London Art Fair 2022: Business Design Centre Islington
Previously scheduled for this January, the London Art Fair will now take place from 20-24th April 2022. Cavaliero Finn will be joined by nine other galleries in the fair's curated section, Platform. Curated by Candida Stevens, Platform 2022 will explore the theme of 'Music and its part in contemporary visual arts'.
Cavaliero Finn will present work by painters David Edmond, Tony Beaver and Helen Ballardie and ceramicist Barry Stedman all of whom have created new pieces in response to this year's chosen theme.
Cavaliero Finn is delighted to be returning to the 34th edition of The London Art Fair in April 2022. The gallery will be joined by nine other galleries in the fair's curated section, Platform. Curated by Candida Stevens, Platform 2022 will explore the theme of 'Music and its part in contemporary visual arts'.
Cavaliero Finn will present work by painters David Edmond, Tony Beaver and Helen Ballardie and ceramicist Barry Stedman, all of whom have created new pieces in response to this year's chosen theme.
Legendary Music venues
This series of David Edmond’s street paintings portray some of London’s much loved music venues while they were quiet and closed to their performers and audiences during the pandemic lockdowns. They include The Forum, The Garage, The Royal Albert Hall, The Royal Opera House, Ronnie Scott’s, Brixton Academy and The 100 Club.
His close cropping of each venues facade and the straight on view point emphasises their abstract and geometry qualities and the stillness of the period. Some are immediately recognisable and some are more discrete, but each is recognisable by those who know and love them. We recognise the Victorian building with its ornate terracotta façade totally unique to The Royal Albert Hall. The Garage, once a billiard hall is recognisable for its red awning and neon signage which pops out of the painting, the ornate signage almost at odds with the brutal geometric architecture. Other paintings are more obscure and abstract and may be harder to recognise, as the venues have little signage. London’s iconic 100 Club, nestled between some rather unremarkable shop fronts is just recognisable for its red sign which has been outside and trading under the same name since 1964.
David approaches each painting in a different way, very much reflecting the textures and fabric of each building. Some are stippled, some are thick impasto and some are thinly layered. The layer and glazes of paint have been dribbled, flicked, pooled and brushed, in parts thickly applied in others thinly. For some, he mixes turps with the oil and paints on the floor to achieve a slightly glossy surface as seen in the reflections in some of the windows. David brings his own unique voice to these buildings, spotlighting characteristics and giving us access to more than we thought we knew about these legendary venues.
A consistent theme in Tony Beaver’s paintings is his exploration of forgotten treasures. His subjects, be they dusty old museum exhibits, deceased family pets or national treasures are all liberated from their histories and memorials and coaxed into a new life through Tony’s tender portraits. For the London Art Fair Tony is painting a series of musicians, most of whom played in the historical venues referenced in David’s paintings above. Some are dead but all are legends. He is not interested in making poster like representations of these artists, he seeks to look beyond the public image so we see something of the human being inside. Through Tony’s unique rendering of the the eyes, he forces us to look beyond the portrait and see the tenderness and vulnerability not often on show to the public.
There is the mysterious sense that all of these subjects and objects, once tangible and touched, lost and found, are reborn, freshly tactile with hints of a magical pulse. Free-floating, beyond the reach of words, Tony’s paintings materialise profound sensations of ‘the real’ which touch on death, loss and longing but feel ultimately life-affirming
Music as a motivator
Helen Ballardie always paints to a single track which she plays over and over as a motivator, stopping when the music stops. The paintings aren’t about the music itself but they derive from listening to a repeated track.
Last year she listened fairly continuously to an Arcade Fire album called The Suburbs. She was painting the garden in gratitude for having a garden for the first time and was transfixed by it. The song ‘Half Light I’ reminded her of that special time of day at dusk when the light is just perfect. A lot of her new paintings have a particular glow that is reminiscent of that golden hour. She would turn that one up and totally zone in on her painting, working very quickly. When the music stopped and everything went silent she was almost reawakened from her painterly state. The music became her motivational backdrop and her companion, a comfort too as she has been painting and isolating alone in her French house most of the time during lockdown. Helen never remembers the words to any songs, it’s just about the music for her, it’s never about its lyrical meaning, only ever about how the music makes her feel. We will be showing Helen’s paintings alongside Barry Stedman’s ceramics and both artists are inspired by the garden and music so there is a beautiful synergy.
‘Playing Live’ series
Barry Stedman is making a series of works based around and inspired by Modern Jazz. Most of his vessels are made by throwing on the potters wheel and he likes to take a form, feel the material and push and pull it into something else, searching for a feeling that seems to fit and have life. He works quite quickly and spontaneously. This seems to him to have a direct connection to some of the modern jazz that he loves listening to and he particularly likes live playing. He wants to try and bring across a sense of ‘playing live’ in his work, allowing things to happen in the moment. Barry likes to build up layers of colour and texture almost like overlaid sounds and he enjoys creating contrasts with rapid fine marks and big lush brushes of colour, that may be akin to bright hi key notes. He says he feels a sense of rhythm in the way an undulating rim flows round a form and the brush marks interject colour and moments of pause, speeding up and slowing down, and although what results is a static form, he hopes to express some of the sense of drama and excitement that he feels from listening to music. In the same way that abstract painting often references music, the forms and marks on his vessels have a certain musical feel. He says his work ‘feels like it has rhythm and movement, bass note colours and marks, high notes and contrasting visual sounds.
Cavaliero Finn will be exhibiting on Stand G9B as part of Platform 2022 on the first floor balcony. Register your interest in seeing the private view of our artist's work here.