\"SUSPICION\" Jerwood Space

December 11, 2017 | Autor: Dan Coombs | Categoría: Film Studies, Contemporary Art, Painting, Film and Painting
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A JERWOOD ENCOUNTERS EXHIBITION CURATED BY DAN COOMBS 5 NOVEMBER — 7 DECEMBER 2014 NATHAN CASH DAVIDSON — STEPHEN CHAMBERS RA DAN COOMBS — SIMON LINKE — GAVIN LOCKHEART KATE LYDDON — DARREN MARSHALL — DAMIEN MEADE BENJAMIN SENIOR — GERALDINE SWAYNE — NEAL TAIT COVADONGA VALDES — FREYJA WRIGHT

FOREWORD The Jerwood Encounters exhibition series provides new opportunities for artists, makers and curators, and has formed an important and responsive strand of the Jerwood Visual Arts programme since 2008. Each exhibition has allowed us to take a different approach, starting afresh to ask who we might work with and what we might find out. Since the series began, Jerwood Encounters has created a framework through which we have presented 19 new curatorial propositions, which have been seen to date by audiences of more than 25,000. A particular focus has been on working with artists to curate for the first, or in this instance, second, time. In this way we have worked with Catherine Yass, Suki Chan and Marcus Coates, amongst others, who have each brought together distinctive ideas; from exploring how artists use photography in their research processes, to the relationship between sound and image in moving image work, and on the usefulness of art itself. This atmospheric new exhibition, Suspicion, is created by the inspired painter and curator Dan Coombs. It takes on the challenging and changing subject of narrative in

painting, in the single frame of the painted image, and on painting’s unavoidable relationship with film as echoed in the inspiration for the exhibition’s title, a reference to the 1941 Hitchcock film of the same name. Suspicion presents bold paintings from 13 artists, ranging from acclaimed Royal Academician to recently graduated artist. All of the works on exhibition are presented here in London for the first time. Dan’s vision for the show and its surreal and complicated character was clear and compelling from the outset. On behalf of the Jerwood Charitable Foundation I’d like to thank him for his fizzing ideas and enthusiasm. We are grateful to each of the artists and their galleries for their participation, and to Sean Ashton for his unique and fitting take on an exhibition essay, published in this catalogue. We hope you enjoy the exhibition and the journey each work draws you into. Shonagh Manson Director, Jerwood Charitable Foundation

SUSPICION In Hitchcock’s 1941 film Suspicion Cary Grant ascends a darkened staircase carrying a glass of milk to his wife (played by Joan Fontaine) who suspects he is attempting to murder her. Does the glass of milk contain a deadly poison? We never find out. The milk is uncannily lit from within by a small light that Hitchcock placed there: “I put a light right inside the glass because I wanted it to be luminous. Cary Grant’s walking up the stairs and everyone’s attention had to be focused on that glass”1. Hitchcock buries his gothic sensibility deep within the fabric of his films, but the famous glass of milk sequence in Suspicion involves a direct contrast of darkness and light. Shot in black and white, the white milk seems to create a bright hole in the fabric of the film, an empty space, a void which renders the narrative ambiguous, surrounded by Grant’s dark silhouette and the imprisoning shadows of the mullioned windows. The sequence is a suspended moment, outside of time. Here the unfolding medium of cinema almost comes close to the deafening silence and fixity of the medium of painting. The sequence embodies the uncanny effect of suspended time, and the identity of the character remains shrouded in ambiguity. In that sense, in embodying what is ambiguous Grant becomes a picture of himself, a picture of a man caught between two states, offering up the truth. Hitchcock made Cary Grant his avatar in a number of films. In Suspicion he embodies the charming con-man,

the inveterate liar, a condition all artists are familiar with. All artists, Hitchcock among them, have at some point wondered whether their devices are just a falsehood or a hollow illusion and feared that the world might see through them, see the pulleys and strings all too clearly. For contemporary painters, it is impossible to conceive of narrative painting without alluding to film. Yet the painter has to compress the meaning of a narrative into a single image, an image that resonates in an abstract way. It’s the way that implied narratives can intensify the ambiguity of an image, lifting it out of the literal and into something more like a memory, dream or confession. With the exception of Hopper and maybe Balthus, mid-twentieth century painting eschewed narrative. Narrative was expunged by the likes of Greenberg from painting’s field — it was deemed too literary, too external to the core of painting’s purity. It returned in postmodernity in the collage aesthetic of John Baldessari and David Salle, and later in the mysterious, forensically stilled paintings of Luc Tuymans. Peter Doig made landscapes that implied what had happened or was about to happen — the suspended moment of the film-still. In contrast, Maria Lassnig used her self-portrait to create alien confrontations between herself and her demons in all their monstrous banality. In a parallel exchange the great filmmaker David Lynch uses painting as a way to focus on the disjunction between words and images and to create, from the position of an omniscient narrator,

nightmarish and absurd scenarios populated by characters that are reminiscent of scenes from his films. He has said “The more you throw black into a colour, the more dreamy it gets… Black has depth. It’s like a little egress; you can go into it, and because it keeps on continuing to be dark, the mind kicks in, and a lot of things that are going on in there become manifest. And you start seeing what you’re afraid of. You start seeing what you love, and it becomes like a dream.”2 The problem for the painter is how to build narrative into the work, how to integrate narrative into the formal structure of the painting. This show presents the work of 13 painters who either through a reference to film or the photographic image, or through a collage of discombobulated elements that build into an overall structure, create narratives that hide within their pictures. This use of narrative, rather than providing a key or explanation for the picture, instead becomes tantalisingly ambiguous, without a beginning or resolution. A narrative is a symbolic structure, but narrative only becomes real when it gives up its purpose. Then the pure qualities of the picture, the manner in which it is painted, take over. We might associate painting with a ‘slow time’,this is certainly true of Covadonga Valdés’ painting Sleep 2 (2011). The slow, precise painting of the leaves echoes their protracted movement as they envelop the body of the car, as the forest encases the castle that contains the sleeping

beauty. Similarly, Damien Meade’s paintings of exquisitely sculpted busts embody the stillness of still life. The woman depicted in Tunnel Music will never return our gaze. The paintings in Suspicion seek to embody the contradiction that exists in narrative painting. On the one hand we are looking at a single moment, but a moment that stretches out time forever. What does figurative painting become in our minds when we have film and photography to compare it to? Despite the contradictions, the painters in this show persist in exploring the imaginary, like treasure hunters they dream of finding something buried within it. Painting is compelling because it seems to promise access to an experience so internal that even the artist herself might not be aware of it. On the other hand what we find within might be an illusion or a delusion. It might be a shaggy dog story or it might be a view into an unknown place. It might be a masquerade, a slapstick conjunction of opposing elements or alternatively it might be very still, quiet, like something whispered in a void. The boundary between the real and the imaginary breaks down — we are enmeshed within the picture. Dan Coombs, Curator, October 2014 1 2

Hitchcock by Francois Truffaut, Secker and Warburg, 1968 David Lynch, Chris Rodley (ed.), Lynch on Lynch revised edition, Faber and Faber Inc. NewYork, 2005

THE PORTRAIT OF CARY GRANT The hidden talents of Hollywood’s leading men are well documented. Pierce Brosnan and Johnny Depp both paint in their spare time, Marlon Brando was an accomplished sculptor, and Robert Mitchum did caricatures of the crew on set. I have two sketches by Mitchum and a clay figure by Brando. Add to this watercolours by David Niven, monoprints by Gary Cooper and a collage by Montgomery Clift, and you can begin to see the appeal of my collection: it is a hint at what might have been, had these distinguished actors taken a different path. Some collectors chase masterpieces or trawl art fairs for bargains; my passion has always been for the sporadic efforts of high-profile amateurs. I am wealthy enough to go after the work of trained artists, but I prefer the occasional forays of movie stars. I had hoped to showcase my latest acquisition here, at the Jerwood Gallery. I had every intention of making the self-portrait by Cary Grant available for the current show but recent developments have prevented it. I regret to announce that the painting has deteriorated substantially since coming into my possession. Its condition remains highly unstable and it cannot be moved at this time. The least I can do, under the circumstances, is provide the Jerwood with a written account of the events surrounding its decline. Until its emergence at an auction in Genoa last month, the painting was regarded by many as apocryphal. I myself never doubted its existence. Naturally, when it finally surfaced I made it my mission to acquire the only known

work by the most charismatic figure in motion pictures. Let me admit that, as a painter in oils, Cary Grant was not the finished article — nowhere near as good as Depp or Brosnan. But it’s the quantity, not the quality of his output that matters. By now, everyone knows he restricted himself to just a single example. What is not known is that he laboured over it for nearly a decade. The painting was begun in early 1932, at the start of his movie career, and reworked more or less constantly until the spring of 1941, when it was declared ‘definitively incomplete’. I quote from the notebook accompanying the picture, which I discovered by accident when hanging it. Usually, I would get someone else in to do this, but it was a late Sunday afternoon when I took delivery of the work and I wanted it on my wall. Needless to say, I made a hash of it. While attaching the mirror plates, my screwdriver slipped and went through the gumstrip between the frame and the stretcher, narrowly missing the canvas. This clumsiness was propitious: under the gumstrip I noticed a shallow cavity chiselled into the wood, and it was here that the notebook was concealed. Inside was a full record of the painting’s progress, a series of entries chronicling its long gestation. Historians dream of unearthing this kind of provenance, but for the most part Cary Grant’s studio notes make heavy reading. They are numbingly technical, but the most important thing is that every entry is dated. I’ll return to this later. I come now to the parlous state of my prize asset. I’ve

had paintings fall apart before — that’s the chance you take with amateurs, who often have scant regard for the technicalities of their discipline. But the changes I have observed in the portrait of Cary Grant are not merely chemical. They are of another order altogether. For those not familiar with it, the subject is depicted three-quarter profile, in a blue sports jacket and a white cravat, one arm dangling by his side, the other half-cocked, holding a glass of milk. The background is cursory: a miasma of brown washes over unprimed canvas. Due to the awkwardness of the composition — the picture is cropped at the waist — it is difficult to tell whether he is seated or standing, but the likeness is passable. At least, it was. When I hung the painting on my wall that night, the figure was just about recognisable as the star of over seventy films, but by the following morning he had turned into a sad travesty of a silver screen icon. His hair was thinner, his complexion paler, the expression visibly pained, as though something had unsettled him in the night. And I believe it had. For here was the most remarkable change: Cary Grant’s upper lip was now sporting a milk moustache, and the glass was empty. Foul play was easily ruled out; my townhouse is a fortress and there is no way the painting could have been doctored by an intruder or swapped for another canvas. I thought of calling the police, but the nature of the crime was unclear. The only culprit was the painting itself, guilty, it seemed to me, of its own sabotage, and I spent the rest of that morning

pacing up and down in a state of utter confusion. It was not till lunchtime that I remembered the notebook. As I say, almost all of the entries were mundane, reminders of how to mix certain colours, tips from the experts, quotes from George Bellows and Norman Rockwell. Boring stuff, really, except for the last few pages. Crammed into the endpapers, in thin spidery script, were several passages that placed the picture in a more biographical context. It seems that Grant had taken the canvas to California in the spring of 1941, intending to work on it during the filming of Suspicion, Hitchcock’s famous study of moral ambiguity. It was there, in a hotel suite overlooking San Francisco Bay, that the glass of bourbon, which had stood as the painting’s compositional anchor for over nine years, was replaced at the last moment by a glass of milk, in what was to be the painting’s final session. Both the timing and content of this revision are significant. The reader will recall the scene near the end of Suspicion, when Grant’s character Johnnie gives Joan Fontaine’s Lina a glass of milk that may or may not be poisoned, and which she leaves untouched on her bedside table. Hitchcock lit the glass from within, with a bulb, and Grant, against all the technical odds, somehow managed to emulate this luminescence with brush and canvas. The breakthrough is recorded near the end of the notebook, underlined, with several exclamation marks. I can’t help but see a connection between this small triumph and the painting’s current condition. Since that

first morning, the picture, though compositionally stable, has undergone a slow degradation: it is not just that the reds have turned blue and the darker colours paled to a sort of dawn-grey mush. There is a fault, not merely with the pigment, but with the subject itself – I can put it no other way. I have called in the experts and nothing can be done. At its current rate of deletion, I expect the figure to disappear altogether in a few weeks, for the background itself to dissolve through the weave of the canvas, leaving an empty stretcher as the sole evidence of the portrait of Cary Grant. As he fades from view, I pore over his studio notes in search of answers but there is no explicit mention of any strange events. One explanation for that is that Grant observed nothing amiss at his easel. I think that unlikely — why go to the trouble of concealing the notebook in the picture? The question of why its content isn’t more candid, why there isn’t a frank disclosure of the painting’s properties, is a more intriguing one. I believe he was fully aware of its bizarre mutability, but chose to downplay it for fear of ridicule. We should not underestimate the lengths an actor is willing to go to in order to safeguard his reputation. Grant knew something was up, but maybe others wouldn’t see it — maybe the whole thing was a personal confabulation? So he held back, thinking it unwise to submit a full confession in the notebook, lest the painting fail to live up to his claims and bring posthumous mockery on his head. For my own part, I believe the current transformations are the last

death throes of an innately deviant image. I believe the painting rebelled constantly against its maker, throwing up unaccountable alterations that Grant was obliged to correct, and that the glass of milk was the motif that finally, in his eyes at least, brought it to heel. I’ll never corroborate that theory but perhaps it is supported by an unexpected source. Although Hitchcock cast Cary Grant in four films, their relationship was not without its flashpoints. In his book Hitchcock on Hitchcock, the author describes an argument on the set of Suspicion. It seems that his male lead had made the mistake of suggesting an alternative ending to the film: when Johnnie comes into Lina’s bedroom the morning after giving her the glass of milk, Grant thought he should take a nonchalant sip, thus demonstrating that it hasn’t been spiked after all. Hitchcock was furious. He was highly resistant to actors trying to pervert the course of his narrative, and this suggestion was dumb, rendering entirely superfluous the subsequent drive along the coastal road, during which Lina’s ‘suspicion’ of Johnnie is maintained until the very last minute. According to the notebook, the incident occurred on the same day as Grant’s final session on the painting. It is conceivable, then, that the ear-bashing he got from Hitchcock influenced his revision of the picture, that the glass of milk was nothing less than his anger expressed in allegorical form. As to the future ramifications of this petulant amendment, I suspect Cary Grant thought he

was acting in the best interests of his muse, exorcising the ghost that had haunted his flirtation with the plastic arts all along. In reality, of course, he was seeding further demons. Why it took so long for them to awaken, what caused them to stir, what caused Cary Grant’s hand to move mechanically upwards and convey the glass to his mouth, is beyond the scope of the present article. There is, however, one last point of detail I want to address. Before it vanishes completely, I should like to distance the recent transformations I have observed in the portrait of Cary Grant from those imputed to the picture of Dorian Gray by Mr Oscar Wilde, for they are not the same thing, they are not the same thing at all. The changes in my picture are not consistent with a subject who ages instead of its living counterpart. Grant’s jowls have not sagged, the broad shoulders are not collapsing inwards and the hair loss is accompanied by no wrinkling of the flesh.Suffice to say, the star of North by Northwest is not sunning himself on some Mediterranean terrace, twenty-eight years after his reported death. No, the changes are more ominous. The once tanned face is now uniformly grey, both eyebrows have gone, and the subject’s stare is clouded with cataracts. Where, previously, there were intimations of mischief in that face, there is now a look of mortal resignation. I could be wrong, but I think I see the symptoms of poisoning. Sean Ashton, October 2014

Sean Ashton is a writer of fiction and criticism. His recent stories include ‘Passenger Cranford’, in Tegel: Speculations and Propositions (The Green Box, 2013), and ‘Mr Heggarty Goes Down’ in the forthcoming issue of the philosophy journal Collapse (Vol. VIII). A regular contributor to Art Review, he is also the author of the book Sunsets and Dogshits (Alma, 2007), a collection of reviews of imaginary cultural phenomena.

s t s i t r A NATHAN CASH DAVIDSON BUBBLE CITY, 2014 OIL ON ALUMINIUM 80 X 100CM

STEPHEN CHAMBERS THE COLLECTOR OF 100 CUPS, 2014 OIL ON CANVAS 170 X 210CM

DAN COOMBS THE BEACH, 2014 OIL ON CANVAS 75 X 100CM

SIMON LINKE FADING AWAY, 2014 OIL ON CANVAS 82.5 X 117CM

GAVIN LOCKHEART THE UNIDENTIFIED, 2014 OIL ON CANVAS 140 X 110CM PHOTO IAN BROWN

KATE LYDDON MAN VS WHEEL, 2014 OIL, ACRYLIC AND COLLAGE ON CANVAS 120 X 150CM

DARREN MARSHALL RAIN II, 2014 ACRYLIC AND LINEN ON CANVAS 122 X 91CM

DAMIEN MEADE TUNNEL MUSIC, 2013 OIL ON LINEN ON BOARD 52 X 33.5CM PHOTO TOM KENNEDY IMAGE COURTESY PRIVATE COLLECTION, LICHTENSTEIN

BENJAMIN SENIOR GREY STUDIO, 2013 OIL ON CANVAS 150 X 75CM IMAGE COURTESY JASPER TANS

GERALDINE SWAYNE JANE DOE 1, 2014 ENAMEL ON ALUMINIUM 9.5 X 12.5CM

NEAL TAIT RETURN (OR) REVERT TO FACTORY SETTINGS. A YEAR ZERO FOR THINGS GONE AWRY? OR SOME GOD PARTICLE BUSINESS THE MAKER HAS A MASTER PLAN THE FLOOD, 2014 MIXED MATERIALS ON CANVAS 190 X 160CM

COVADONGA VALDES SLEEP 2, 2009 OIL ON ALUMINIUM 94 X 122CM

FREYJA WRIGHT INTERIOR 2, 2014 OIL ON CANVAS 115 X 160CM

NATHAN CASH DAVIDSON

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Nathan Cash Davidson (b.1988) graduated from Wimbledon College of Arts (2010). Solo exhibitions include: Your’e French Gendarmes With Me, Hannah Barry Gallery, London (2013); Burlesque in which we’ve thrown it on its head, Parasol Unit, London (2010); To Complete My Education, Hannah Barry Gallery, London (2008). Group exhibitions include: NEW ORDER — A Survey of British Art Today, Saatchi Gallery, London (2013); The Poetry Marathon, Serpentine Gallery, London (2009); The ING Discerning Eye, Mall Galleries, London (2009); To Paint is to Love Again, Hannah Barry Gallery, London (2009); Inspired, The Mitchell Library, Glasgow (2009). www.hannahbarry.com/artists/ nathan_cash_davidson

STEPHEN CHAMBERS RA

Stephen Chambers (b.1960). Solo exhibitions include: Forty Thieves, Galerie Frank Pages, Geneva, CH (2015); 1987-2014, The Pera Museum, Istanbul, TR (2014); Lo sguardo incantato, Gallery Ten, Milan, IT (2013); The Big Country, Royal Academy of Arts, London (2012). Whilst primarily a painter Chambers makes prints using various processes, utilising studios in the UK, France, Italy, and America. In 2012 he produced The Big Country, possibly the largest editioned print ever produced. He has designed three sets for The Royal Ballet, London and has produced several artists books, including Healing Poems for the Great Ape (1997) with the poet Jacques Jouet, and The Long Feast (2010) with Sam Clark, chef at Moro. A monograph of

his work was published in 2008, and 2015 will see the publication of Every Print I Ever Made, Ever, a catalogue raisonné of his printed works. Chambers was elected RA in 2005. His work is in public and private collections around the world. www.stephenchambers.com

DAN COOMBS

Dan Coombs (b.1971) studied at The Ruskin School (1989-92) and Royal College of Art (1992-94). Solo exhibitions include: Nudes, New Art Projects, London (2014); Heaven and Earth, The Fine Art Society, London (2011); The Dreamers, Fred Gallery, London (2009); The Garden, Mihai Nicodim Gallery, Los Angeles, US (2005); Three Painters, Cornerhouse, Manchester (2002); Dan Coombs, The Approach, London (2011, 2005, 1999, 1997). Group exhibitions include: Art Britannia: The Best of New British, Madonna Building, Miami, US (2013); Dirty Pop, &Model, Leeds (2013); Mike Silva, Dan Coombs, Charlie Dutton Gallery, London (2013); Something Old, Something New, Fred Gallery, London (2013); Speak! Clown, Fold Gallery, London (2013); Masquerade: Be Another, Stephen Lawrence Gallery (2013); A House of Many Windows, Collyer Bristow Gallery, London (2013); London 12, Museum of the City of Prague, Prague, CZ (2012); What Have I Done, The Fine Art Society, London (2010); Metropolis Rise: New Art from London, Shanghai and 798 Space, China (2006); La Biennale De Lyon, FR (2003); Young British Artists Part VI, Saatchi Gallery, London (1996). Coombs was a Rome Scholar in Painting at British School at Rome (1994-5). His work has been included in

The New Neurotic Realism, Saatchi Publications (1998), and Young British Artists: The Saatchi Decade, Booth-Clibborn Editions (1999). www.dancoombs.co.uk

SIMON LINKE

Simon Linke (b.1958) studied at St Martins School of Art (1977-81), Royal College of Art (1984), and Goldsmiths College (1985-87). Solo exhibitions include: Untitled (Portraits), Karsten Schubert, London (2012); Simon Linke, Mireille Mosler Ltd, New York, US (2008); Simon Linke, One in the Other, London (2008); Simon Linke, Le Consortium, Dijon, FR (2004); New Paintings, The Proposition, New York, US (2003); Simon Linke, One in the Other, London (2001). Group exhibitions include: Here We Go, Karsten Schubert Gallery, London (2013); The Mind of this Death is Unrelentingly Awake, OCA, Oslo, NO (2009); Signage, (Fight The Power), Armand Bartos, New York, US (2009); Comment peindre aprés Picabia at Richter?, FRAC Limousin, Limoges, FR (2007); Altitude De Croisière, VF Galerie, Marseille, FR (2007); Ceci n’est pas... (This is not...), Sara Meltzer Gallery, New York, US (2007); Sarah & Simon, Platform, London (2006); Yesterday Begins Tomorrow, Deste Foundation, Athens, GR (2004); Before The End, Le Consortium, Dijon, FR (2004); Pop Thru Out, curated by Mary Dinaburg, Arario Gallery, Cheonan, KR (2003); Platform For Art, London Underground, London (2003). He is represented by Mireille Mosler, New York. www.artnet.com/artists/simon-linke

GAVIN LOCKHEART

Gavin Lockheart (b.1961) graduated from St. Martin’s School of Art (1983). Solo exhibitions include Gavin Lockheart, Lawrence Graham, London (2004); Nearby, The Music Room, London and The Custard Factory, Birmingham (both 2002); Gavin Lockheart, Dean Clough, Halifax (2000). Group exhibitions include: Dirty Pop, &Model, Leeds (2013); Turps Banana, Vigo Gallery, London (2012), Viewfinder, Carter Presents, London (2012); Gallery Stock, Berlin, DE (2012); Transzendenz, Autocenter, Berlin, DE (2010); Wild, Ikon Gallery, Birmingham (1993). In 1996 Lockheart was the recipient of The Arts Foundation/Barclays Private Banking Fellowship in Painting and he was commissioned to paint an installation in The Hub Building, Manchester in 2007. www.gavinlockheart.com

KATE LYDDON

Kate Lyddon (b.1979) graduated from Chelsea College of Arts (2006). Solo exhibitions include: Mark Tanner Sculpture Award 2014-15, Standpoint Gallery, London (2015); If You Should Die Unexpectedly, studio1.1, London (2012); Idolizer, Galerie d’YS, Brussels, BE (2012); Heroes and Villains, Gallery Daniela Da Prato, Paris, FR (2011). Group exhibitions include: Non-Sequitur, Beers Contemporary, London (2014); Speak, Clown!, Fold Gallery, London (2013); HARTMANN. HELYER. LYDDON. BONILLA. & BAJT., Charlie Dutton Gallery, London (2013). Kate Lyddon is recipient of the Mark Tanner Sculpture Award 2014-15 and the Emerging Artist Award 2011 for her solo presentation at Art on Paper, by

Galerie d’YS, Brussels. Her work is held in public and private collections in Europe and US. www.katelyddon.com

DARREN MARSHALL

Darren Marshall (b.1971) studied at Glasgow School of Art (1994) and Chelsea College of Arts (2001-02). Solo exhibitions include: White Gloves, Gallery Vela, London (2011); New Paintings, 36 Bedford Row, London (2008); Dark Hands Leaking, Galerie Eugen Lendl, Graz, AT (2003). Group exhibitions include: If on a Lonely Night a Traveller, Transition Gallery, London (2012); Outhere, The Round Chapel, London (2012); Screen, 8 Seymour Place, London (2009); Mirror Mirror, Jerwood Space, London (2007); Ex Roma, APT Gallery, London (2005). Marshall was selected for New Contemporaries in 2002, and from 2002–2003 he was the Abbey Scholar in Painting at The British School at Rome. www.darren-marshall.com

DAMIEN MEADE

Damien Meade (b.1969) graduated from Dublin Institute of Technology (1991) and Chelsea College of Arts (1993). Solo exhibitions include: Damien Meade, Scheublein + Bak, Zurich, CH (2013 & 2015); Damien Meade, Charlie Dutton Gallery, London (2012). Group exhibitions include: Summer Saloon, Lion & Lamb, London (2014); Sitting with the Qualities of a Mountain, curated by Simon Willems, Blyth Gallery, London (2013); Shape Shifters — Jason Brinkerhoff, Michelle Carla Handel, Damien Meade, ACME Gallery,

Los Angeles, US (2013); Beastly Hall, Hall Place, Kent (2013); SV12, selected by Mike Nelson and Jenni Lomax, Studio Voltaire, London (2012); John Moores Painting Prize, Walker Art Gallery, Liverpool (2012). Meade was awarded an Artist Fellowship at Churchill College, Cambridge University (in association with Kettle’s Yard) (1994-95), and in 1992 he received a Travel Award and an Artist Bursary from the Irish Arts Council. www.damienmeade.com

BENJAMIN SENIOR

Benjamin Senior (b.1982) studied at Wimbledon College of Arts (2001–2004) and Royal College of Art (2008–2010). Solo and two person exhibitions include: Unnatural Order, James Fuentes, New York, US (2013); Healing Fields, Art Basel, Hong Kong (2013); Artifice, Boltelang, Zürich, CH (2012); Solo Presentation, Sunday Art Fair, London, (2012); Ella Kruglyanskaya and Benjamin Senior, James Fuentes, New York, US (2011). Group exhibitions include: Counterpoise, Kingsgate Gallery, London (2012); This is Tomorrow, Annarumma 404, Milan, IT (2011); Young Gods, Charlie Smith, London (2010). In 2010 Senior was awarded the Gordon Luton Prize for Painting, and he was an artist in residence at the Kingsgate Workshops Trust in 2011–2012. www.benjaminsenior.com

GERALDINE SWAYNE

Geraldine Swayne (b.1965) graduated from Newcastle University (1989). Solo exhibitions include: How Are You? Fine Art Society, London

(2014), New Paintings, Fred London, London (2013); Cracks in Time, L-13 Light Industrial Gallery, London (2007). Group exhibitions include: I’m Still Here, Magasin 3 Museum, Stockholm, SE (2014); This is our music/This is our art — artists who make music and musicians who make art, David Risley Gallery, Copenhagen, DK (2014); Royal Academy Summer Show, Royal Academy of Arts, London (2013); The Future Can Wait, Saatchi Gallery and Channel 4 at B1, London (2013 and 2014); John Moores Painting Prize, Walker Art Gallery, Liverpool (2010) and live performances at the Detroit Museum of Contemporary Art, and the Wexner Centre Ohio, US (2010). www.geraldineswayne.org

NEAL TAIT

Neal Tait (b.1965) studied at Chelsea College of Arts (1987-91). Solo exhibitions include: Any Light Passing Thru sets Fire to my Eyes, A-Reetrospective, Peles Empire, London (2013); The Battle for Middle You, Simon Oldfield, London (2012); Les Toits de Parise, White Cube, London (2009); Neal Tait, Sies + Höke Gallery, Düsseldorf, DE (2008); Neal Tait: ‘Drawings, North Gallery’, ACME, Los Angeles, US (2008); The Dressmaker Who Lived on The Outskirts, Tanya Bonakdar Gallery, New York, US (2008); Tambalamb, ACME, Los Angeles, US (2007); Now is the discount of our winter tents, White Cube, London (2006); Dark Mutter, Museum Dhondt-Dhaenens, Deurle, BE (2006); Neal Tait, Douglas Hyde Gallery, Dublin, IE (2002). Curated shows include: The Emotive Wartime Journey, TACTIC, Cork, IE (2014); Bad Copy, Cardiff Story Museum, Cardiff (2014); Antje

Majewski: The World of Gimel. How to Make Objects Talk, Kunsthaus Graz, Graz, AT (2011); Der Menschen Klee, Kunst Im Tunnel, Düsseldorf, DE (2011); Watercolour, Tate Britain, London (2011); A Terrible Beauty is Born, La Biennale De Lyon, FR (2011); Atomkreig, Kunsthaus Dresden, Dresden, DE (2004); Painting on the Move, Kunsthalle Basel, Basel, CH (2002); Direct Painting, Kunsthalle Mannheim, Mannheim, DE (2002); Rising Scum, Fab-Co Warehouse, London (1998). In 2001 he received an Abbey Award in Painting at the British School at Rome, and in 1993 he was awarded the Henderson & Parkinson Travel Award.

COVADONGA VALDES

Covadonga Valdés (b.1966) studied at Chelsea College of Arts (1988-92) and Slade School of Fine Art (1992-94). Solo exhibitions include: Caprichos, Galeria Angulo, Oviedo, ES (2011); Hideaway, Contemporary Art Projects, London (2007); Centro Cultural Cajastur, Touring exhibition, Asturias, ES (2007); Recent Paintings, Pump House Gallery, London (1999). Group exhibitions include: John Moores Painting Prize, Walker Art Gallery, Liverpool (2014, 2006, 2004); Hand of God, SCHEUBLEIN+BAK, Zurich, CH (2014); Straddle the Line, APT Gallery, London (2014); Polemically Small, Torrance Art Museum/ Garboushian Gallery, California, US and Charlie Smith, London (2011); I Don’t know how a rock feels, The British School at Rome, IT (2012); Turps Banana, Galleria Marabini, Bologna, IT (2009). Valdés has been awarded the Abbey Fellowship in Painting, British School at Rome, Italy (2011-

12) and Painting Residency, The Ricklungarden Museum, Sweden (2009). Her work is held in collections in London, Spain and Sweden. www.covadongavaldes.com

FREYJA WRIGHT

Freyja Wright (b.1986) studied at Wimbledon College of Arts (2005-2008) and Royal College of Art (2009-2011). Selected exhibitions include: Rest, Lion & Lamb Gallery, London (2014); Art Britannia: The Best of New British, Madonna Building, Miami, US (2013); The Perfect Nude, Charlie Smith Gallery, London (2012); A Trick of the Light, Gallery Primo Alonso, London (2010); A Shot In The Dark, Carter Presents, Prague, CZ (2009). In 2009 Wright featured in the Bloomberg New Contemporaries and in 2011 was selected by the Outset Contemporary Art Fund for acquisition into the Royal College of Art Collection.

Jerwood Charitable Foundation would like to thank: Dan Coombs, the curator and artists, Nathan Cash Davidson, Stephen Chambers RA, Simon Linke, Gavin Lockheart, Kate Lyddon, Darren Marshall, Damien Meade, Benjamin Senior, Geraldine Swayne, Neal Tait, Covadonga Valdés, Freyja Wright Jerwood Visual Arts — Hannah Pierce, Sarah Williams, Oliver Fuke, Nick Tudor, Lauren Houlton Technician — James Murison Project Management and PR — Parker Harris Commissioned Text — Sean Ashton Design — Hyperkit © Jerwood Charitable Foundation 171 Union Street, London SE1 0LN All images © the artists Published to accompany Suspicion, a Jerwood Encounters exhibition. All or part of the this publication may not be reproduced, stored in retrieval systems or transmitted in any form or by any means, whether electronic or mechanical, including photocopying recording or otherwise, without the prior permission in writing of the publisher. ISBN 978-1-908331-18-2

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