Carving in Britainfrom 1910 to now 3 Dec 2012 - 12 Jan 2013 Although this is by no means an exhaustive survey of British carving of the last hundred years – exhibition space and availability of works have dictated that - it is an introduction to a field that has started to attract renewed interest.
It is possible to construct different Histories of Carving in Britain. A classic account,as featured in the excellent Carving Mountains catalogue of 1998 features the work of Frank Dobson, Jacob Epstein, Henri Gaudier-Brzeska, Eric Gill, Barbara Hepworth, Henry Moore, Ben Nicholson and John Skeaping. These certainly constitute the major figures in the development of Carving as a key element in what is considered Modernism in British Sculpture of the first part of the 20th century. The process of carving stone or wood has been defined as almost a talisman of being modern for sculptors. Many of them described their allegiance to this means of production in no uncertain terms, expressing pleasure in the physical effort of carving, chisel against stone, the direct relationship of the materials worked on to the vision they wished to express.
There are other sculptors in this exhibition who demonstrate the continued appeal of carving. The work of Gary Breeze could be considered as in descent ultimately from the letter cutting of Eric Gill, which was after all what turned him into a carver of sculpture. David Jones, who had been one of Gill’s closest friends and colleagues, turned to wood carving to create images for printing. Joseph Cribb trained with Gill and became a close associate before developing his own style in artwork and lettering. David Kindersley was a later apprentice and associate of Gill before setting up his own lettering and decorative sculpture workshop which developed away from too narrow an imitation of Gill. In this he was to be joined by his wife Lida. The exhibition includes a variety of present day practitioners in stone, though very different in character and commitment to the material: Andreas Blank, Jessica Harrison, Tom Harrisson, Angela Palmer, Alexander Seton, Rob Ward and Julian Wild. Last but not least of the great letterer and stone worker is the late Ian Hamilton Finlay.
John ByrneThe Joyful Mysteries 2 - 25 Nov 2012 This is one of the most keenly anticipated exhibitions that we have held at The Fine Art Society for some years. John Byrne’s skill as a
draughtsman has been masterly since his first exhibitions in London and Edinburgh in the early 1970s but, if anything, in recent years his technique has reached an even higher level of virtuosity. This is despite the fact that he has spent long periods away from his easel writing for the theatre. That he is equally revered as a writer is a rare achievement. In his eighth decade his work ethic remains as rigorous as ever. He has worked long hours for this exhibition from early morning to late evening every day for the last twelve months.
John Byrne was born in Paisley and studied at Glasgow School of Art from 1958 to 1963. He has worked as an artist, playwright and theatre designer. In his most famous play, The Slab Boys, Byrne drew on his experience as a paint mixer in a Paisley carpet factory. During the 1980s Byrne wrote the cult television series Tutti Frutti, followed by Your Cheatin’ Heart. Byrne uses a variety of styles and techniques as he has always tried to avoid being associated with particular styles or movements in art. In 1967, following a lack of success with London galleries, Byrne produced a series of paintings under the guise of ‘Patrick’, which he claimed were by his untutored seventy-two year old father. These were met with enormous interest, much to the artist’s amusement. He occasionally still paints work in the faux-naïf ‘Patrick’ series which are inscribed with that name.
Byrne’s return to painting after two decades of writing for the theatre and for television has seen his reputation grow – his last two shows have been sell-outs. His work
is held in major collections in Scotland and abroad. Several of his paintings hang in the Scottish National Portrait Gallery in Edinburgh, the Gallery of Modern Art and the Kelvingrove Art Gallery and Museum in Glasgow. An exhibition of Byrne’s portraits is scheduled to take place at the Scottish National Portrait Gallery in 2014.
Alan JonesThe Mother Land 10 - 27 Oct 2012 In 2012 the Fine Art Society Contemporary held the first UK solo exhibition for Alan Jones, widely considered to be producing some of the most intelligent and provocative work on the theme of colonial identity in Australia today.
Without moral judgment or selective editing, Alan Jones embraces the details of his own genealogy, delving into the narratives of his ancestors and presenting the resulting ideas and themes in a thoroughly contemporary and compelling way. Jones elegantly binds the thread of his own heritage throughout his painting, sculpture, installation and collage. In doing so he endeavors to communicate to the viewer the intricacies of human connections, even across continents and centuries.
Born in Sydney, Jones has long been interested in Australia’s colonial history and the journey of the First Fleet ‐ the initial arrival of 717 British convicts that formed the beginnings of modern day Australia. This historical landmark also marked a dramatic turning point in Jones’ own heritage. His ancestor, Robert Forrester was convicted of theft in London in 1783 and was destined for New South Wales on board the First Fleet. The lives of Robert Forrester and his common law wife Isabella Ramsey have been the genesis for several of Jones’ solo exhibitions in Australia, uncovering the early days of the convicts and English colonial rule.
In 2012, the artist took the opportunity to delve deeper into his ancestry, tracing his convict ancestors to their origins in North England. Whilst under taking a 6 month residency at The Ropewalk Studios in North Lincolnshire, Jones collected and produced imagery that related to personal landmarks in his ancestors’ lives.
“Upon arriving to the harsh environment of New South Wales, both Robert and Isabella would have reflected back on their former lives in England. Their memories of ‘The Mother Land’ may have been fond or far from it. It is impossible to know. I have tried to take a contemporary approach to documenting some of the places that would most likely have held familiar memories for them. Actually being located in the UK was essential for gathering the images and the aesthetic that underpins this body of work.”
Travelling hundreds of miles to gather research material ‐ taking the artist from Kirk Andrews upon Esk, to St Giles in the Fields Church in Central London, to Carlisle Assizes – Jones’ studies formed the groundwork for a new body of work that not only documents an earlier chapter of his family’s heritage, but also draws attention to broader social and cultural issues. Jones is at once incredibly specific and fastidious with the truth, and also simultaneously gifted at drawing wider conclusions and highlighting collective trends and experiences.
George Clausenand the picture of English rural life 10 Oct - 8 Nov 2012 In 1979, to coincide with the Royal Academy’s Post- Impressionism exhibition and anticipate the large Sir George Clausen touring show, The Fine Art Society staged The Rustic Image, an exhibition surveying rural themes in British Painting. Of the eighty pictures by forty-two artists represented, nine were by Clausen. Not only did it demon- strate the painter’s central importance in British art at the turn of the twentieth century, but the exhibition also reflected a time-honoured relationship. Clausen’s work had first been shown at The Fine Art Society in the early years of the century and through his longstanding friendship with the society’s manager, Ernest Procter Dawbarn, he became a regular exhibitor. As Kenneth McConkey points out in his monograph, they remained in contact until a couple of years before the artist’s death in 1944 at the age of 92. The original Rustic Image show featured Clausen’s great Allotment Gardens on its catalogue cover and also contained his splendid pastel, A Sheepfold in Evening, both of which reappeared in the retrospective exhibition of 1980. To these have been added The Ploughboy, A Village Girl, The Breakfast Table, The Mowers, The Dark Barn and The Student along with two of his impressive sequence of misty morning landscapes shown at the 1920 Academy, and other important canvases, prints and drawings, to form the present exhibition. We extend our thanks to the artist’s descendants, private collectors and the staffs of Brighton, Dumfries, Lincoln and Norwich museums and galleries, and the Art Workers’ Guild who have helped make this exhibition possible.
The Materiality of PaintIan Davenport, Jason Martin, Rob & Nick Carter, Boo Ritson, Piers Secunda, Matthew Radford and Melanie Comber 7 Sep - 6 Oct 2012 This critically engaged group show took as its subject the materiality of paint and its transformative potential. The diverse selection of work centred on the way the artists each explore the traditional limits of the physical properties of paint; pushing the boundaries between the medium, the surface and the mode of application.
Ian Davenport created a site-specific installation work for the exhibition, employing the existing fabric of the building and its architectural nuances as the backbone for his wall painting. By diverting his paintings from the canvas to the wall and floor, Davenport widens the spectrum and draws attention to the material aspect of the painting process.
Jason Martin has always placed the physical qualities of paint at the centre of his practice. Hovering somewhere between minimalism and abstract expressionism, his transformative work stands apart as an evocative homage to the power of paint. The artistic duo Rob and Nick Carter created a new departure in their practice in the form of Unconscious Paintings. The experimental series is a development of the surrealist notion of unconscious painting. Exposed to random activity, the canvasses subvert the traditional relationship between artist and artwork and the limits between paint, canvas and sculpture. Boo Ritson drastically alters the boundaries between paint and surface by literally painting people. Employing the human body as a canvas she applies a pop art colour palette of thick emulsion paint on her sitters’ hair, clothes and skin. As such, the work navigates the boundaries of various mediums: part painting; part performance; part sculpture and existing only as a photographic record.
Matthew Radford removes the effects of gravity in his painting process by working with his canvas flat upon the floor and employing improvised walkways across the surface of the larger pieces. There is a duality at the core of his painting practice between intent and spontaneous accident and between isolation and collective experience. Taking the physical properties of paint to the extreme, Piers Secunda has developed complex systems to make paint behave as a sculptural material. The artist transcends the confines between paint and canvas, ultimately rejecting the traditional constraints of the canvas support without relinquishing the primary material.
Melanie Comber relishes in the physical aspect of creating thick impasto surfaces, creating a battery of marks and gestures by using pottery tools and other improvised molding devices. Every surface is testament to a layering process that sees bright oils buried deep beneath darker, monochromatic tones.
Sir Peter BlakeThings I Love at The Fine Art Society 20 Jul - 1 Sep 2012 In 2012 The Fine Art Society proudly announced Things I Love At The Fine Art Society, an exhibition curated by Sir Peter Blake R.A. Opening the week before the Olympic and Paralympics games, the exhibition was a celebration of London and the artists who have lived and worked in the city by one of Britain's best-loved artists. Widely recognised as the Godfather of British Pop Art and a British national treasure, the artist is commonly known for creating the artwork of one of the most celebrated moments in twentieth century music history, The Beatles album, Sgt. Pepper's Lonely Hearts Club Band.
In June 2012 Blake turned 80 and to mark the occasion the artist was invited to present a selection of works from the gallery's holdings and to design a new flag for the facade. The extensive and multifaceted show covers three floors of the gallery building. This was the first time in the gallery's history (est. 1876) that the exhibition space and storerooms have been taken over by an artist in such a manner. The selection is a unique insight into the mind of a truly creative talent and the artists who have inspired him throughout his career.
Peter Blake has a long standing relationship with The Fine Art Society and in decades past he would browse the gallery for inexpensive and overlooked historic prints to refashion in his own artworks. In this exhibition the artist carefully selected around 100 works from the gallery's extensive holdings by artists he has long admired such as Edward Bawden, Paul Nash, Walter Sickert, Edward Burra, the Boyle Family, Edward Burne-Jones and contemporary artists Rob and Nick Carter and Keith Coventry.
Jock McFadyenThe Ability to Cling... 26 Jun - 14 Jul 2012 "The Ability to Cling..." is Jock McFadyen’s first solo show at the gallery and curated by Robert Upstone, Head of Twentieth Century Art at The Fine Art Society.
Jock McFadyen is a self-described realist painter whose impressive career has spanned over three decades and seen the British artist cultivate new departures in his practice, from the figurative painting of the 1980s to his decidedly twenty-first century restrained, urban landscapes.
"The Ability to Cling..." forms part of a tripartite exhibition over the summer, starting with recent paintings at The Fine Art Society in London, followed by a retrospective at the public space, The Fleming Collection in nearby Berkeley Street and lastly with a continued retrospective at Edinburgh’s Bourne Fine Art during the city’s international art festival. The combination of these exhibitions provides a compelling survey of one of the country’s most distinctive and forceful artistic voices.
Frank Dobson 1886-1963In association with Gillian Jason 20 Jun - 7 Jul 2012 Frank Dobson was born in Acton Street, St Pancras, London on 18 November 1886. His father was a commercial artist, and young Frank was introduced to the technical aspects of painting at an early age. His father also fostered in him a love and respect for 7ne art by taking him on frequent visits to the National Gallery.
In an extended interview with the writer and academic Stanley Casson broadcast by the bbc in 1933 Frank Dobson set out his intentions and ideas concerning his sculpture. ‘The primary appeal of sculpture’, Dobson declared, ‘is to the emotion which results from contemplating the peculiar and apparently static evolutions which take place when a number of forms are superbly assembled’. Questioned by Casson about what he meant by this, Dobson expanded further: All the !nest works of sculpture which I have seen have a peculiar still quality, which I call static. Underlying this, the forms … or the multiple of them, are assembled in such a fashion that one is aware of a continuous and beautiful movement within the whole which I like to call rhythm. One limb is given a fullness which leads up to another shape … 1 Dobson apologised that it was di 6cult to de 7ne something which he struggled precisely to put into words. But moreover that it was exactly this need to represent some inde 7nable emotion, which stood outside the strictures of spoken language – and summoned by the rhythmic relation of sculpted forms one to another – which made him a sculptor. This exhibition comprises of 38 works, including bronzes, terracotas, wood carvings, plasters, paintings and drawings.
Giles AlexanderE=MC2? 30 May - 23 Jun 2012 Known widely and highly praised throughout Australia, where the British artist is based, Alexander produced a visually compelling and conceptually provocative body of work for E=MC²? 2012.
His exhibition took its cue from the debate around Albert Einstein’s famous mass-energy equation. If the cornerstone of modern physics can be called into question, how stable are our foundations, what can new knowledge mean to that which we hold dear? Alexander’s exquisitely rendered photo-realist oil paintings deal with ‘spaces’ that represent particular world views and power hierarchies, many of which are today being challenged. The show includes religious buildings, parliaments, museums, UN headquarters, science experiments, and planets. Alexander considers these closely held bastions of civilization with the idea of an existential ‘timeless geometry’ of the heavens.
The result of an intensely active and inquiring mind, Alexander brings in philosophical thought and scientific discovery seamlessly into his paintings. Underpinning his interest in the cultural status of the image represented, is the very materiality of the work, always executed with a virtuoso academic ability. He explores concepts of looking through, at or upon by contrasting contemporary layers of resin and paint over traditionally oil glazed imagery, giving illusionistic depth while at the same time an acute awareness of surface. Alexander never forgets there is an audience for his work and continually assesses their perspective, tilting, shifting and breaking their focus.
Samuel Palmerhis friends and followers 30 May - 22 Jun 2012 The landscape has a fundamental place in British art. During the earlier nineteenth century it inspired the greatest British artists to paint what they saw and experienced outside their studios in England and elsewhere: Turner, Constable, Bonington, David Roberts and John Linnell. Unlike such artists, Palmer approached landscape not in response to actual scenes or to its grandeur so much as what he felt about Nature. It was a search for the spiritual rather than the descriptive: the pursuit of his visions.
Although Palmer was in many ways an outsider in the Victorian art world, his art has had a greater in)uence on later artists than that of many of his more successful contemporaries. In his small compositions he arranged features of landscape and rural life in such a way that we feel his sense of love and wonder in the face of God and His Creation. In no aspect of his art was this more apparent than in his etchings. Although they were few in number – only thirteen completed in over thirty years – he pored over them, making small alterations until the image he sought was fully achieved. The intensity of Samuel Palmer’s vision was 'rst expressed in the drawings and paintings made in his Shoreham period, from 1826 to about 1832. He shared an idyllic existence in this small village in Kent with a number of friends, principally George Richmond and Edward Calvert, both of whom made prints at the same time. Richmond only made two, both extremely rare. Calvert made more, wood engravings, copper engravings and lithographs, techniques he mastered with extraordinary skill on a minute scale.
John Piper 1903-199230 May - 22 Jun 2012 John Piper (1903–1992) was an important and distinctive figure in modern British art in a long career that spanned seven decades, from the 1920s through to the 1980s. Throughout this time he was constantly evolving and changing and refining the nature of his style, and the trajectory he followed was a singular and interesting one.
We are delighted to present an exhibition of Piper’s work that brings together paintings and watercolours from all periods of his career, and that includes an abstract and a figurative painting from the 1930s, a group of works made during the war, highly inventive and resourceful landscapes from after and some very fine examples of Piper’s skill as a printmaker with a set of hand-coloured Brighton aquatints and his nursery prints. We are most grateful to the leading Piper scholar David Fraser Jenkins who has written the stimulating essay in this catalogue. David has curated the major appraisals of Piper’s art: the lifetime retrospective exhibition held at the Tate Gallery in 1983; the exhibitions devoted to Piper’s work of the 1930s and 1940s held at the Imperial War Museum and Dulwich Picture Gallery respectively; and most recently the beautiful selection of Piper’s Snowdonia landscapes exhibited at the National Museum of Wales.
The British CutGroup Show 18 May - 3 Jun 2012 The Fine Art Society (London) and The Cat Street Gallery (Hong Kong) are delighted to present a collaborative exhibition that brings some of London's biggest and brightest stars to Hong Kong. Set in the context of the Queen's Diamond Jubilee and the cultural Olympiad, The British Cut marks and extraordinary moment in British history.
The diverse selection of work offers a glimpse into the complex negotiations between money, art and power, as understood by some of the world's most exciting and revered artistic talents. Including sculpture, drawing, light installations, painting, photograms, etchings and neon, the works display a host of forceful imagery. From fairy tales and folk-lore to bullet-ridden camera; The Queen of England to the glorious plume of a pheasant; lofty classical sculptures to compositions formed with household pegs; iconic every day shapes, to conceptual abstract formations.
The exhibition aims to raise various dialogues such as: the status of the artist in modern Britain; the appropriation of art for the purposes of corporate or political power; the ever increasing fiscal values of 'blue chip' art; the concept of art as a refined, luxurious product, and conversely the rejection of traditional materials. Several works in the exhibition make reference to diamonds, either explicitly or more metaphorically in relation to light. And naturally, as the world turns its attention to the dynamic Asia markets, so too do some of the artists selected for The British Cut. Giles Alexander, Dan Baldwin, Martin Creed, Sir Peter Blake, Jeremy Butler, Rob and Nick Carter, Oliver Clegg, Melanie Comber, Keith Coventry, Hugo Dalton, Steve Goddard, David Hockney, Henry Hudson, Chris Levine, Marc Quinn, David Mach, Sarah Maple, Polly Morgan, Annie Morris, Humphrey Ocean, Steven Pippin, Paula Rego, Boo Saville, Stuart Semple, Rob Ward, Jonathan Yeo, Emily Young
David GentlemanLondon You're Beautiful 4 - 25 May 2012 David Gentleman's distinctive prints and watercolours are familiar to us from a lifetime's work that has included Penguin Classics, stamps, political posters, the National Trust logo and the platform-length wood engravings at Charing Cross tube station. He is best known as an artist with a profound sense of place, and he has spent the last year immersed in his home city, capturing its changeable skies, its hidden places and restless people from Rainham Marshes to Hampstead Heath. These illustrations, for a new book published on 3 May 2012 by Penguin, bear witness to David's passion for and curiosity about London.
Penguin Books will be launching 'London You're Beautiful: An Artist's Year' by David Gentleman at The Fine Art Society, and copies of the book, as well as the original watercolours and drawings, will be available to buy from the gallery from 4-25 May.
Resistance: Subverting the CameraIdris Khan, Steven Pippin, Adam Fuss, Rob & Nick Carter, Janet Laurence, Edgar Lissel, Stephen Sack and Christopher Bucklow 18 Apr - 26 May 2012 In 2012 The Fine Art Society Contemporary presented RESISTANCE featuring Steven Pippin, Rob and Nick Carter, Janet Laurence, Adam Fuss, Idris Khan, Stephen Sack, Edgar Lissel and Christopher Bucklow. The exhibition was a critical consideration of photographic work made to circumnavigate the monopoly of the traditional techniques and aims of the camera.
The eight international artists selected for the exhibition resist the normal parameters of the photographic medium by inventing their own cameras, appropriating and re-presenting photographs via an alternate process, subverting the purpose of the camera, wilfully destroying it or creating unique camera-less photograms. In each of their distinctive practices, the artists experiment with the boundaries of photography and subvert the central dominance of the camera. The results are aesthetically powerful, inventive, highly expressive and conceptually provocative.
The experimental artworks share several tendencies and objectives and raise various dialogues such as: the overwhelming proliferation of photographic images and the quality of them; the nearly extinct notion of a camera as an instrument that can capture something rare and previously unseen; a return to the fundamental essence of photography as a medium to catch colour, light and form; a metaphysical consideration of how to harness what is ephemeral; the relationship between science and nature and subtle homage to early pioneers in the history of photography.
A full catalogue to accompany the exhibition is available with an essay about the various artists and a foreword from Martin Barnes, Senior Curator of Photography at The Victoria and Albert Museum, London. Idris Khan, Steven Pippin, Adam Fuss, Rob & Nick Carter, Janet Laurence, Edgar Lissel, Stephen Sack and Christopher Bucklow
Robert BevanPont-Aven to Camden Town 28 Mar - 19 Apr 2012 Robert Bevan (1865-1925) occupies a central position in the development of Modern British art. He was involved in many of the British avant-garde artist groups of the time, including the Allied Artists’ Association, the Fitzroy Street Group and the more well-known Camden Town Group.
Bevan was one of the first British artists to study in Paris, at the Académie Julian, and went on to work in Pont-Aven in the early 1890s, where he knew Gaugin and Renoir.
In 1897 Bevan married the artist Stanislawa de Karlowska in Poland. The couple set up home in Hampstead and Bevan would go to the country each summer for extended periods. Besides being an artist, Bevan was a keen horseman, and horses were the subject of many of his works.
His first one-man exhibition was staged at the Baillie Gallery, Bayswater in 1905, when he was 40 years old. A second show was staged in 1908 when the gallery had relocated to Baker Street. The Morning Post’s critic wrote of his Hansom Cab paintings in the first Camden Town Group exhibition in 1911 as ‘the most arresting... in design and colour... They will undoubtedly repel you at first unless you have been through the Paris Art Salon cure.’
Steve GoddardTwo Poles - Works on Paper 7 Mar - 5 Apr 2012 Stephen Goddard's 2012 exhibition, the artist's first show dedicated solely to works on paper, was timely given the current spotlight on drawing. Throughout his career Goddard has demonstrated a natural affinity for line and produced both realist works belonging to an academic tradition whilst simultaneously cultivating his own provocative, inventive and expressive drawings. In his fourth solo show at The Fine Art Society, Goddard confronted these two poles, bringing them together in a direct, purposeful manner and creating a fascinating dialogue about the parameters of works on paper and his multifaceted approach to it.
Emily YoungThe Metaphysics of Stone 7 Feb - 25 Apr 2012 In the spring of 2012 The Fine Art Society announced two concurrent exhibitions of new work by Emily Young, widely regarded as one of the finest living carvers working today.
Six gigantic stone heads stood keeping watch over Mayfair's Berkeley Square all spring. With some measuring two metres tall, and weighing as much as four tonnes, they represent the largest and most complex project of Young's career to date.
In addition, the group of sculptures exhibited in the The Fine Art Society’s Contemporary gallery show the sheer diversity of Young’s production – her different approaches to sculpting, and her fascination in the seemingly limitless variety in the stones she works with.
The works displayed in these two exhibitions show an artist at the height of her creative powers. Her dedication to the age-old craft of stone sculpture, so unusual in the world of contemporary art, is exquisitely demonstrated by the boldness of her recent carving, and synthesized with the creative freedom the artist now demonstrates.
J.D. FergussonSketchbooks and Studies 7 Dec 2011 - 7 Jan 2012 A selling exhibition of conté drawings by J.D. Fergusson, including a portrait of Meg, a self-portrait, café studies and nudes drawn in Paris before the First World War.
A.W.N. PuginObjects and Designs 7 Dec 2011 - 7 Jan 2012 A selling exhibition in association with Haslam & Whiteway of furniture, objects and designs by A.W.N.Pugin, including a spectacular Corona from the Bishop's House, Birmingham (1840), a Candlestick bearing the arms of William George Ward (c.1845), hinges and door grilles designed for the Palace of Westminster c.1845, and a pair of exceptional glazed bookcases made by Gillow c.1860.
The EdwardiansThe Golden Years Before the War 7 Dec 2011 - 7 Jan 2012 The Fine Art Society's December exhibition features work by artists working from the turn of the century and into the first years of the First World War. Highlights include 'In the Orchard', a watercolour of c.1908 by Dame Laura Knight, a clear expression of the "joie de vivre" which the artist confessed on moving to Newlyn, a magnificent scene of 'Piccadilly Circus at Night' by William Burn Murdoch, and a group of paintings by the rarely seen Mabel Pryde, James Pryde's sister and William Nicholson's first wife, of her children at the dressing up box. James Pryde's dramatic 'Red Ruin' is a symbol of the change marked to country and nation with the outbreak of War.
This exhibition also features work by artists including Henry Scott Tuke, Sir William Nicholson, Sir William Orpen and Paul Nash. There is a fully illustrated accompanying catalogue written by Professor Kenneth McConkey. Works are for sale and prices are available on request.
Katie PrattDoglegs, Chicanes and Beelines 1 Dec 2011 - 7 Jan 2012 This exhibition presented new works by British abstract painter Katie Pratt. This was Pratt's first solo exhibition at The Fine Art Society’s Bond Street gallery, which displayed large-scale and smaller works made since 2009.
From the late 1990s, Pratt had been making richly inventive works which merge abstract painting with material physicality and the mere possibility of allusion to reality.