Robin Sperling Private View 01.02.2018 by Jamie Munro

Introducing a new direction taken by artist Robin Sperling, these works are copper treated, silk screen prints of photocopier mistakes, glittering like a digital urban grid. Neither city not circuit board, the reflective fractious intricate copper particles create a texture of repetitive machined loops which blend anxiety and enticement, confidence and doubt, beauty and mystery. Created in November 2017 in Budapest, Hungary, they provide a balance to the earthy, naturalistic, weighty clay reliefs which will be shown alongside them. 

Most of Sperling's recent works are wooden cases packed with a shallow layer of mud allowed to dry and crack. This is classic Sperling: he admires conceptual earth artists like Richard Long, Robert Smithson, Andy Goldsworthy, however Sperling never aims to blend into the landscape. Unlike them, his pieces don’t aim to crumble, disappear, modestly announce their own fragility and temporariness. Rather the other way around. Sperling loves the natural world, but sees it all as raw material for art. He paints pictures, some figurative, mostly abstract, but in between these paintings (usually on wood) he is constantly stopping even earlier in the creative process to enjoy and reveal the raw materials themselves, the wood, the clay, the metal, as something that could be worked with in dozens of ways as yet unthought of. Simply finding how resin sets, how it holds colour, how river silt dries, how it cracks, how wax sets, how oil stains spread. These processes become the activity and the inspiration. He wants to celebrate the landscape by partly working with it but also partly by learning how it wants to work with itself. Most of his works are experiments with raw materials where he loves what the material does so much, he takes the role of junior partner to the matter itself.

For The Smallest Art Gallery, we are delighted to have a 'truth to materials' artist displaying his work with us, and invite you all to the private view on the 01.02.2018. Please ask for more information and invitations via the contact page. 

Guy Allen by Jamie Munro

Norfolk print maker Guy Allen comes to Hoxton Square on the 1st of June

Born in 1987 in Norfolk, United Kingdom.

Guy is a successful international artist, having been exhibited in Dubai, New York and London and has his work in private collection including Los Angeles, San Francisco, New York, Singapore and Hong Kong. 

Guy discovered his passion for print making during his time in Paris studying at the École Nationale Supérieure Des Beaux-Arts in 2010, when he became particularly fascinated with the traditional etching process. Following his graduation from Central Saint Martins School of Art in 2011, Guy moved back to Norfolk for 18 months, from where he still finds his inspiration while now living and working in London.

 In 2012 Guy trained as an assistant print maker under Mary Dalton and  Stanley Jones at Curwen Studios, Cambridge; where he had to learn at a fast clip how to  master other types of print making.

In 2013 and 2014 Guy had one of his etchings selected to be exhibited in the prestigious Royal Academy Summer Exhibition in London.

Guy is represented by Grandy Art and is working as a full time artist in London, he spends the majority of his time in his studio in Peckham or when he is printing at Artichoke Printmaking Studios in London.

After a successful first solo exhibition in London with Grandy Art, Guy had a inspiring response from his horse studies, this year Guy is focusing on the horse as a subject matter.

The inspiration behind Guy 2014 entry to The Royal Academy Summer Exhibition ‘The Winner’ Guy explains:

‘The Winner’, depicts my most recent exploration into animal subjects.  The title alludes to the multi-million pound horse-racing industry that is prevalent in East Anglia, where I grew up.  The horse is one of the oldest depicted animal forms: its musculature and contours have long intrigued artists, who have rendered this subject matter in almost every medium possible.  Here, I have brought together a traditional technique – etching – and a timeless subject matter, twinned with a contemporary twist.  The diving board not only physically grounds the animal, it also represents the precarious nature of the racing world.