Vivid Colours, Summer Meadows, Canned Soup, and Carved Stories
Announcing the August Exhibition at . signifier . six . shot . gallery .
Jan Gardner on ‘Compassion of the Brush and Heart’
I suppose everyone was in a similar position in March 2020, planning and researching work, getting about their daily tasks, routines, work, domestic, family, etc. I was preparing work for a show opening in May, which because of ‘lockdown’ was re-scheduled for end of August. I found myself continuing with work at the announcement of that first lockdown. What follows is a summery of the six works I selected...
Signifier’s Six Shot is a new online gallery that showcases just six images by each artist. These images are linked in an understandable way — perhaps from the same project, series or dealing with related subjects. They may be linked by aesthetics, techniques, processes, philosophies, formal or conceptual elements. The accompanying statement by the artist may not necessarily explain the work but will help build a deeper and more meaningful engagement with it.
Recently published in Signifier:
The Poppy Field, a Celebration of Summer
Claude Monet’s Poppy Field, painted in 1873, is one of the world’s most famous landscape paintings. The expanse of scarlet poppies grow among high summer grasses below a backdrop of blue sky and white cloud. The rhythm of a treeline, complete with villa in the distance, divides the canvas horizontally. Four indistinct figures share their celebration of an idyllic summer’s afternoon. Yet this simple canvas challenged the strictures of traditional painting when it was shown at the first ‘impressionist’ exhibition…
Art Can Do
The humble can of Campbell’s soup was notable even before Andy Warhol made it ‘iconic’ in the 1960s. Over half-a-century earlier, it was one of the earliest examples of deliberate graphic language intended to attract and inform using ‘stealth’ psychology to improve its commercial performance over its competitors — what we now know as ‘packaging design’, a sort of ‘sub-set’ of advertising…
Marvels in Marble
From childhood, Gian Lorenzo Bernini was trained by his sculptor father Pietro who, in 1606, accepted a prestigious Papal commission to provide marble relief statuary for the Cappella Paolina, Santa Maria Maggiore. The large Bernini family then moved to Rome where Gian Lorenzo’s ‘precocious talent’ was noticed by Scipione Borghese, the influential Cardinal and art aficionado who would become the artist’s patron...
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