Artists

Perfect reflection (Regent’s canal)

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In Perfect Reflection (Regent’s Canal), Johnny Peckham distills a quintessentially British urban landscape into a symphony of symmetry and serenity, presenting a work that bridges the precision of photography with the painterly traditions of European art history. The photograph captures a tranquil moment along Regent’s Canal, where the stillness of the water mirrors the pink-hued façade of a townhouse so perfectly that the boundaries between reality and reflection blur,a visual metaphor for perception and duality.

The composition recalls the Dutch Golden Age painters, such as Vermeer or Hobbema, whose mastery of light and reflection elevated scenes of domesticity and nature into meditative experiences. The crisp clarity of Peckham’s image channels this tradition, embracing natural light as an active participant in the work. The golden sunlight bathes the upper half of the frame, enriching the subtle tones of the architecture and bare winter branches, while its inversion in the canal transforms the reflection into an almost surreal, otherworldly counterpart.

The work also invites comparisons to the Impressionist movement, particularly the reflective waterscapes of Monet. However, where Monet’s water lilies dissolve into painterly abstraction, Johnny Peckham employs the sharpness of modern photography to enforce a hyper-real clarity. This tension,between artifice and authenticity, permanence and impermanence,grounds the work in the present while nodding reverently to its artistic antecedents.

Yet, Perfect Reflection is more than an homage; it is a meditation on urban harmony and the fleeting beauty of equilibrium. The canal, a human-engineered artery within the natural landscape, becomes an axis of symmetry, uniting the built and organic worlds. The stillness of the water contrasts with the unseen bustle of London life, offering a rare moment of contemplation in a frenetic metropolis. In this way, Peckham transforms a simple reflection into a profound exploration of balance, beauty, and the intersections of art, nature, and modernity.

Ephraim Velour’s Sock Soliloquy – a review

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In the heart of the bustling city, amidst the towering skyscrapers and the ceaseless hum of urban life, lies a hidden gem, a testament to the power of art to transform the ordinary into the extraordinary. This artwork, a conceptual sculpture titled “The Laundromat Rainbow,” is a captivating installation that challenges our perceptions and invites us to contemplate the beauty and fragility of everyday objects.

At first glance, the sculpture appears to be a whimsical arrangement of colorful socks, seemingly haphazardly strewn across the gallery floor. However, upon closer inspection, a deeper meaning emerges. The socks, once discarded and forgotten, have been meticulously arranged to form a shattered rainbow, a symbol of hope and unity that has been fractured and dispersed.

The artist’s choice of material is both poignant and thought-provoking. Socks, often overlooked and undervalued, are transformed into a powerful metaphor for the overlooked and undervalued members of society. By elevating these humble objects to the status of art, the artist challenges us to reconsider our perceptions and appreciate the beauty in the mundane.

The shattered rainbow serves as a visual representation of the broken promises and shattered dreams that permeate our society. It speaks to the fragility of hope and the challenges we face. Yet, amidst the fragments, there is a glimmer of hope, a suggestion that even in the face of adversity, we can find beauty and resilience.

The sculpture’s placement in the gallery is equally significant. Positioned in a space that is typically reserved for the display of precious and valuable works of art, the laundromat socks challenge our notions of value and worth. By placing these everyday objects in a context that is traditionally reserved for the elite, the artist subverts our expectations and forces us to confront our own biases.

“The Laundromat Rainbow” is a thought-provoking and visually stunning artwork that challenges our perceptions and invites us to contemplate the beauty and fragility of everyday objects. Through its clever use of materials and symbolism, the sculpture speaks to the challenges of life, while also offering a glimmer of hope for a brighter future

Fine Art Sporting Society: Inter-art dealer rugby tournament

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Coming soon is the inaugural Inter-art dealer rugby tournament, to be held in Berkeley Square.

With entries from art dealers around the globe, the tournament looks like being a huge success. “The cream of London art dealers have entered teams, from Lavendor Brothers of Kingsley Street to Crantjirot & Hawkins of Hanover Square,” explained organiser Roberto Andretti, himself a dealer with Hogge Spike, the agents for successful sculptor Ferkin Wykes. “Berkeley Square hasn’t been used for rugby for centuries, so it is great to recommence an old tradition.”

Winners will take home newly-discovered original screen prints by Michelangelo of Goliath, found in a burial chamber in Milano earlier this year.

Meet the artist – Mick Cohen who analyses international politics through abstract art

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Mick Cohen’s work examines and critiques international politics, conflicts and world news through abstract art. “It is all very well to have hundreds of commentators on TV giving their opinions on the latest wars and realpolitik, but that is so superficial. The real critiques of world events are found in abstract art.” 

There have been relatively few artists whose practice focuses on abstract art and political comment, but Mick sees their work as having a direct linearity to Hogarth, Jekinsop and Jerry Woolworth. “We all want to stop war and help peoples get on with and live peaceably with their neighbours. I am convinced that abstract art is the only way this aim can be achieved.”

New sandwich work from Sandy Griddle

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Back in the UK after a retrospective at the Beirut Institute of Sandwich Art (BISA), Griddle has released a new work simply called Ham Baguette.

“Beirut is the only place on earth that takes sandwich art seriously,” Griddle said at customs when asked why he had travelled. “They know that a croissant is not a sandwich, no matter what is in it.”

New work from Ptolemy Bognor-Regis III

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Untitled (Two hours stuck on a plane at Gatwick with no air-conditioning)

A good example of the well-known dictum suffering makes great art. Poor Ptolemy created this work as he sat, roasting, in a plane that had a problem with its engine. The mental anguish of flying in a machine that you have been told doesn’t work properly – how well he has captured that emotion in this piece. The colors zing and zang off each other, the central orange bespeaking the overwhelming question, viz, should I stand up and insist to be allowed off this plane. Mirrored by the lightest of greens, the universal symbol for Yes.

Brave Ptolemy stayed on the plane. The good news is they made it unscathed to Paris. That’s not as good as it sounds as they were supposed to be going to Casablanca, but out of the turmoil we have gained a modern masterpiece. Ptolemy we salute you, and – though you have sworn never to travel by plane again – we hope you make it back from Paris soon.