50 for 50 — Part One
This March sees me reach the ripe old age of 50 so I thought the best way for me to show how I used these years would be to share my 50 favourite art works.
I’ve been lucky enough to travel the world and see many great works of art in public and private spaces. Luckier still to be a director of a contemporary gallery for the past five years. So a series of blog posts with images and in places stories of how I came to see them. I hope it proves to be enjoyable and I’d love to hear other stories from anyone who has the time and patience to read this and the subsequent posts!
Nic Fiddian Green — Marwari Head (25 foot)
My love of monumental sculpture started in London so it’s a fitting return for the first entry in my 50 for 50. That and in my younger days I played softball in Hyde Park for a team called the Bloody Marys in the Surveyors League. I have never been a surveyor but I do like Bloody Marys!
Johannes Vermeer — Girl with a Pearl Earring.
Yes it’s a cliche piece but it was a picture I grew up with and was the one that really made me realise that the art business is a minefield of mayhem and dodgy people whilst also being such an inspiring and positive arena! Just recently I realised my wardrobe was dominated by the colours in the painting and I am still spell-bound by the beauty and technical skills required to create it.
Michelangelo — Bacchus
Terribly obvious again, but here is a representation of my love of wine, particularly fine reds. In truth the sculpture does nothing for me other than the amazing talent it required, made at the age of 19. I didn’t really perfect my stickman until I was beyond that age! Raw talent at it’s very best
Banksy — Nobody Likes Me
Although for the most part I detest street art, I am rather fond of Banksy’s works. The political and cultural messages are very clever and his work is worthy of hanging in many of the more traditional galleries and museums so I’ve plumped him in at number four. I really like Nobody Likes Me because it highlights the modern requirement for validation of the inane!
Albert Montserrat — Oil Spot Porcelain Vessels
It was a key moment in the building of our gallery business meeting Albert at Art in Clay at Hatfield 3 years ago. The first two years were a stumbling mess of curation, firefighting and living hand to mouth. We met Albert and took him under our wing, growing immeasurably with confidence in our abilities whilst working hard with Albert for him to realise his own skills. He has become a good friend and the ultimate confirmation of our influence happened when he moved to be closer to the gallery in 2016. His work continues to develop and plans are underway for him to achieve his goals of making large (1 metre tall) pots with his stunning glazes.
So the first five are down on the list. Where will it take us next?