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Live music frOm

ana Bon-Bon / andrew wickenden with tom campbell / marine Kulture

artwOrKs By

adrian cosma / alan mcQuillan / anastasia Gereluk / andrew Lindesay / andy clydesdale /

anna ho / chris Barr / claire undy / colin mortimer / f s D / fiona m. mcGovern / Graham reid /

Gwyn williams / harmony Johnston / hayley Giles / ian Bell / ivgenia Naiman / James Lander /

Jessica mander / Joe hewlett / Joseph Nichol / Karen wright / Karin Kihlberg & reuben henry /

Lynn sivanand / marcelo Borges / mark hudson / mark melvin / mark seiltz / mike mcclafferty /

mike mcmillin / Nathalie hambro / Paddy Gould and roxy topia / Patricia Oliveira /

Patricia Pisanelli / Pennicott + fleming / Perce Jerrom / Phil macmahon / rita almeida freitas /

ross martin / simon shepheard / stephen Gilbert / william mackrell

inside out LONDON staff art shOw

summer 2 011 a t HOWICK PLACe

It always amazed me, in all my years in the art world, to accidentally

find out how many dealers, curators, museum directors or

auctioneers had a secret past as artists. It is not widely known

for instance that the collections of the Cabinet des Estampes at

the Musées d’Art et d’Histoire in Geneva includes some works

done by Thomas Krens, the visionary former Director of the

Solomon R. Guggenheim Foundation, some time way back when

he was himself an artist. Roger Mandle, Executive Director of the

Qatar Museums Authority, was also an artist in his distant past.

The legendary dealers Ernst Beyeler and Jan Krugier enjoyed

being artists themselves. It was apparently Alberto Giacometti

who recommended to Jan Krugier that he might be better off

abandoning his ambitions as an artist. In my own very distant past

I also entertained the ambition of becoming an artist. Through

the years I discovered that most of my colleagues, regardless of

whether they were working on the specialist or the administrative

side of the business, all at times at least intermittently gave in to

the practice of art. I am therefore very happy that we can offer

them the chance to use our beautiful premises at Howick Place for

once to exhibit some of their own works.

FoReWoRdSimon de Pury, Chairman, Phillips de Pury & Company

aNa BON-BON

“Nodding to old blues, gospel, and Tin Pan Alley tunesmithing, Vancouver’s Ana Bon-Bon and her full-bodied voice and accordion playing bring a vintage, bawdy-house, bon-temps vibe to life” – Rupert Bottenberg, Montreal Mirror

“Exotic prairie gospel” – the late, great Ray Condo (‘Canadian King of western swing’)

A blues cabaret songstress who delivers deep, esoteric blues roots music as readily as light-hearted double-entendre confections! Bon-Bon has relocated from the wilderness of British Columbia and Vancouver’s downtown eastside to London, where she continues to develop her delivery of rhythmic atonal jump blues, sensual spirituals, and countryfied cabaret, taking influence from 1930s cabaret, jump blues, Delta and Chicago blues, traditionals, spirituals, and western swing.

Coming from the renown North American west-coast roots scene, ‘The Fabulous’ Bon-Bon has concerts and interviews broadcast on CBC Radio, is a regular guest on the perversely diverse Accordion Noir radio, and recipient of the coveted Canada Council for the Arts funding for independent musicians. She most recently recorded a 45rpm with some of Vancouver’s best, squeezing every droplet from her new theme song ‘Bathtime’ and the rousing ‘Someone Let the Kitty Out’. Bon-Bon has previously released two solo albums and one EP with her country-blues duo, Bon-Bon & Rose and is a featured vocalist on two of alternative country punks Swank’s albums and video. She fronted and wrote songs on the side for a hard-rock band for four years and performed vaudevillian burlesque with the best as a principal member of uninhibited Empire Follies troupe in Canada. Her latest album ‘Bare Naked Blues’ album of all original blues, cabaret, and spirituals.

Ana Bon-Bon has appeared at the following venues: as hostess of regular nights Ana Bon-Bon Presents… and Ana Bon-Bon Sings Spirituals, and more, at the Railway Club and Marine Club in Vancouver, and as a performer at clubs, pubs, halls and events as musician, compère, and workshop hostess,at several festivals including Dawson City Music Festival, Salmon Arm Roots & Blues Fest, POP Montreal, Vancouver Film Festival, Stan Rogers Festival, Rendez-Vous Sourdough Yukon, Rude Harsh, Cabaret, Vancouver International Burlesque Festival as musical hostess in Canada, Amal Blues Fest Sweden, Paris Fete de la Musique, and more. She has played at a variety of venues, including The Rex Hotel and Mitzy’s Sister in Toronto, The Hideout in Chicago, The Fernie Arts Centre and the Dream Cafe in British Columbia, The Black Dog in Edmonton, The Snake Pit and Bombay Peggy’s in The Yukon, Lydia’s in Saskatoon, Tease-O-Rama Burlesque conventions in California, The 12 Bar Club and the Blues Kitchen in London, and countless more. She has also been a regular guest act with Ray Condo & The Ricochets, The Twisters; on tours with Linda McRae and David P. Smith, shows/shared stages with Paul Pigat/Cousin Harley, Big Joe Louis, The Molestics, Guy Klucevsek, Geoff Berner, Alice Walker, Big John Bates, John Doe, Dita Von Teese, and The Subhumans; and has featured on CBC radio play, in concerts, and in interviews.

www.anabonbon.comhttp://www.myspace.com/anabonbon

aNDrew wicKeNDeN with tOm camPBeLL

Andrew will debut tracks from his solo project The Plain Parade, before being joined by Tom on guitar, when as an acoustic duet they will cover a selection of songs, including new takes on some pop classics.

Andrew has played at the following venues: O2 Academy, Oxford; LSE, Holborn, London; Cargo, London; The Barfly, Camden; Buffalo Bar, Highbury, London; The Rhythm Factory, Whitechapel, London; The Spice of Life, Soho, London; The Hope & Anchor, Highbury, London; The Betsy Trotwood, Farringdon, London; The Dublin Castle, Camden; The Water Rats, Kings Cross, London.

www.myspace.com/theplainparade

mariNe KuLture

“Think Human League, Joy Division and all sorts of electronic goodness” – Rough Trade Records

“It’s June, and summer is actually happening this time around … an emerging London band, Marine Kulture are embarking on a string of live gigs in the sweltering capital, to refresh the current musik scene with their aquatic electro rhythms and deep engaging electronic rock fused dance music for these times of austerity. Independence is a necessity and has been at the formation of the group’s live and recording output, and more music is being released this summer to continue on this path of self reliance.

“The group began as a solo project for DJ and independent London producer Mark Costello to create with his rapidly expanding home studio gear. This is not laptop-based production, he works only with hardware and builds tracks through synths and samplers that recall an earlier period of electronic music that is being rapidly forgotten. After a few self-released albums he decided that it was time to step up to a different level of the project

“After meeting up with video artist/photographer Marcelo Borges in Brazil, who started playing bass guitar in the group to expand the low end of the music, Marine Kulture started to evolve, and with the addition of Marina Bulgareli on backing vocals and percussion and Luca Giudici on drums, the band transformed to the next stage of oceanic electro deepness with more exciting live gigs and more new music to follow, this band continues to take it’s rightful place in the world of independent dance music and sets to challenge the slowly dying major label music business.

“Marine Kulture sets sail for further adventures in this new world, and should be seen live to appreciate where this band is heading.”

– Laurence Kay, London

DIsCOgrAPHy

Point of View, CD, 2003Undergrowth of You, CD, 2005Remain, CD, 2007‘Remain’ / ‘Crazy Little Devil’s’, 7" vinyl, 2008‘Could of Cried’ / ‘Mirrors’, 7", Rough Trade, 2010:

“Straight out of the gate with this fresh two-track assault from the excellent Marine Kulture. Limited to 100 and hand-numbered. Think Human League, Joy Division and all sorts of electronic goodness.”

‘Process’ / ‘Christine’, 7" vinyl, Rough Trade, 2011: “Next up from Marine Kulture comes this double hitter of ‘Process’ backed with a cover of Siouxsie and the Banshees’ ‘Christine’. 150 vinyl copies only too. They do that goth, electronic Joy Division thing real good. Check it out.”

Marine Kulture have played at the following venues:The Vortex Jazz Club, Dalston; The Redroom at the Comedy Pub, Piccadilly; Dry Bar, Barbican; 93 Feet East, Brick Lane; Oh Bar, Camden; The Fiddlers Elbow, Camden; The Hope and Anchor, Islington; The Lark in The Park, Islington; The Windmill, Brixton; George Tavern, Whitechapel; Vibe Bar, Brick Lane; The Half Moon, Brixton; Maresia, Itapoa, Brazil; 92 Degrees, Curitiba, Brazil; Wonka Bar, Curitiba, Brazil; 229 Club, Great Portland Street, London; Big Moo Festival, Milton Keynes; Elixir Bar, Camden; Zigfrid Von Underbelly, Hoxton Square, London; Dublin Castle, Camden; Water Rats, King’s Cross, London. Tommy Flynn’s, Camden; Camden Rock, London; The Enterprise, Camden; The Spice of Life, Soho, London; Nanbucca, Holloway Road, London; Workshop at the Roadtrip, Old Street, London; The Bowery, New Oxford Street, London.

www.marinekulture.com

aDriaN cOsma

A Problem that Refuses Dissolution, 2011Watercolour and pigment on paper. 149.5 × 66.5 cm.

ArtIst’s stAtement

I aim to identify and examine new aesthetics of pictorial language taking in consideration the visual knowledge, the context and the semantics of an image. I am mostly interested in studying the subject in a phase where matter, in process of dissolution, is losing its shape and structure, until a stage where the silhouette can still be identified.

aLaN mcQuiLLaN

Cold Comfort, 2011Cast bronze and patina. 21 × 24 × 18 cm.

aNastasia GereLuK

Untitled (6 Wise Men), 2011 (work in progress)Oil on board. 56 × 71 cm.

Anastasia Gereluk earned a Bachelor of Fine Arts at the beautiful Okanagan University in Canada, majoring in site-specific installation and performance art. She was awarded a foreign scholarship for the Master’s Program at Boston School of the Museum of Fine Arts, and a Vancouver Foundation Artist Grant for developing collaborative performance art. She has been working as performance artist for Christian Nicolay / Arthur Erickson, Richard Suarez, and Women in the Arts, Kelowna Art Gallery. She has made drawings and performances at Vancouver ITCH collective, Alternator, Moss Street Paint-In, TART Gallery, café and group exhibitions, Canada. She is also a preparator, custom framer and musician.

aNDrew LiNDesay

The Consequences of Plagiarism (i.m. Edwin Morgan, with apologies), 2011C-type print on FujiColor Crystal Archive paper. 112.5 × 76.5 cm. This work is unique.

ArtIst’s stAtement

This is a pale imitation of the visual poem ‘Message Clear’ by the Scottish poet, the late Edwin Morgan. The text comes from The Consequences of Pragmatism by Richard Rorty.

thereisthereisnothingthereisnothing therethereis usthereis us therethereis ourselves we have nothing except ourselvesthereis us except ourselves nothing except ourselvesthereisnothing inside inside ourselvesthere we have put ourselvesthere deepdown insideus deepdown insideus we have ourselvesthereis down inside whatwe have put there we have ourselves nothing deepthereis deep deep insideus deepdown insideusthereis whatwe havethereis deep insideus whatwe have nothing except whatwe havethereisnothing except whatwe have put there nothing deepdown down insideusthereis insideus ourselvesthereisnothing insideus except ourselvesthereisnothing insideus except whatwe havethereisnothing deep insideus except whatwe have whatwe have put there ourselvesthereisnothing deepdown insideusthereisnothing deepdown insideus except whatwe have put there ourselves

aNDy cLyDesDaLe

Section taken from Forgotten Hollywood from American Dream Machine [illustrated]Nine 2-colour risograph prints, mounted as one piece. Overall: 40 × 295 × 8 cm. Signed and dated on reverse. This work is 1 from an edition of 5.

Michael Jackson’s Funeral from American Dream Machine 3-colour risograph print. Overall: 30 × 40 × 3 cm including frame. Signed and dated on reverse. This work is unique.

I Can Dream from American Dream Machine2-colour risograph print. Overall: 30 × 40 × 3 cm. Signed and dated on reverse. This work is unique.

aNNa hO

Four works, each Untitled, 2005Digital C-type prints. Colour images: each 24.2 × 31.6 cm; black-and-white images: each 42 × 29.7 cm.

chris Barr

Untitled (Apollo), 2011 [illustrated]Framed book pages. Approximately 30 × 25 cm.

Basic Instructions Before Leaving Earth, 2011Nasa stock image, iridescent film, silver box frame. Approximately 20 × 30 cm.

Shroud, 2011Two-way mirror, found book pages, steel, adapted music stand, black cord and tassel. Each plate approximately 21 × 27 cm.

Untitled, 2011Carbon paper, tin, black and gold picture nails. Approximately 29 × 21 cm.

cLaire uNDy

16/100, 2011Mixed media on wooden stretchers. Overall: 260 × 220 cm; each of 16 pieces: 50 × 40 cm.

cOLiN mOrtimer

Social Networking [illustrated]Steel, brass and aluminium ironmongery. 200 × 70 cm.

Dirty BusinessResin, Swarovski crystals. 9 × 7 cm.

Rule BritanniaCarrier bags. 110 × 120 cm.

ArtIst’s stAtement

This body of work aims to make the viewer look more deeply into everyday issues,both at home and around the world. Globalisation was intended to create greater transparency and understanding between cultures, leading to an improvement in people’s quality of life. Recently there has been disenchantment with this ideology and the global dream seems in danger of imploding.

f s D

07:52, 2010C-type print on FujiColor Crystal Archive paper. Blackberry 5.0 MP camera.

fiONa m. mcGOverN

take it gracefully from The Grace Series, 2011 (detail)Oil on canvas. Approximately 150 × 100 cm.

Graham reiD

Untitled, 2011Light installation. Dimensions variable.

GwyN wiLLiams

Untitled [illustrated]Solid concrete vase. Height: 30 cm.

Dic Aberdaron, 2011Double-sided light box: wooden box, opal acrylic sheets with vinyl illustrations. Approximately 50 × 50 × 15 cm.

harmONy JOhNstON

Untitled, 2010 [illustrated]Watercolour on Silk Habotai. 260 × 115 cm.

Untitled, 2010Watercolour on Silk Habotai. 190 × 95 cm.

Untitled, 2009Ink and acrylic on paper. 85 × 165 cm.

Untitled, 2009Oil on canvas. 100 × 50 cm.

hayLey GiLes

Untitled (Mitcham), 2011C-type metallic print. 76.2 × 101.6 cm.

iaN BeLL

Santa Fe, 2011 [illustrated]Dye destruction print, Diasec mounted. 45 × 75 cm. This work is from an edition of 4. There is further edition of 10, unmounted, 32 × 50 cm.

Pen y Fan, 2010Dye destruction print. 32 × 50 cm. This work is 1 of an edition of 5.

Rockies, 2011 Dye destruction print. 32 × 50 cm. This work is 1 of an edition of 10.

ivGeNia NaimaN

Billionaires Fair, 2009–10 [illustrated]Oil on canvas. 110 × 122 cm.

Untitled from the series London/Montreal, 2001–11 Diptych: oil on black-and-white fibre photo paper. Each panel: 50.8 × 61 cm.̀

James LaNDer

Without a title, 2011Paper, PVA, nylon. 214 × 220 × 220 cm.

ArtIst’s stAtement

To disrupt the architecture of the institution is to question what rights an individual has to their own body and to space. To subvert what is imposed from above is to interrogate notions of ascribed status and sovereignty, in Georges Bataille’s terms “an aspect that is opposed to the servile and the subordinate”. Situated aside from the bourgeois conception of autonomous art, defined by Peter Bürger as the “apartness of art from the praxis of life” historically associated with courtly patronage, the spectator is placed somewhere they cannot help but feel put-upon. Choreographed spectatorship, enforced by common materials, embodies the opposite of aristocracy and develops Antonio Negri’s case for the empowerment of the poor person, asserting autonomy not in individual production, rather in the collective imagination of what art is not, as Jacques Rancière sets out “The autonomy is the autonomy of the experience, not of the work of art”.

www.jameslander.co.uk

Jessica maNDer

Candice from the series Providence, Rhode Island, 2009 [illustrated]C-print photograph. 50.8 × 40.6 cm.

Other works in the series on show include: Raven, Crystal, Bambi, Cherry, Raquel, Chanel and Nikki, 2009C-print photographs. Each: 50.8 × 40.6 cm.

JOe hewLett

Ruby’s World, 2011 [illustrated]Plasticine. Diameter: approximately 2 cm.

On the Swing, 2011Lithograph. Approximately 35 × 25 cm.

On the Scooter, 2011Lithograph. Approximately 35 × 25 cm.

JOsePh NichOL

Fairest of them all, 2011Digital painting, using paint tool SAI and Photoshop.

KareN wriGht

Ettore Spalletti’s studio near Pescara, Italy, 2011 [illustrated]Digital photograph.

Giuseppe Penone’s studio in Turin, 2011Digital photograph.

Lara Favaretto’s studio in Turin, 2011Digital photograph.

ArtIst’s stAtement

These are from a series of photographs of artist’s studios shot on my iPad in June 2011.

KariN KihLBerG & reuBeN heNry

Troxy Super Cinema, 2011C-type print. 33 × 44 cm.

This is one of five images on show here from a series of 32 images depicting the locations of the ex-cinemas of Portsea Island, Portsmouth. More information can be found at www.karinkihlberg-reubenhenry.org.

LyNN sivaNaND

Flyer, 2011 [illustrated]Oil on canvas. 40.6 × 45.7 cm.

Flood, 2011Oil on canvas in two parts. Each: 40.6 × 45.7 cm.

Untitled, 2009C-print photograph. 33 × 45.7 cm.

ArtIst’s stAtement

Growing up, I wanted to be an artist. Now most of my art is a product of broken sleep. Flyer and Flood are among several furiously painted canvases, completed in a couple of hours late at night between days where I am busy not being an artist. The photograph was taken from a moving bus on the road between Brussels and Maastricht.

marceLO BOrGes

God’s Reading Room, 2011 [illustrated]Burned Scandinavian wood. 270 × 90 × 80 cm. This work is signed and numbered 1/3 from an edition of 3.

43 Lungs, 2011Photovideo installation: Giclée Hahnemühle print, 16 × 24 cm; SD card; 7" flat screen, artist’s frame, 29 × 36 cm. Duration: 4 minutes 17 seconds, loop. This work is signed and numbered 1/3 from an edition of 3 plus 2 artist’s proofs.

Covent Garden 89, 2011Giclée Hahnemühle print. 23 × 48 cm. This work is signed and numbered 1/7 from an edition of 7 plus 2 artist’s proofs.

Thames 89, 2011Kodak metallic print. 11 × 24 cm. This work is signed and numbered 1/7 from an edition of 7 plus 2 artist’s proofs.

Peter Doherty The Libertines, London, 200966 Giclée prints. Each: 19 × 28 cm; hanging grid: 167 × 210 cm. This work is signed and numbered 1/3 from an edition of 3 plus 2 artist’s proofs.

Thom Yorke Radiohead, London, 2009Kodak metallic print. 98 × 73 cm. This work is signed and numbered 1/7 from an edition of 7 plus 2 artist’s proofs.

Ian Brown, Oxford, 2009Giclée Hahnemühle print. 73 × 57 cm. This work is signed and numbered 1/7 from an edition of 7 plus 2 artist’s proofs.

Nick Cave, London, 2009Kodak metallic print. 98 × 72 cm. This work is signed and numbered 1/7 from an edition of 7 plus 2 artist’s proofs.

Bobby Gillespie Primal Scream, London, 2008Giclée Hahnemühle print. 75 × 49 cm. This work is signed and numbered 1/7 from an edition of 7 plus 2 artist’s proofs.

Only Kick the Dead When They’re Cold, 2000Video installation: DVD, Speakers, CT-4003M Chaser, PAR Spotlight. Duration: 4 minutes 17 seconds, loop. This work is signed and numbered 2/3 from an edition of 3 plus 2 artist’s proofs.eXHIBIteD Curitiba, Brazil, 59th Salão Paranaense, 2002; São Luís, Maranhão, Brazil, Guarnice Film and Video Festival, 2002; Curitiba, Brazil, Marques de Sade Project, 2003; London, Shortwave Films, 2004; Brixton, London, SO NOW THEN, 2008http://www.youtube.com/watch?v=_tSlk5j9TPI&feature=channel_video_title

Unica Coisa, 2000Single-channel VHS transferred to DVD. Duration: 75 minutes, loop This work is signed and numbered 1/7 from an edition of 7 plus 2 artist’s proofs.eXHIBIteD Curitiba, Brazil, Cinemateca de Curitiba, 2000; Curitiba, Brazil, Fundação Cultural de Curitiba, 2000; Tokyo, 23rd Tokyo Video Festival, 2001; Curitiba, Brazil, FREE ZONE Festival, 2001; São Luís, Maranhão, Guarnice Film and Video Festival, 2002; São Paulo, Brazil, TV Cultura, 2002; Curitiba, Brazil, TV Educativa, 2002; London, Shortwave Films, 2004; London, Brixton SO NOW THEN 2008http://www.youtube.com/user/marceloborges#p/u/1/Oz61-cpSWdwhttp://www.youtube.com/user/marceloborges#p/u/3/pMCdwUEMAbA

Johnny Rotten Sex Pistols, São Paulo, Brazil, 1996Giclée Hahnemühle print. 75 × 99 cm. This work is signed and numbered 1/7 from an edition of 7 plus 2 artist’s proofs. Published in the Gazeta do Povo newspaper, Brazil, 1996

Johnny Rotten Sex Pistols, São Paulo, Brazil, 1996Giclée Hahnemühle print. 49 × 54 cm. This work is signed and numbered 1/7 from an edition of 7 plus 2 artist’s proofs. Published in the Gazeta do Povo newspaper, Brazil, 1996.

http://fadeoutster.blogspot.com

marK huDsON

The Causeway, Poynings, West Sussex, 2008 [illustrated]C-type print on FujiColor Crystal Archive paper. 84.1 × 118.9 cm. This work is unique.

The Huts, Åhus, Skåne, Sweden, 2008C-type print on FujiColor Crystal Archive paper. 53 × 68 cm. This work is from an edition of 5.

The Harbour, Åhus, Skåne, Sweden, 2008C-type print on FujiColor Crystal Archive paper. 34 × 44 cm. This work is from an edition of 10.

Maglehem, Skåne, Sweden, 2007C-type print on FujiColor Crystal Archive paper. 34 × 44 cm. This work is from an edition of 10.

Kristinehamn, Värmland, Sweden, 2009C-type print on FujiColor Crystal Archive paper. 34 × 44 cm. This work is from an edition of 10.

marK meLviN

T.R.Y., 2009 [illustrated]Aluminium-cased light box, lit with fluorescent tubes, with coloured vinyl. 64 × 46 × 18 cm. From a series of 5 plus 1 artist’s proof.

Mirror no. 3, 2009Mirror with teak frame (trapezium – light), blackboard paint. 69 × 36 × 2.5 cm. This work is unique.

Mirror no. 4, 2009Mirror with teak frame (trapezium – dark), blackboard paint. 79 × 34 × 2.5 cm. This work is unique.

Mirror no. 5, 2009Mirror with teak surround (rounded trapezium – light), blackboard paint. 71 × 37 × 2.5 cm. This work is unique.

Stammer, 2007Neon (white), aluminium shelf. 24 × 30 × 16 cm. From a series of 10 plus 1 artist’s proof. Made with the support of the Uhoda Collection.

ArtIst’s stAtement

T.R.Y. is a piece whose title is taken from text used in previous works made by Melvin, Tomorrow Remember Yesterday. The light box depicts the text in descending size, mimicking loosely the format of an optician’s eye chart. The piece appears clinical in its execution, with a message asking the viewer to contemplate the moment, be that their here-and-now or the moment of encounter with the artwork itself.

Stammer is a work inspired by Melvin’s friend Jim Tonge who suffers daily from a stutter. The piece endeavours to articulate of moment of incoherent utterance through a piece of abstract, manipulated neon, a material we usually find bent to shape text and image. Although Stammer is in a series of ten, no single piece is exactly alike in form.

marK seiLtz

Untitled, one of five on show from a series of 16, 2011Collage on book covers. Dimensions variable.

http://markseiltz.com

miKe mccLafferty

Untitled, one of 5 on show from the series Without Looking, 1997Black and white silver gelatin print. Dimensions variable.

ArtIst’s stAtement

Since he first had the idea for the Without Looking project in 1997, he has photographed random moments in New York, Russia, Morocco, Sri Lanka and at fairgrounds and circuses all over England, snapping his camera to capture the scene without looking through the

viewfinder. While his work as an art director is all about composition and working to a specific brief, the Without Looking series of photographs is about throwing away the rule book and letting chance take over. “I keep my camera on me at all times,” he says. “There’s beauty and inspiration everywhere.”

This is the first public viewing of this project and any comments would be appreciated. For more information or to purchase any of the work, contact Mike on 07956 658871 or email him at mikemcclafferty@btinternet.com.

miKe mcmiLLiN

Architectural Drawing: A-Z 1B 18 (4F 63), 2011Wood, plasterboard, paint. 250 × 830 × 83 cm.

NathaLie hamBrO

Tools #1, ‘dies & taps’, 2011Giclée print. 60 × 85 cm. From an edition of 3 plus 2 artist’s proofs.

Tools #2 ‘dies and taps’, 2011 [illustrated]Giclée print. 60 × 85 cm. From an edition of 3 plus 2 artist’s proofs.

Tools #3 ‘rods & u-bolts’, 2011Giclée print. 65 × 90 cm. From an edition of 3 plus 2 artist’s proofs.

Tools #4 Architectonic Tower, 2011Giclée print. 65 × 90 cm. From an edition of 3 plus 2 artist’s proofs.

Gutted, series #1, 2011C-print. Set of 4: steel and aluminium, hand-tooled container. Each: 22 × 11 cm. Each work is unique.

Gutted, series #2, 2011C-print. Set of 3: steel and aluminium, hand-tooled container. Each: 22 × 11 cm. Each work is unique.

crime or suicide #1 (pills), 2011C-print. 40 × 50 cm. This work is unique.

crime or suicide #2 (glove), 2011C-print. 40 × 50 cm. This work is unique.

mirror, 2011C-print. 30 × 40 cm. This work is unique.

ArtIst’s stAtement

My new body of work is photography-based and mixed media. Some are grouped as installations, each with a hand-crafted handle, so the works become portable objects to look at, and re-assess in various contexts, thus assuming a nomadic role.

The images are both a tool for psychological exploration and conceptual art. Works are loosely fitting into themes: shoe fetishism, urban, industrial, and conceptual.

nmh@nathaliehambro.comwww.hambro-art.com

PaDDy GOuLD and rOxy tOPia

Wiped Out, 2011 [illustrated]Painted ceramic. 7 × 18 × 8 × 7 cm.

Schoon Me, 2011Pen and coloured pencil on paper. 35 × 30 cm.

eXHIBItIOn HIstOry

2011 Contemporary Drawing, The Bohemia Space, Liverpool2010 New Contemporary Art Part One, George and Jorgen, London Liverpool Reflections, Atelierhaus Salzamt, Linz, Austria2009 Evil Night (with Sam Savage and Gema Melgar), Wolstenholme Projects,

Liverpool Hitler Night (with Ben Gould, Cormac Gould, Gary Dower and Clare

McMahon), Wolstenholme Projects, Liverpool Portrayal and Perpetration, Wolstenholme Projects, Liverpool2008 More Than This, Oriel Dafydd Hardy, Caernarfon, Wales

resIDenCIes

2010 ‘Urban Interventions’, Atelierhaus Salzamt, Linz, Austria

PuBLICAtIOns

2010 The Drawing Paper, issue 1

www.topiagould.wordpress.comwww.georgeandjorgen.com

Patricia OLiveira

Composite I & II, 2011Multi-channel video installation: black and white and colour Super-8 transferred to video. Duration: 9 minutes 11 seconds, loop.

Patricia PisaNeLLi

Eliza Doolittle and friends, 2011 [illustrated]Fabric paint on Bob the Builder design sliced ham, vacuum sealed. 20 × 26 cm.

Mr. Griffin and wife, 2010Fabric paint on Halloween design sliced ham, vacuum sealed. 20 × 26 cm.

Luncheon on the grass, 2009Fabric paint on bear design sliced ham, vacuum sealed. 20 × 26 cm.

Immortalizing the famous friends, 2009Fabric paint on bear design sliced ham, vacuum sealed. 20 × 26 cm.

Christmas day, 2010Fabric paint on check pattern design sliced ham, vacuum sealed. 22 × 27 cm.

ArtIst’s stAtement

These works are part of a series that has been in development since 2009. They are paintings on slices of processed ham. The ham is produced with different shades of pink through the dyeing of the meat, forming children’s designs such as Billy the Bear and Bob the Builder or celebratory designs such as the Easter Rabbit or the Halloween pumpkin.

The paintings are made through a process similar to tattooing. They are portraits of real people or characters that represent different social status.

Patricia is a painter from São Paulo, Brazil, who has been living in London for the past five years. Since childhood she has been attracted by the appearance of industrialized confectionery and artificial-looking products. Inevitably this has been incorporated into her artwork, in which she uses crisps, food colouring and jelly as some of her materials. Thinking of the fetishism of commodities in contemporary society, she brings such products into an arts context and explores notions of what is meant to be looked at and what is meant to be consumed.

PeNNicOtt + fLemiNG

Self-Portrait: Tom by Edwin / Edwin by Tom, 2010LightJet prints.

www.pennicottfleming.co.uk

Perce JerrOm

Moloch Memorabilia, Great Owl on Dollar Bill, 2011 [illustrated]Framed photographic print. 96 × 36 cm.

Moloch Memorabilia, Great Owl of the Bohemian Club, 2011Mixed media. 59 × 104 cm.

PhiL macmahON

Dining Table ‘Good Choice Sir’, 2011Lacquered box section, steel, cast concrete, glass. 80 × 160 × 80 cm. Designed for Foreign Bear Studio, London.

www.foreignbearstudio.com

rita aLmeiDa freitas

Untitled, 2010Digital C-print. 27.9 × 35.6 cm. This work is from an edition of 4.

rOss martiN

3 6 8 10 12 (11), 2011 [illustrated]Acrylic on canvas. 74 × 74 cm.

3 55 77, 2011Acrylic on canvas. 61 × 122 cm.

simON shePhearD

Emits [illustrated]Set of four digital photographic prints mounted on MDF board. Each: 50 × 50 cm.

AtacamaSet of three C-type photographic prints. Each: 75 × 50 cm.

TianaC-type photographic print. 100 × 67 cm.

stePheN GiLBert

Untitled, 2011 [illustrated]Mixed media. 11.5 × 9.5 × 3 cm.

Untitled, 2011Mixed media. 7 × 9.5 × 17.5 cm.

wiLLiam macKreLL

Between Sky, Day and Earth, 2010 [illustrated]Lambda C-type print. 125.2 × 114.5 cm.

Conical, 2010Lambda C-type print. 101.6 cm × 101.6 cm.

Between Warm White and Cool White, 2010Lambda C-type print. 90 cm × 63.5 cm

The 2011 London Staff Art Show comprises works of art by Phillips de Pury & Company’s London staff. The exhibition includes works in all media, from painting and photography to sculpture and installation art, and reflects the contemporary practices of arts professionals active in the international art market.

Adrian Cosma

Alan McQuillan

Anastasia Gereluk

Andrew Lindesay

Andy Clydesdale

Anna Ho

Chris Barr

Claire Undy

Colin Mortimer

F S D

Fiona M. McGovern

Graham Reid

Gwyn Williams

Harmony Johnston

Hayley Giles

Ian Bell

Ivgenia Naiman

James Lander

Jessica Mander

Joe Hewlett

Joseph Nichol

Karen Wright

Karin Kihlberg & Reuben Henry

Lynn Sivanand

Marcelo Borges

Mark Hudson

Mark Melvin

Mark Seiltz

Mike McClafferty

Mike McMillin

Nathalie Hambro

Paddy Gould and Roxy Topia

Patricia Oliveira

Patricia Pisanelli

Pennicott + Fleming

Perce Jerrom

Phil MacMahon

Rita Almeida Freitas

Ross Martin

Simon Shepheard

Stephen Gilbert

William Mackrell

inside Out: London staff art show11 July through August 2011 (closed 29 August)Monday – Friday, 10am–6pm

Phillips de Pury, Howick Place, London SW1P 1BB

This is a selling exhibition and the artists are accepting offers for sale of the works. To get in touch with an artist, email londonstaffshow@phillipsdepury.com

Sales & EnquiriesTom Campbell, Office Managerlondonstaffshow@phillipsdepury.com+44 20 7318 4068

acknowledgementsThis exhibition and catalogue has been made possible by: The Directors of Phillips de Pury & Company, London Simon de Pury, Bernd Runge, Finn Dombernowsky Show Co-ordinator and Project Manager Tom Campbell Curator-in-chief Arianna Jacobs Assistant Curators Emma Lewis, James Lander, Megan McGee, William Mackrell Catalogue Andrew Lindesay, Mark Hudson, Mike McClafferty, Tom Radcliffe Press Fiona McGovern Additional Volunteers and Assistants Andy Clydesdale, Gwyn Williams, Ian Bell, Jenny Thomas, Jon Stonton, Harmony Johnston, Luke Scanlon, Marcelo Borges, Mark Seiltz, Mike McMillin, Oliver Gottschalk, Rita Almeida Freitas, Sam Martin