Dentons Art Prize 9.0 - January - June 2020
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Dentons Art Prize 9.0 January – June 2020
cover image: Alasdair Gordon, All the Tape Left Over From My Last Painting, 2019
About the Dentons Art Prize Dentons is collaborating with curator of booklets, artist talks and events. Centre for Contemporary Art) and art Niamh White and artist Tim A Shaw As part of the initiative, the shortlisted historian Rebecca Daniels. to host a biannual prize for the most artists are given access to expert pro exciting emerging contemporary bono legal advice and their artwork Previous winners of the Dentons Art artists working today. The shortlisted is offered for sale. Prize include Caroline Jane Harris, artists exhibit their artwork in Liqing Tan, Cherelle Sappleton, Dentons’ meeting rooms and offices The Dentons Art Prize is a £5,000 Katharine Lazenby, Alzbeta Jaresova, at One Fleet Place, London, providing award that is given to one artist Paresha Amin, Alexandra Lethbridge a stimulating and vibrant environment biannually by an independent jury and Aimee Parrott. for Dentons’ staff, clients and of top art world professionals. Our partners. Dentons is committed to previous panels have included high Staff Prize supporting promising artists as they profile artists Mark Wallinger, Richard progress in their careers and values Wentworth, Mark Titchner, Susan In conjunction with this award, the vibrant and responsive insights Hiller and Michael Landy, gallerists Dentons also celebrates one artist on both local and global culture that Neil Wenman, Simon Lee, Hannah with the “Staff Prize”. This will be they provide. The initiative gives the Barry and Maureen Paley, collectors awarded to the most popular artist Dentons community the opportunity David Roberts and Valeria Napoleone, as voted by Dentons’ London to engage with the artworks in curators Ziba Ardalan (Parasol Unit) employees. a meaningful way through a series and Natasha Hoare (Goldsmiths
“Exciting cities remind you how very different spaces can be at different times of day
and how they can be put to a diversity of uses.
What fun if walls had ears.
I found it so compelling to be in Dentons’ offices one evening and imagine a week’s footfall
and debate, whilst realising that so much ambitious art had been both a foil and a witness.
What a great scheme this is, what a great conversation for all the participants to find
themselves as players…”
—R
ichard Wentworth, Artist
Judge of the Dentons Art Prize
“The Dentons Art Prize has been an incredible and transformative experience for me.”
—C
herelle Sappleton, Artist
Former Prize Winner
4
Dentons Art Prize 9.0
Shortlist
Alastair Gordon 6
Alexander Stavrou 12
Amanda Denny 19
Anna Freeman Bentley 29
Daniel Pettitt 35
Josh Rowell 42
Osian Jenaer 46
Simone Mudde 48
Xiuching Tsay 51
Morris56
Margaux Derhy 64
All enquiries and feedback on the Dentons Art Prize to:
DentonsArtPrizeCommittee@dentons.com
5
Alastair Gordon At first, these are paintings about of paper: materials to be utilised by their display. And yet, despite painting: images that oscillate at the very beginning or discarded their whimsical irony and scrupulous between artifice and artifact. at the end of the painting process. attention to detail, the historical Alasdair Gordon’s paintings Certain questions emerge about the veracity of these objects are in strongly reference a form of trompe processes of painting, of illusion, constant doubt. l’oeil painting that proliferated representation and how artists in the seventeenth century in utilise their source materials. The Gordon is a London based artist Northern Europe: a specific form notion of authenticity is central to and curator. He has had recent of illusionism called rack painting. Gordon’s artistic enquiry. As Jean solo exhibitions at the Ahmanson From here he paints an array of Baudrillard wrote in The System Gallery (Los Angeles), First Things selected objects to appear as of Objects: “We are fascinated by Gallery (New York), Nunnery Gallery ‘pinned’ or ‘taped’ in low relief on what has been created... because (London) and Nomas* Projects a wooden surface. Objects are the moment of creation cannot be (Dundee) with group shows often chosen for their residual reproduced.” The viewer is often this year in Beijing, Melbourne value in the artist’s studio such as disarmed by the meticulous nature and London. Work features in masking tape left over from the of their representation and the various international and museum painting process or a blank piece sense of authority communicated collections including the Beth de 6
Rudin Woody Collection, Ahmanson (hons) at the Glasgow School of Art
Collection, Royal Bank of Scotland in 2002 then an MA in 2012 from
and Simmons and Simmons. Wimbledon School of Art. He went
Gordon is currently course leader on the establish Husk Gallery
for Professional Practice at the in East London and developed
Leith School of Art in Edinburgh. a programme of exhibitions
He is artist-in-residence for PADA featuring graduate London artists
Studios in Lisbon and has just and political refugees from across
completed a six month project as Europe. This led to the foundation
artist-in-residence for the City and of Morphē Arts, a mentoring charity
Guilds of London Art School. He for emerging artists of which he is
has received several prizes for his a founding director.
painting, not least the Shoesmiths
Art Prize in 2017 and two of his
paintings were selected this year
for the Royal Academy Summer
Exhibition. Alastair completed his BA
7
Alasdair Gordon
The Old That is Strong Does Not Wither, 2017
Oil on birch
50 x 40 cm
£2,700
Location: Corridor near Room 19
8
Alasdair Gordon
All the Tape Left Over From My Last Painting, 2019
Oil on wood
50 x 40 cm
£2,700
Location: Room 21
9
Alasdair Gordon
Remains of the Day, 2019
Oil on canvas
Four panels reconfigured to 120 x 120 cm
£6,700
Location: Corridor near Room 18
10Alasdair Gordon
It Can Exist, In and For Itself, Without Things, 2017
Oil on wood
50 x 40 cm
£2,700
Location: Corridor near Room 19
11Alexander Stavrou
Through pictorial and painterly a product of working something out London. While on The Hive Residency
expression, Alexander Stavrou’s works which emerges from a non-verbal at the Koppel Project in 2018,
inquire into variants within systems, material based language. Stavrou was able to challenge his
in particular natural process and approach to the art object by making
the understanding of it. He regards Stavrou graduated from City an installation comprised of both
matter as physical information which & Guilds of London Art School in paintings and moving image titled
has agency and the possibility of 2012 with a First Class Honours BA ‘Counterparts at Play’. In September
being manipulated. In light of this, Degree in Fine Art and was awarded 2019, he curated a group show
he considers paint to be inherently the Chadwyck‑Healey Prize for exploring the materiality of the
chaotic with the potential to become painting. Since then he has exhibited art object in an ever increasing
ordered. Each painting is often in a number of group shows in digital age.
Alexander Stavrou
‘Here’ and ‘Not Here’, 2017
Oil on canvas
24 x 24 cm
£1,400
Location: Room 8
1213
Alexander Stavrou
Sink, 2018
Oil on carved wood
25 x 23 cm
£1,200
Location: Room 8
14Alexander Stavrou
Block II, 2019
Oil on carved wood
26 x 20 cm
£1,000
Location: Room 7
15Alexander Stavrou
Packet, 2018
Oil on carved wood
26 x 20 cm
£1,000
Location: Room 7
16Alexander Stavrou
Kernel, 2019
Oil on wood
20 x 20 cm
£1,000
Location: Corridor near Room 7
17Alexander Stavrou
M81, 2018
Oil on wood
21 x 28 cm
£1,000
Location: Room 7
18Amanda Denny
Amanda Denny is a London based and the development of photo-text long-awaited closure – the final
photographic artist and visual are core to her practice. act. The book considers a women’s
storyteller who works increasingly place in the world, mental resilience,
with imagery, literature and archival Denny is exhibiting two bodies the imbrication of time and chance
material, using both analogue and of work as part of the Dentons encounters that alter the paths you
digital image making processes. Art Prize. Bitter Revenge, 2019 is travel on. This Victorian woman
Her practice explores our mental a photo-book which takes the form came onto the shelf of Denny’s
spaces, including issues of urban of a three act play, and is driven life, igniting old memories by
living, solitude versus loneliness, by two narrative threads set some frequent coincidental connections:
memory, social stigmas and 100 years apart with heartbreak, places, the Sussex police, failed
conflicts of choice. Alongside this, unstable relationships and rejection romance and its cognitive effects.
she introduces the imbrication of at their core. One of these is Using archival material, personal
time and chance happenings and a Victorian woman, Christiana documents, literature and still life
the paths we can end up on for Edmunds, who became known as imagery, Bitter Revenge delves
such occurrences. She produces the ‘Chocolate Cream Killer’ and into themes of loneliness, fear
narrative spaces that enable her to ‘Venus of Broadmoor’, the other is of abandonment, social stigmas,
respond to everyday life and the her own. From the weaving of these mental health and memory.
social environment. The photo book two narratives a third emerges, a
19The second project is titled No personal identity and belonging. France 4th Edition, City to Sea Place Like Home and was shot over The medium used enabled a varied Coney Island* 2018, Wall Ortiz a period of three months using response to a repetitive visual Gallery, NY, 2018, Safehouse 1, 139 Polaroid and instant film cameras, landscape very familiar to the artist Copeland Road, London, SE15 3SN chosen for their unpredictable, and reflected the out of place and many more. Her Book No Place unreliable results. This can be sensation experienced from being Like Home (2018) was shortlisted for seen as a personal response to in this environment. the La Fabrica and Photo London spending increasing amounts Book Dummy Award 2019 and of time in the old family home Amanda Denny has recently was nominated for the First Book with an ageing parent and the graduated with a BA (Hons) in Award 2018. altered dynamics it brings, where Photography from the University relationships and memories are of Westminster. Her work is held in a constant state of flux: parent, in private collections and she has daughter, adult, child and carer. been exhibited in group shows Families today are increasingly worldwide; including La Biblioteca more scattered and with an ageing Nacional de España, PHotoESPAÑA population, the book No Place Festival 2019, Time to Think Shutter Like Home questions notions of Hub exhibition, Festival Pil’Ours, 20
Amanda Denny
Untitled (Collar) From the series
‘Bitter Revenge’, 2019
Premier C-type Matt Print
70 x 56 cm
Edition size: 5 plus 1 AP
£950
Location: Room 9
21Amanda Denny
Untitled (Quill) From the series
‘Bitter Revenge’, 2019
Premier C-type Matt Print
70 x 56 cm
Edition size: 5 plus 1 AP
£950
Location: Room 9
22Amanda Denny
Untitled (Wig) From the series
‘Bitter Revenge’, 2019
Premier C-type Matt Print
70 x 56 cm
Edition size: 5 plus 1 AP
£950
Location: Room 9
23Amanda Denny
Bitter Revenge, 2019
Artist Book
Edition size: 5 plus 1 AP (Printed to order)
£600
Location: Room 9
24Amanda Denny
Untitled, From the series
'No Place Like Home’, 2018
Premier C-type Matt Print
31 x 31 cm
Edition size: 10 plus 2 AP
£550
Location: Corridor near Rooms 13
25Amanda Denny
Untitled, From the series
'No Place Like Home’, 2018
Premier C-type Matt Print
31 x 31 cm
Edition size: 10 plus 2 AP
£550
Location: Corridor near Rooms 13
26Amanda Denny
Untitled, From the series
'No Place Like Home’, 2018
Premier C-type Matt Print
31 x 31 cm
Edition size: 10 plus 2 AP
£550
Location: Corridor near Rooms 13
27Amanda Denny
Untitled, From the series
'No Place Like Home’, 2018
Premier C-type Matt Print
31 x 31 cm
Edition size: 10 plus 2 AP
£550
Location: Corridor near Rooms 13
28Anna Freeman Bentley
Anna Freeman Bentley’s paintings validation and identity, and shifting she took part in the Prague Biennale
use architectural imagery to explore aesthetic tastes. 2011 and the Bloomberg New
the emotive potential of space Contemporaries in 2009. Awards
and its associations with longing. Anna Freeman Bentley received her and residencies include the Palazzo
The spaces depicted are empty yet BA from Chelsea College of Art in Monti Residency, Brescia 2019, The
visual signifiers point to evidence 2004 and her MA in Painting from Elizabeth Greenshields Foundation
of people and social happenings. the Royal College of Art in 2010. Grant 2019 and 2017 and the Artist
Her expressive paintings explore the She has exhibited internationally; in Restaurant Award and Residency
representation and interpretation of highlights include a solo exhibition at Michelin-starred restaurant Pied
space under different historical and at DENK Gallery in LA 2019, a group a Terre in London 2012.
social conditions, changing terms of exhibition at Space K in Seoul 2017,
29Anna Freeman Bentley
Eclectic, 2017
Oil on panel
50.5 x 61 cm
£4,800
Location: Room 13
30Anna Freeman Bentley
Board, 2017
Oil on canvas
135 x 90 cm
£10,200
Location: Room 13
31Anna Freeman Bentley
Open late, 2017
Oil on panel
40 x 50 cm
£3,780
Location: Room 6
32Anna Freeman Bentley
Remembering, 2018
Oil on paper
35 x 48 cm
£2,040
Location: Room 6
33Anna Freeman Bentley
Detached, 2017
Oil on canvas
150 x 100 cm
£11,400
Location: Corridor near Room 3
34Daniel Pettitt
In recent years Daniel Pettitt has Rotation series; colour and form are have included: Granite and Rainbow
elaborated his painting within churned, tilled, harvested, gleaned, (solo), Palfrey, London, 2019; Tin
a register of allusive and speculative and cultivated across the picture Decade (solo), Roper Gallery, Bath,
abstraction. Ingesting an eclectic plane. They chart an intense period 2019; Dark Lantern, Galerie Sabine
mix of visual and cultural materials, of making, moving voraciously Knust, Munich, 2019; Little Bouket,
such as lyrical abstraction, everyday across painting and drawing, 2/2, Glasgow, 2019; Heads Roll,
signage, modernist poetry and offering an array of divergent Graves Gallery, Sheffield; Malevolent
post-conceptual art, his work tracks and often fugitive works. Eldritch Shrieking, AttercliffeTM,
fluctuations of index, fragment, Sheffield, 2018; The Brightness of
metaphor, memory, semblance and Daniel Pettitt studied a Masters in the Colour, NAM Project, Milan,
mood as they congeal and dissolve Painting at the Royal College of 2016; In this soup we swim,
into provisional fields and partial Art, London, 2015-2017 and BA Fine Kingsgate Project Space, 2016 and
images. Many of the works shown Art at Bath School of Art & Design John Moores Painting Prize,Walker
here are part of the ongoing Crop 2005 - 2008. Recent exhibitions Art Gallery, Liverpool, 2014.
35Daniel Pettitt
Crop Rotation XXXII, 2019
Oil on canvas
50 x 40 cm
£1,400
Location: Corridor near Room 8
36Daniel Pettitt
Devotion and Joy, 2019
Oil on canvas
100 x 50 cm
£1,900
Location: Corridor near Room 17
37Daniel Pettitt
Crop Rotation XXXIV, 2019
Oil and chalk on canvas
130 x 90 cm
£2,800
Location: Corridor near Rooms 16 and 17
38Daniel Pettitt
Crop Rotation XXXVII, 2019
Cork, wax and oil on panel
60 x 40 cm
£1,500
Location: Corridor near Room 8
39Daniel Pettitt
Crop Rotation XXXVI, 2019
Encaustic on panel
38 x 34 cm
£2,200
Location: Corridor near Room 8
40Daniel Pettitt
Study for a Crop Rotation, 2017
Oil, watercolour and collage on paper
38 x 30 cm
£1,000
Location: Corridor near Room 8
41Josh Rowell The ‘Painting Language’ series is response to the complex coding Josh Rowell graduated from designed to exist at the meeting systems which underpin such ease Kingston Art School in 2013, where point of art, technology and of communication. The choice to he received a first class BFA with language. This series is a perfect hand paint these, seeks to highlight honours. Following a course in Art example of exploring the boundary to the importance of the handmade Criticism at Central Saint Martins between digital aesthetics and the in a time when seemingly all aspects college, Rowell returned to Kingston nature of the hand-made; between of modern life are becoming Art School for an MFA in 2015, the virtual and the real. Starting with enveloped by the digital. where he was awarded a first- class a piece of text, the chosen message distinction. His works have been is then hand painted back out using Socrates Apology by Plato is a text exhibited in London, New York, a complex system of colour coding. that Rowell has been working on for Miami, Seattle, Basel, Hong Kong The idea of working with coding 3 years and this triptych forms just and Mexico and his works are part of systems was born out of an interest part of a major 20 painting series. public collections including the Uffizi in the functions of communication in Socrates Apology, is an account Gallery in Florence, the Gregorian the 21st century. We take for granted of his legal self-defence speech at Foundation in Washington, London the fact we can now message his 399BC trial in Athens. It is often Kingston University's contemporary anybody at any time in any place regarded as one of the first recorded art collection, and the Matilda in the world, instantly, and these defence of justice, democracy and collection in San Miguel De Allende. pieces aim to provide an aesthetic free speech in Western antiquity. In 2017/18 he had his first museum 42
Josh Rowell
Socrates Apology by Plato: Words 7094 – 7442, 2019
Acrylic on canvas
100 x 70 cm
£3,500
Location: Corridor near Room 4
exhibition at the Palacio Nacional
de Guatemala. Rowell won the
Public Choice award at the VIA
Arts Prize 2017, and was included in
Future Now, the yearly publication
by Aesthetica listing the 100 most
interesting emerging artists of
the year. In 2019 he was selected
for the Royal Academy Summer
Exhibition, London. Rowell has work
in private collections in UK, USA,
China, Germany, France, Spain, Italy,
Switzerland, Monte Carlo, Bermuda,
Hungary, Mexico, Peru and Kuwait.
43Josh Rowell
Socrates Apology by Plato: Words 7442 – 7794, 2019
Acrylic on canvas
100 x 70 cm
£3,500
Location: Corridor near Room 8
44Josh Rowell
Socrates Apology by Plato: Words 7795 – 8130, 2019
Acrylic on canvas
100 x 70 cm
£3,500
Location: Corridor near Room 8
45Osian Jenaer Osian Jenaer’s practice seeks to political memory. The anachronism Art in 2018. He has exhibited work assimilate notions of collective of the work's digital aesthetic at galleries in London, Liverpool, memory, mythology, language alongside these themes of memory Moscow and Tokyo. Recently he was and nostalgia, examining the and mythology flattens out notions involved in the group show After The intersection of individual and shared of time, creating a space in which the Future, at Triumph Gallery, Moscow. experience. The work displayed at past, present and futures may exist He was selected for Bloomberg Dentons, W 51.5947° N, 3.7841° W, on the same two dimensional plane. New Contemporaries 2018 and was recalls traditions of tapestry and rug included in the exhibitions at The making as storytelling, with coded Jenaer is a multi-disciplinary South London Gallery and Liverpool messages referring to Welsh folklore visual artist who graduated from John Moores gallery. and tradition as well as personal and Goldsmiths University, BA Fine 46
Osian Jenaer
W 51.5947° N, 3.7841° W, 2019
Digital print on canvas
98 x 150 cm
Edition 1 of 4
£600
Location: Room 10
47Simone Mudde Simone Mudde’s work is often Mudde is a Dutch-born artist working 2017. Mudde's works are represented interested in concepts of time, labour, in London where she recently in the collections of KPMG, Leaseplan and process. Whilst her previous completed her Master’s at the Royal Corporation as well as various private collaborations with Olivier van College of Art. She has been selected collections. Her publications have Breugel explored many of these ideas for Bloomberg New Contemporaries furthermore been acquired by the in relation to technology through 2019, is currently working on a collections of Stedelijk Museum observations of human behaviour in commission for the Geffrye Museum (Amsterdam), Museum of Modern public spaces, her more recent work, in London and will attend EKWC's Art (New York), Yale Art Library though incorporating many of these Sunday Mornings residency in 2020. (New York), New York Public Library previous attitudes, has expanded She has exhibited her work in various (New York). For her master degree on how time can be perceived institutions and events including she received scholarships from and manifested through the very Unseen Amsterdam (together with Bernhard cultuurfonds, Dr. Hendrik processes involved in creating the London Alternative Photography Muller Vaderlandsch fonds, Stichting her work. With her interest in our Collective, 2019), RK Burt Gallery Vrijrouwe van Renswoude and contemporary visual culture, Mudde (Surface DEEP, 2018), Fotodok (Why Stichting Niemijer. In 2015 she tries to get closer to the essence of Work? 2018) and The Photographers received a Young Talent Stipend from the photograph; both in the creation Gallery (The London Alternative the Mondriaan Fonds to create new and the destruction of the image. Photography Collective Takeover, work in collaboration with Olivier van 48
Simone Mudde
B of RGB cmYBGR, 2018
Unique chromogenic print
One of a triptych (a perfect red, a perfect green and a perfect blue)
84 x 84 cm
£2,000
Location: Room 20
Breugel. In 2018 she was nominated
for the Almacanter Awards and won
the Labyrinth Lab Award. In 2017
she was shortlisted for the European
Photography award prize. Together
with Oliver she was selected for Plat(t)
form by Fotomuseum Winterthur
and received a star as an honourable
mention for being “especially
convincing”. The book ‘Between
screens received a silver medal at
the European Design Awards. In 2011
she was invited for Roy Kahmann’s
one-year masterclass for young talent.
49Simone Mudde
C0/M90/Y75 and C0/M0/Y30,
Enlarger B, London, 2018
Unique chromogenic print
73 x 60 cm
£2,100
Location: Room 22
50Xiuching Tsay
Xiuching Tsay’s practice is essentially a journey narrative, many are set in Fitzrovia Gallery, London, UK, Jelato
to irradiate the recurring images a surreal seascape and give an open For All, Jelato Love Gallery, Mallorca,
that reside vaguely in her mind. ended stories that offer different Spain and Barcelona International
She resurrects their essences through possibilities through which to interpret Art Fair at Museu Maritim De
painting and rediscovers their hidden these dreamlike characters. Barcelona, Spain.
characters through an ecstatic quality
of vision. The practice engages with Tsay has a (MA) Painting from
the concept of hallucinatory fluidity in Royal College of Art and a First
order to unleash her own perceptions Class (BA) Fashion Illustration from
toward the intimated objects. Fluidity London College of Fashion (UAL).
like water has both metaphorical She was selected for Bloomberg
and substantial qualities that unfold New Contemporaries in 2019 and
infinite visions as water melts all exhibited her work at Leeds Art
the possible subject matters into Gallery and South London Gallery.
the most ambiguous forms. Moreover, Recent exhibitions include Absinthe 3,
she views the paintings as having Spit and Sawdust, UK, Hide and Seek,
51Xiuching Tsay
R.I.P.E The bonsai, 2019
Oil on canvas and a bonsai pot
100 x 80 cm
£2,980
Location: Room 19
52Xiuching Tsay
Revitalising: I woke up and my saliva grew the plan(E)t, 2019
Oil on canvas
100 x 70 cm
£2,780
Location: Room 14
53Xiuching Tsay
A woman on the chair, 2019
Oil on canvas
110 x 75 cm
£3,000
Location: Room 15
54Xiuching Tsay
Their Golden Time, 2019
Oil, sands and found objects
by Thames on Jute Fabric.
100 x 100 cm
£3,400
Location: Room 14
55Morris Morris paints evocative portraits that Morris has an H.N.D. in Illustration employ bright colours to convey from the North East Wales Institute something of his sitter’s inner and a BA in Illustration from the worlds. Alongside his paintings, Glasgow School of Art. he creates numerous repetitive drawings in biros or chinagraph pencils from life or found imagery, and refers back to these when creating his compositions. 56
Morris
Down to the depths of sleep I go,
where dreams uncaptured move, 2019
Oil on canvas
61 cm x 45.5 cm
£600
Location: Room 12
57Morris
When I noticed that she too was moved and
was staring out the window, 2019
Oil on canvas
40.5 x 51 cm
£400
Location: Corridor near Room 7
Morris
Memories, 2019
Oil on canvas
40.5 x 51 cm
£400
Location: Corridor near Room 7
5859
Morris
Down to the depths of sleep I go,
where dreams uncaptured move, 2019
Oil on canvas
40.5 x 51 cm
£400
Location: Room 12
60Morris
Down to the depths of sleep I go,
where dreams uncaptured move, 2019
Oil on canvas
40.5 x 51 cm
£400
Location: Room 12
61Morris
Down to the depths of sleep I go,
where dreams uncaptured move, 2019
Oil on canvas
40.5 x 51 cm
£400
Location: Corridor near Room 7
62Morris
Down to the depths of sleep I go,
where dreams uncaptured move, 2019
Oil on canvas
40.5 x 51 cm
£400
Location: Room 12
63Margaux Derhy Intimacy, grief, healing – Margaux help to expand on themes of in the Investec Cape Town Art Derhy’s work deals with these timeless-ness and placeless-ness. Fair. She attended the Studio subjects which she finds strangely By developing a very personal work Kura residency in Japan during absent from contemporary fine art, around self-mythology, illusionism the summer 2018 and a residency although they comprise so much of and fantasy, she proposes pictorial in Morocco in 2019 for artists to the subject matter of contemporary works that are a tribute to filial and work in fishermen’s caves. Recent film, photography and literature. brotherly love. exhibitions include Tate Exchange Her current work explores how our (Tate Modern) performance on understanding of even our most Derhy studied at the Ateliers collective memory with CSM – intimate memories are changed Beaux-Arts of the city of Paris London, Human Manifesto curated as we undergo the passage of life. (ABA) with Gonzalo Belmonte, has by the Feminist Society at CSM She uses mostly acrylic and oil a postgraduate Diploma in Art in – London, We are Here We are at painting to signify almost ghostly Science from Central Saint Martins Apiary Studios – London, and A figures with dreamy bodies and (CSM) and an MA Painting from Smaller Scale at EBONY Curated – faceless characters along with the Royal College of Art. In 2017, Cape Town, South Africa and En cas poetic landscapes. With references she spent several months in South de pluie – Paris, France. to symbolism and expressionism Africa for an international artist paintings – the scenes she residency at Greatmore Studios constructs, both real and imagined, in Cape Town and participated 64
Margaux Derhy
One and also two and ... more, 2019
Acrylic and oil painting on linen canvas
100 x 80 cm
£3,850
Location: Room 5
65Margaux Derhy
A secret sense for us to savour, 2018
Acrylic, posca on linen
100 x 65 cm
£3,700
Location: Corridor near Room 21
66Margaux Derhy
The Pieta and the Fantastic, 2019
Acrylic, posca, Charcoal on linen
80 x 100 cm
£3,850
Location: Room 13
67Margaux Derhy
The Duo, 2019
Acrylic, posca on linen
33 x 43 cm
£1,600
Location: Room 13
68Margaux Derhy
Ombres sur le rivage, 2019
Acrylic, oil on canvas
38 x 55 cm
£1,800
Location: Corridor near Room 21
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Locations in purple represent Dentons offices.
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71Niamh White & Tim A Shaw
Curator Niamh White & artist Tim A Niamh White is an independent visual Bethlem Gallery that is part of a King's
Shaw collaborate on a number of arts curator and consultant. She has College 'Collaborative Innovation
creative projects in London and the UK. curated a broad range of exhibitions Scheme’ and Refuge, a solo exhibition
for museums, institutions and at Griffin Gallery. Through Hospital
They have co-founded Hospital galleries including Cabinet Stories Rooms, Tim created a large scale mural
Rooms, a charity that commissions with UAL, Papaver Rhoeas at Kew to transform the SWLSTG Recovery
museum quality artists to create Gardens, Sir John Soane’s Museum College and programmed participatory
inventive, compelling and compliant and Freud Museum among others arts workshops for their students.
artworks and environments for mental and The Pierrot Project at Display
health units in NHS hospitals. Hospital Gallery. She is a visiting lecturer at Niamh and Tim also run an art
Rooms works with artists such as Nick various universities across the UK consultancy offering advice to
Knight, Gavin Turk and Assemble and in the fields of art history, collecting individuals and companies in
is funded by Arts Council England and exhibition making. building outstanding collections
and the Isabella Blow Foundation of contemporary art.
among others. Tim A Shaw is a London based artist.
His recent projects include Dismantling Sales enquiries:
Maslow’s Pyramid, a participatory time- niamh@niamh-white.com
based installation and salon event at www.niamh-white.com
72We specialise in introducing artwork by emerging contemporary artists to new collectors.
Our Services
• Identify promising emerging artists • Coordinate private commissions
using a wide variety of mediums of artworks
• Support artists in the early part • Establish a personal and coherent
of their careers direction for collections, where
artworks relate to and compliment
• Educate collectors on artists’
one another
concepts and practices through
one on one consultations and • Provide advice on transportation,
gallery or studio visits insurance, security, framing,
installation and display of artworks
• Advise collectors on relevant
upcoming projects and exhibitions • Develop long term relationships
with artists and collectors
• Offer original, unique and very
limited edition artworks for sale
73Thank you The aim of the Dentons Art our expectations, from partners have received the £5,000 prize Prize was to create a positive and lawyers, but also from money, but many of them have and enlivening client facing the support staff. Not all comments taken advantage of the free legal environment by exhibiting a wide are complimentary, but that is the advice we provide. Our thanks and changing array of painting, nature of art. Challenging pieces go to the Dentons Art Prize drawing, photography and are like “Marmite”. The important Committee: Lucille De Silva (Chair), sculpture. At the same time, we thing is people are taking note of Karen Brown, Thomas Winstanley, wanted to help the next generation the environment we share, which Simon Colledge, Sarah Lima, of diverse UK‑based artists who are is reflected by the enthusiasm in Sarah Sage, Nick Mott, Alexandra just beginning their careers. It was voting for the Staff Prize, which runs Stopford, Yvette Parker, Lee an unknown whether we would alongside the judged competition. Charles, Harriette Coates, Verity succeed, but on both fronts the Since 2016 more than 65 artists Buckingham, Ameen Abboud, Art Prize has been a huge success. have exhibited their work. Some Parisa Ahmadian, Badar Al Raisi, The feedback and engagement have since been picked by major Eleanor Wells, Jo Wilson, Shinae Lee, within Dentons has been beyond galleries and collectors. Six artists Jessica Matheret and Kirsten Panter. 74
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© 2020 Dentons. Dentons is a global legal practice providing client services worldwide through its member firms and affiliates. This publication is not designed to provide legal or other advice and you should not take, or refrain from taking, action based on its content. Please see dentons.com for Legal Notices. Brand-22368-Dentons Art Prize Brochure January - June 2020-02 – 15/01/2020
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