Batchelor has adopted different forms of exploration, one intuitive and experimental, and the other intellectual and structured, which have converged onto a single theme- color. But the artist’s interest in color is specifically connected to the way it is experienced in the urban environment. He is not interested in pattern, order or systems, but the randomness and artificiality of color as it appears scattered through the city, underlined by a critical concern with how we see and respond to color in this advanced technological age.
Solo exhibitions: Monochrome Archive 1997-2015, Whitechapel Gallery, London, UK (2015); Chromolocomotion, Comissioned by Terrace Wires, St Pancras Station, London, England (2014); Wall to Wall, Centro Universitário Maria Antonia, São Paulo, Brazil (2013); Flatlands, Fruitmarket Gallery, Endiburgh, Scotland; Spike Island, Bristol, England(2013); Magic Hour, GEM, Gemeentemuseum, Den Haag, Neederlands (2012); Slugfest, Galeria Leme, São Paulo,SP, Brasil (2012); 2D3D, Karsten Schubert gallery, London, UK (2011);Chromophilia, Paço Imperial, Rio de Janeiro, RJ, Brazil(2010), “David Batchelor”, Galeria Leme, São Paulo (2008); “Magic Hour”, Wilkinson Gallery, London (2007); “Unplugged”, Talbot Rice Gallery, The University of Edinburgh, Scotland (2007); and “Shiny Dirty”, Ikon Gallery, Birmingham, UK (2004), among others.
Group exhibitions: Adventures of the Black Square: Abstract Art and Society 1915-2015, Whitechapel Gallery, London, UK (2015); Abstract Drawing, The Drawing Room, London, England; 50 Years On: The Centre of Contemporary Cultural Studies, MAC, Birmingham, England (2014); Light Show, Hayward Gallery, London, England; Fragile?, Le Stanze del Vetro, Venice, Italy (2013); Luz na Cidade, Centro Cultural Justiça Federal, Rio de Janeiro, Brazil; The Curator’s Egg Altera Pars, Anthony Reynolds Gallery, London, England (2012); The Shape of Things to Come: New Sculpture Part 1, Saatchi Gallery, London, UK (2011); Chromophilia, Paço Imperial, Rio de Janeiro, RJ, Brazil (2010), Presque Rein III, Laure Genillard Gallery, London, UK (2009), Folkestone Sculpture Triennale, UK (2008); The Color Chart, Museum of Modern Art, New York (2008); The Final Show, Wilkinson Gallery, London (2007); The Edinburgh Art Festival, Scotland (2006); David Batchelor and Joao Paulo Feliciano, Galeria Leme, São Paulo (2005); 26th São Paulo Biennial, São Paulo, Brazil (2004); and Days Like These, Tate Triennale, Tate Britain, London, UK (2003), among others.
His work integrates collections such as: Aberdeen Art Gallery, Scotland; British Council, England; Government Art Collection, England; Leeds City Art Gallery, England; The Saatchi Gallery, England; TATE, England; among others.
London, England, 1965. Lives and works in London, England.
In his work Krokatsis appropriates objects that, in the past, had some emotional relevance but have fallen into disuse. In them, Krokatsis sees remaining signs of transcendence as they are mostly related to religion, beliefs and desires. In order to grant them a uncanny character, the artist re-works these objects with materials with opposite characteristics of the original ones.
Solo exhibitions: Henry Krokatsis with Vilhelm Hammershoi, Ordrupgaard Museum, Charlottenlund, Denmark (2015); Origin of the Black Rainbow, Galeria Leme, Sao Paulo, Brazil (2013); Still or Sparkling, Gazelli Art House, London, England (2011); Goff and Rosenthal, New York, USA (2010), “New Works”, Galeria Leme, Sao Paulo (2008); “See Better Daze” David Risley Gallery, London (2008); “New Acquisition” New Art Gallery, Walsall, United Kingdom (2006); and the group shows Twelve London, City Gallery Prague, Prague, Czech Republic (2012); “Reconstruction # 3″, Sudeley Castle, Gloucestershire, United Kingdom (2008); “Interiors, Imoderni” Miami (2007); “Scarecrow”, Averoff Foundation, Metsovo, Greece (2006), among others.
Group Exhibitions: Uncommon Chemistry, curated by Dan Howard-Birt, Observer Bld, Hastings, England (2016);. I Cheer the Dead Man’s Sweetheart, De la warr pavilion, East Sussex, England (2015); I Cheer the Dead Man’s Sweetheart, De la warr pavilion, East Sussex, England (2014); Painting without paint, David Risley Gallery, Copenhagen, Denmark; Twelve London, City Gallery Prague, Prague, Czech Republic (2012); Themes & Variations. Script and Space | Gastone Novelli and Venice, Peggy Guggenheim Collection, Venice, Italy (2011); among others.
His work integrates collections such as: Eastnor Castle, Herefordshire, England; Government Art Collection U.K., England; New Art Gallery Walsall, England, among others.
Cambridgeshire, England, 1975. Lives and work in London, England.
Richard Galpin’s work radically configures the appearance of cities. The artist creates complex works from his photographs of chaotic landscape in the city. Galpin prints his photographs in large-scale and then intervenes on them in different ways. In his first series the artist uses only a scalpel carefully peeling parts of the surface to produce radical geometrical forms. In a series of more recent work, Galpin uses an electric sander to mix the colors in the photo producing abstract compositions that only leave subtle traces of the locations that were originally shot. Galpin does not allows himself to paste or add any external element, resulting in unique pieces made only by removing photographic information.
Solo exhibitions: Slow Boom, Cristin Tierney Gallery, New York, USA (2015); Municipalicolor (Ten Thousand Revolutions per Minute), Galeria Leme, Sao Paulo, Brazil (2014); Let us build us a city and a s tower, Hales Gallery, London, England (2011); DIVISION, Galeria Leme, Sao Paulo, Brazil (2010); Viewing Station High Line, New York, USA (2010); Tetratopia, Franklin Art Works, Minneapolis, Minnesota (2008); Xenolith, Brancolini Grimaldi Arte Contemporanea, Rome, Italy (2008); Cluster Works, Galeria Leme, Sao Paulo (2007); Revisionary, Hales Gallery, London (2006); among others.
Group Exhibitions: Blueprint (Cured by Sebastiaan Bremer and Florian Idenburg & Jing Liu of SO – IL), Storefront for Art and Architecture, New York, USA (2015); Blueprint 2.0 Kunsthal Kade, Amersfoort, Netherlands; The Museum of Contemporary Art Tucson, Tucson, USA (2014); Alter // // shift control Bermondsey Project Gallery, London, England (2013); Phantom Limb, LiMac, Museo de Arte Contemporaneo de Lima, Lima, Peru (2012); Intersection: Photography / Painting / Document, Marlborough Gallery, New York, USA (2011); Fast Forward – Contemporary British Art, Brazil, Space, David Ford, Brazilian British Centre, São Paulo, Brazil (2010); Working Space II Galery Lucy Mackintosh, Lausanne, Switzerland (2008); Working Space, University of the Arts Gallery, London (2008); Constructed Realities, Stretching the Truth, John Michael Kohler Art Center Wisconsin, USA (2008); Prints and Drawings – Recent Acquisitions, British Museum, London (2007); The Great Scape: New Art from London, curated by Katrina Hallowell, White Flag Projects, St. Louis, USA (2007); among others.
His work integrates collections such as; The British Museum, the Victoria & Albert Museum, and the Art Collection of The British Government, all in London, England; Deutsche Bank in Berlin, Germany; the Collection of Time Warner, New York, USA, among others.