3-8 December 2019
Private View: Tuesday 3rd December 2019 6.30-9pm.
First Thursday performance open evening: Thursday 5 Dec, 7-9pm.
Exhibition continues: 1-8pm Weds 4 - Sat 7 Dec & til 5pm Sun 8 Dec.
'Raw Perspectives’ brings together the work of 14 painters, photographers, sculptors and performance artists who are, each in their own unique way, exploring the definition and complexity of what it is to be ‘masculine’ in today’s society. It encourages questions and dialogue on the validity of the continuing stranglehold of the patriarchy on today’s culture; In particular, how the nude male body still remains behind almost impenetrable walls of censorship and taboo.
Created from the perspective of artists identifying from across the gender spectrum, the work invites the viewer into the intimate space between artist and subject; to look beneath the mask society so often requires be worn by those who identify as masculine. A mask that when worn, suppresses the multiple variations of masculinity and denies the open expression of all the beautiful, erotic, raw, vulnerable emotions that define our common humanity.
Dante is a realist artist. His work places the human subject or creation in its own everyday social setting, analysing its presence and course in the world, and demonstrates how the human gaze reveals the human character.
He paints portraits and urban landscapes from sittings and detailed photographs in oils. He works with his own subjects and to commission.
Examples of Dante’s work are at and Instagram @danteart1988
My figurative paintings takes us into spaces of personal intimacy. They invite us
in as though we have stumbled across a figure or groups of figures in a private
space. I explore masculine physicality, intimacy and sensitivity of the male form.
The male figure can tell a story more intensely than a portrait and often broadens
narrative and can convey more emotion than a portrait.
Art that we consume from advertising and the internet connects eroticism and
intimacy. Our culture is saturated with tears, rage and pumped-up masculine
muscle. These images can elicit powerful responses, yet can also offer a subtler
experience. Some of my work explores the boundary between pornography and
eroticism. Not everything has to be felt to the max - sometimes it’s enough to
quietly look, reflect and enjoy.
Recently, I have focussed my work on the effects that a trauma or disaster
imposes on individuals. There is a never-ending trickle of young people fleeing
war or prejudice from all over the world. Media images indelibly etch themselves
into visual memory and unravel into the current body of work being produced for
IVOR GEORGE SEXTON
The work I am creating for the "RAW PERSPECTIVES" show is very
It is inspired and centred round the sexual abuse I experienced as a child and how it shaped my adolescence.
The work does not come from pain...some of what I experienced had a positive effect on my artistic life.
My abuser really encouraged me to draw and paint...my parents only destroyed what I had created.
It was he who introduced me to Renaissance Art. I know what happened was abuse...but the abuse did shape my creative journey.
My paintings depict the shame, fear and longings of my sexuality while growing up.
I try to create a narrative of longing, eroticism and desire alongside the fear of being "found out".
The paintings are purposely small...it makes them more intimate. They becomemore voyeuristic as they lead you into the story.
Jane explores the seductive beauty of the Male Nude through the uninhibited female gaze: finding excitement in sculpted form and bare flesh. These paintings express an artistic desire to wrench control of ‘the gaze’ back from the hegemony of the patriarchy and to expose male vulnerability alongside strong masculinity. Jane challenges the viewer to confront their implicit bias against the uncensored male body and to re-examine the reasons that the ‘nude’ in contemporary art is nearly always female.
The appeal of making art to me is in the function of processing the feelings and thoughts I experience through time.
As I'm making a painting and solving the problems of getting an image right; in another, separate part of my mind I am working on how I feel about a past relationship, a struggle at my job or a fresh passion for someone new to my life.
These inevitably make their way into the painting for me and potentially for the viewer, as a landmark and a memory. So images can be a celebration, a warning; or simply a diary entry.
I have been making pictures of men's bodies since my first inkling that I was attracted to them, so I've always used the naked male as the primary subject for my art. The paintings can carry my thoughts in abstract or more and more often, as featuring the men I must consider.
For Georg the fluidity of drawing lends itself to an accurate recording of the movement of bodies in performance. This vital examination of a transient moment is an intimate carnal dialogue, urgent and demanding. He gravitates repeatedly to the genre of portraiture.
‘Georg Meyer-Wiel's drawing is a never-ending, constantly updated work in progress, intensely personal, executed with graphic haste in the heat of the moment... They present, in public, a private truth. Seen one by one, they offer us brief encounters of a very masculine immediacy, finding tenderness in the raunchiest of beauties; seen as a series, they initiate a charged conversation with the viewer.’ Neil Bartlett. Author, Director
Beauty: "A combination of qualities such as shape, colour or form, that gives pleasure to the senses or pleasurably exalts the mind or spirit."
The search for these seductive qualities has always been a driving force in my
I've recently been drawn to painting the idealised, muscular nude male portrayed in Classical sculpture. A hint of opalescent flesh tones creates an ambiguity between man and marble.
As a portrait painter, it is easy to be seduced by a look in the eye, a wild head of hair or a simple hand gesture. A colourfully dressed man can be a joy to paint, for the artist and viewer alike.
Working from the human form is a large part of my regular practice. The greatest intrigue lies in finding beauty in the unexpected. In the pieces created for this exhibition, it lies in the maps of tanned, lined faces like shrunken apples; in the subtleties between facials expressions of pain and orgasm; in the confident body language of a man who knows he can rock a pair of stilettos.
Observation of the individual is key, and for me individuality is the source of raw beauty.
As a London based artist, I am attracted to the world of drag cabaret and as part of my Chelsea MA in fine art, I created my own drag alter-ego ,’ The Countess of Corsetshire’. I find that drag queens embody a dreamlike quality and articulate the archaic meaning of the word , ‘glamour’ , which was ‘magic’. I attempt to explore these qualities through the glamour and magic of paint. The 1920’s
female impersonator and acrobat, ‘Barbette’ whom the poet Jean Cocteau describes as ‘faraway, unreachable, dream like , unavailable to consciousness’ is of particular interest . The distance of time
adds another dimension to the sense of mystery and otherworldliness that surrounds him. My paintings and video installations engage with this ‘Through the Looking Glass ‘ quality , alluding to Lewis Carrol’s dream inspired and playful use of scale in the Alice stories. Making a painting or installation is a way of escaping ordinary life and entering a made up, imaginary world. In much the same way a drag queen creates an extravagant fantasy when he puts on his make up and becomes
The core theme of my work is the exploration of the Human condition through painting. My works open up a dialogue around how we present ourselves in the age of self curated social media. From superficial through to visceral. Questioning what 'masculinity' means in contemporary times. Are we constantly required to redefine what it is or in the age of gender fluidity is there no longer a need for it?
I’ve been painting since 2013. I started with abstracts but felt that I wanted to explore more personal images and moved to portraiture. When I paint portraits, I want to let the viewer figure out what is behind the face. What is hiding deep inside a person? Most of the time we don't show our deepest character and experience. I want to reveal more than the beauty of the male body, but also what lies beneath and our unique experience of life through living our lives.
It’s so different when you’re painting or photographing someone as a figurative artist instead of being the model. I have been a model for a number of years.
Now I have reversed the gaze as a figurative artist with using self portraits and other people. I analyse myself from a different point of view and reflect this with what I felt at the time of being photographed with my present experience.
CHRISSY THIRLAWAY is a figurative artist working in 2 and 3
dimensions using oil and acrylic paints, coloured pencils, textiles,
metals and found objects.
‘It’s not what you’ve got it’s what you do with it.’
The works express the human body, questioning social mores of
shame, confusion and ignorance; exposing the emotional charge
we carry in relation to human nakedness and opening the mind to
acceptance of nudity – sensual, ubiquitous, mundane, exceptional.
The narratives address the tensions between the transient nature
of human bodies and the lives experienced/imagined in the head.
As well as working in isolation in studios in London and Los
Angeles, CHRISSY is involved in collaborative works with artists’
groups both here and there. Works are represented in private
collections both in the UK and internationally.
When I was in my late twenties, my interest in photography moved from an occasional pastime to something much more serious. More than 30 years later, I now realise that I had turned to photography - especially portrait photography - because it was a ladder to help me climb out of a depression - it obliged me, literally, to focus on other people rather than myself. Working with film and a camera's lens, I began using photography as a way to reveal certain aspects of a subject's persona. I developed a passion for the whole process.
Beyond the traditional portrait of the face, many artists have used shapes and forms and bodily gestures to portray more of "the person" in the painting. I too have tried try to focus on such indicators of persona and use nude males to explore identities. The results have surprised me: the portraits are both delicate and emotional; they raise a certain curiosity and reveal the particular relationship of confidence between the subject and his photographer.
Giacomo Pini is a London-based dancer and movement artist, working across the fields of performance art, contemporary dance and yoga.
Looking at life from a queer perspective, his pieces transform the human body into a poetic vehicle, a place for reflection where the audience is encouraged to question established norms of gender and sexuality and conventional definitions of beauty.
Pygmalion (Giacomo Pini in collaboration with Daniel Thomson, Livia Massarelli
and Toby Carr)
Inspired by ancient Greek mythology, Ovid’s Metamorphoses and lute song, Pygmalion is a queer physical and musical reinterpretation of the story of a sculptor who falls in love with the fruits of his labour. It explores the themes of gender, sexuality, love and loss.
When his statue is blessed, or cursed from the Gods with a beating heart, Pygmalion thinks he can finally fulfil his love for it.
But how will the two find a way to communicate? Has Pygmalion's creation turned out how he imagined?
Pygmalion is a short live installation, a dialogue between two worlds: dance and music, a statue and its creator, the body, exposed in its nakedness, and the raw emotion of the singing voice. This piece combines live performance, dance and music into a unique and captivating experience; a sensory feast that will keep eyes and ears peeled and hearts open.
This piece is a collaboration between Giacomo Pini (original concept, choreographer and performer), tenor Daniel Thomson, performer Livia Massarelli and lutenist and guitarist Toby Carr.
BURNING PRICKS by Riccardo Tarocco & Antonio Branco
In an iconoclastic performance two individuals interact from image to image in a flow of pain, truth, and hypocrisy. While enacting violent and sexual acts they read statements of political and philosophical nature shaping the surreal performance into a radical lecture on virility, femininity, contemporary sexuality, porn consumption, cybersex, polyamory and gender norms. Both performers are naked and holding candles moulded from their own erect penises. They burn slowly and melt over their bodies.
The performance functions through a conceptual script, it's never rehearsed and it's allowed to change constantly, with different spaces and contexts, and to respond to the site in which is set.
159 Bethnal Green Rd