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Artists Studios: Idris Khan and Annie Morris

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Tuesday 6th February

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at 10:00 am

in North London.

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DATE & TIME

 

Tuesday 6th February 2018

at 10:00 am

location

 

Units 2-4

133 Church Walk

London N16 8QW

THE ART MORNING

 

Idris Khan, OBE, and Annie Morris are both young global art stars in their own right. As a married couple they share a studio space, producing their unique work within the same creative environment.

This studio visit is a unique opportunity to hear the artists talk about the ideas that inspired them and their art.

ABOUT MARK SANDERS ART CONSULTANCY

Mark Sanders Art Consultancy Ltd was formed in 2008 by the curator and art writer Mark Sanders. Formerly the Director of All Visual Arts in London and acting Director for RS&A Ltd, he has staged a number of important international travelling shows including, The Art of Chess (featuring new sculptural commissions by Damien Hirst, Paul McCarthy, Yayoi Kusama and Maurizio Cattelan), as well as critically acclaimed group shows in London. He is also the advisor to The Arpad A. Busson Foundation and editor on numerous publications for Phaidon Press, Steidl and Hatje Cantz.

IDRIS KHAN

London-based artist Idris Khan was born in the UK in 1978. Since completing his Master’s Degree with a Distinction in Research at the Royal College of Art in London in 2004, he has received international acclaim for his minimal, yet emotionally charged photographs, videos and sculptures and is without question one of the most exciting British artists of his generation.

Drawing on diverse cultural sources including literature, history, art, music and religion, Khan has developed a unique narrative involving densely layered imagery that inhabits the space between abstraction and figuration and speaks to the themes of history, cumulative experience and the metaphysical collapse of time into single moments.

Whilst Khan’s mindset is more painterly than photographic, he often employs the tools of photomechanical reproduction to create his work. Photographing or scanning from secondary source material–sheet music, pages from the Qur’an, reproductions of late Caravaggio paintings–he then builds up the layers of scans digitally, which allows him to meticulously control minute variances in contrast, brightness and opacity. The resultant images are often large-scale C-prints with surfaces that have a remarkable optical intensity.

This visual layering also occurs in Khan’s videos, such as Last Three Piano Sonatas…after Franz Schubert, a three-channel video installation wherein he films multiple camera angles that capture numerous performances of the sonatas Schubert composed on his deathbed. The work is both an elegy and a paean to creative genius. As Khan explains: “The last three sonatas form a kind of cycle and thus illuminate one another when performed. Thematic, rhythmic and harmonic links are evident between the movement of each sonata and they also hold the idea that each piece is in some way inhabiting the persona of the lonely, alienated wanderer.” As with his richly layered photographic images, the meaning of the work emerges slowly and experientially with the passage of time.

Khan’s oeuvre has expanded to include sculpture and painting. For sculptural works, using materials such as steel plates, cubes and horizontal stone slabs, Khan sandblasts the surface with templates of musical scores or prayers, continuing his investigation into the ways in which cultural, visual, cinematic and temporal memories coalesce into a dense, synesthetic whole.

In 2012, Khan was commissioned by the British Museum in London to create a new wall drawing for the exhibition, Hajj: Journey to the Heart of Islam. In addition to the wall drawing, Khan’s stunning floor sculpture, Seven Times, was installed in the museum’s majestic Great Court. In March of the same year, The New York Times Magazine commissioned Khan to create a new body of work that was published in their London issue.

Khan has had solo exhibitions at international venues including the Museum of Contemporary Canadian Art, Toronto, Canada; K20, Dusseldorf, Germany; and Gothenburg Konsthall, Sweden. He has also been featured in numerous group exhibitions at venues including the Solomon R. Guggenheim Museum, New York; Tate Britain, London, England; Hayward Gallery, London, England; The Saatchi Gallery, London, England; Espace Culturel Louis Vuitton, Paris, France; Baibakov Art Projects, Moscow, Russia; the Institute of Contemporary Arts, London, England; the San Francisco Museum of Modern Art; and the Helsinki Kunsthalle, Finland.

His work is in the permanent collections of many institutions worldwide such as The Saatchi Collection, London, England; the San Francisco Museum of Modern Art; the Solomon R. Guggenheim Museum, New York; the Tel Aviv Museum of Art, Israel; the Art Gallery of New South Wales, Sydney, Australia; the Philadelphia Museum of Art; the de Young Museum, San Francisco; and the Centre Georges Pompidou, Paris, France.

Idris Khan lives and works in London, England.

ANNIE MORRIS

 

www.anniemorris.com

Annie Morris is a multimedia artist that produces paintings, sculptures, and collages. She became known for illustrations when, in 2003, she came into the public eye for her collaboration with her longtime friend Sophie Dahl (granddaughter of the famous British children’s writer Roald Dahl) on the book Man with the Dancing Eyes. Her prolific output and figurative obsession conveys a young artist simultaneously at ease and un-settled with herself and her practice.

Annie was born in London in 1978. Influenced by Paul Klee and Robert Rauschenberg, Morris studied painting at the École Nationale Supérieure des Beaux-Arts, in Paris. After staying there for four years she completed her education at the Slade School of Fine Art, in London.

The paintings, sculpture and collage of Annie Morris are obsessive, energetic and thoughtful. She is above all else a mark maker who uses the simplest of tools to make striking, often haunting images. Her peg pieces are constructed through rows and rows of clothes pegs. A female figure, often a self-portrait, is drawn onto each peg with watercolour swathed over them. Formally they become impressive objects hovering between figuration and abstraction; painting and relief sculpture. Conceptually the female figure is laid bare on the most basic of domestic objects whilst their compulsive repetition pays homage to one of Morris major influences – the Outsider artists.

Likewise her glass figures expose a primitive angst and a need to engage with the self. They show Morris’ fascination with the work of art as object: the relationship between two and three dimensions, front and back, color and transparency. Morris’ plaster paintings reveal her skill as both a colourist and a draughtsman. Deep greens, browns and ochres off-set one another whilst line is used to create a classical yet child-like world of animals, figures, houses and trees. The innocent sophistication gives the work their charm yet one also senses a lonely, questioning spirit beneath the recessed lines and coloured surface. The fragmented surface of the postcard pieces combine the compulsive nature of the pegs, her unquenchable desire to draw and create with the seemingly classical slant of her profiles and figures.

Annie Morris currently lives and works in London.