the floor to create soft and hard edges to evoke different feelings as you follow the painting, simultaneously creating a relationship between the floor and the wall. Her work is a great example of the interactive shift that contemporary art seems to be taking, where people inside the room dictate how much space is taken up for the work, which is especially relevant in a world where people like to congregate and take pictures of things that they like (myself very much included). One thing she emphasises is that ‘there is no one vantage point from which you can see the work’, and that as you move around the space, the perspective of what you see will change, which in turn effects the understanding of what you see. It’s a fun and thought-provoking experience. @southlondongallery @katharina_grosse

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