Peckham, London
SE15 5DF
Danny Fox
BIG LOVE BABY
2 October – 15 November
Mohammed Qasim Ashfaq’s visual language invokes the tessellation of Islamic ornament and mysticism alongside sharp technological precision, ideals of modernism and science fiction held in creative tension with traditions of craft and devotion. His monochrome graphite drawings are produced through an exacting line by line process with pencil, compass and ruler, shimmering between qualities of pure surface and limitless depth, echoing through worlds interior and exterior, cognitive and embodied, secular and sacred, to explore dichotomies of light and space, opacity and reflection, zero and infinity.
James Capper explores human-machine relations, biomimicry and sculpture that deploys industrial techniques and engineering. Inspired by natural history and evolution, his sculptural language evolves along different modular chains he terms ‘Divisions’, a conceptual network of interrelated sculpture families each grouped according to specialised application. Varying in scale, Capper’s sculptures occupy their habitats like a system of machinic organisms, evolving and migrating from one ecosystem to another, their nomadic lives anchored in a distinct aesthetic iconography.
Stevie Dix makes uncanny paintings in a personal language of emotional realism where figures and symbols are metaphors for intimate feelings and political perspectives. Her hard-edged vivid urban scenes are filled with references to post-war Belgian crafts, post-punk fashion, rebellious nightlife and enigmatic or withdrawn female figures. Influenced by the Belgian Surrealists as much as American animator Suzan Pitt or German-Jewish artist Charlotte Salomon, Dix’s exploration of cultural identity is introspective, existential and passionate.
Bobby Dowler uses and reappropriates the detritus of his shifting urban environment to pursue painterly abstraction that is deeply embedded in the physical and psychological structures of social space. His materially austere, hybrid ‘painting-objects’ combine intuitive composition – stapling, gluing, cutting and tearing with passages of applied painting. Committed to central and recurring art-historical questions of authorship and objecthood, his work is nevertheless playful and revels in the illogical, mercurial nature of everyday human action, chance and circumstance.
Danny Fox’s paintings conjure heartfelt and unflinching portrayals of home, history and myth. Using bold, near-crude passages of flat vibrant colour infused with quick, loose mark-making, Fox’s lyrical and expressionistic style infuses local buildings, landscapes and townsfolk with the mysticism of local folklore and symbolism. Taking the position of both observer and participant, his work exudes the emotional realism of lived experience. Captured with tragedy, promise, heat, violence, affection and humour, his work celebrates the authenticity and colour of lives lived against the grain.
Natalia González Martín examines the ways in which religious symbolism, allegory and fables represent deeper truths about ourselves and society, but also the ways in which they have been used to establish and uphold patriarchal narratives about the limits of female desire, creativity and freedom. Bringing together ancient and contemporary worlds, from Ovid’s Metamorphoses to art history from the Counter-Reformation, contemporary popular culture to subtle imprints of her own personal experience, Martín’s work illustrates the symbolic mutability of love, passion and power throughout the ages.
Norman Hyams scrutinised everyday life through enigmatic and highly personal paintings and sculptures. Often working from singular photographs of his past that intrigued him, Hyams reworked them into a series of recurring motifs that dance the line between daydream and memory, a process he described as ‘teaching himself how to see’. In each case a history is told, a narrative beckoned. His work contrasted the boisterous and nocturnal energy of the city with solemn and inward-looking scenes, evoking the intensity by which particular memories – both real and imagined – come to hold significant emotional resonance and meaning in our lives.
Kingsley Ifill has a multidisciplinary practice, at the core is photography, a medium that offers him a form of proof, certainty, record-keeping. He works mainly in 35mm, always with consideration of how far he might push a photograph as an object. Ifill’s subjects, and the places in which he makes his work are impossible to pin down, classify or gather together in a linear way, although his images always capture and contain decisive moments, giving much of his work a diaristic quality.
Marie Jacotey’s work is a wild and exhilarating diary of images inspired by her friends, strangers, literature and popular culture. It is violent, raw and brutal in combination with intimacy, sensuality, tenderness. Working principally in drawing of mixed media and scale – dry pastel on Japanese paper, coloured pencil on plaster, large hand-painted and digitally printed murals and fabric as well as with animated film – her tales of love, passion, loneliness and solitude are portrayed through a signature style of cinematic vignette.
Jas Knight depicts and celebrates contemporary African-American experience through the historical language of portraiture, still life and genre painting. Through masterful use of 16th and 17th century painting techniques, Knight translates his love of French and Dutch traditions into portraits of people doing everyday 21st century things, including himself and friends, as well as some settings far from home. Playing with the lines between reality and fiction, Knight’s paintings demurely subvert historical depictions of black subjects in academic painting, foregrounding the presence, personality and surrounding environment of everyday lives.
Shaun McDowell makes paintings abundant in movement, drama, texture and harmonies. Working directly from the perceptible world, his apparently abstract works are the tangible expression of acute inner feelings, charged with the visual overload of a surrounding world where nothing is fixed. McDowell’s recent work is born from the natural landscape and historical setting of the Sabine region in Italy where he lives, fusing abstraction with allusions to local history and motifs as well as the wider history of painting.
George Rouy’s use of the human figure, vexed with desire, freedom, alienation and crisis, speaks to the extremities of our time. All his work is an ongoing inquiry into the body and the body as a landscape, an ongoing deconstruction of the image towards an expression of the human body in the throes of becoming, reconstruction and reformation. His painterly language captures the perpetual transformations of the body in our contemporary moment. His work undermines the perception of the body as a fixed unit, proposing instead a body that constantly imagines and defines itself through its relationship with itself, with others and with the world at large.
Harley Weir is known for the intimacy of her images carefully composed with a highly attuned sense of colour, material and composition, radically reshaping ideas of womanhood and how the female gaze might be engaged with and made new in our current era. Her work deploys analogue and digital techniques with experimentation in the darkroom and in post-production, combining a signature visual intensity and freedom with mysterious and unguarded subjects. The resulting images evoke a familiar world filled with emotion, but equally suggestive of a darker and more compulsive sense of our place within it.
hello@hannahbarry.com
+ 44 (0) 20 7732 5453
4 Holly Grove, London, SE15 5DF
Gallery opening hours during exhibitions: Wed to Sat, 11-6
Office hours: Mon to Fri, 10-6
Step-free access limited to the ground floor.
The Gallery does not accept unsolicited artist submissions or proposals.
Hannah Barry Gallery is a contemporary art gallery based in London. The gallery programme is focussed on realising ambitious solo and group exhibitions, live performance and new commissions, supporting publications, as well as programming and producing cross-disciplinary projects led by the artists we represent. Opening in 2008, Hannah Barry Gallery grew out of a series of temporary exhibition projects in South London before establishing a permanent home in Peckham.
Bold Tendencies is a not-for-profit arts organisation set up by Hannah Barry in 2007 which continues to run alongside the gallery. Established in the rooftop spaces of Peckham’s Multi-Storey Car Park, it has transformed a disused building into an iconic, much-loved place of culture and assembly. Supporting a new generation of creative voices alongside acclaimed international artists, it delivers an ambitious annual programme of experimental Visual Arts, Creative Learning and Live Events.
Cookie Policy
Like most websites this website uses cookies. You can find information about cookies and how we use them below.
What are cookies?
Cookies are small files stored in your web browser to help the website interact with you. Without cookies, every time you visit a new page the website thinks you are a new visitor. This would mean for example shopping baskets would empty each time you clicked onto a new page. If you would like to read more about cookies , Wikipedia has a detailed article.
What if I do not want cookies stored on my browser?
You can block cookies via your web browser. You can find out specific instructions for your browser via Google. Please note though we provide no guarantee against unexpected results should you choose to block cookies on this website.
What cookies do you store on my browser?
Details of the cookies we use on this site are listed below:
- Google Analytics – This website uses Google Analytics, a web analytics service provided by Google, Inc. (‘Google’). Google Analytics uses cookies (text files placed on your computer) to help the website operators analyse how users use the site. The information generated by the cookie about your use of the website (including your IP address) will be transmitted to and stored by Google on servers. Google will use this information for the purpose of evaluating your use of the website, compiling reports on website activity for website operators and providing other services relating to website activity and internet usage. Google may also transfer this information to third parties where required to do so by law, or where such third parties process the information on Google’s behalf. Google will not associate your IP address with any other data held by Google. By using this website, you consent to the processing of data about you by Google in the manner and for the purposes set out above.
Occasionally the way third-party add-ons store cookies change. Because of this the list above may not always contain an exhaustive list of the cookies which are saved. We do regularly audit the cookies stored as a result of visiting our website.
Privacy Policy
BACKGROUND:
Hannah Barry Ltd, understands that your privacy is important to you and that you care about how your personal data is used and shared online. We respect and value the privacy of everyone who visits this website, www.hannahbarry.com (“Our Site”) and (subject to the limited exceptions in section 6, below) We do not collect personal data about you unless you contact us (see section 5, below). Any personal data We do collect will only be used as permitted by law.
Please read this Privacy Policy carefully and ensure that you understand it. Your acceptance of Our Privacy Policy is deemed to occur upon your first use of Our Site. If you do not accept and agree with this Privacy Policy, you must stop using Our Site immediately.
1. Definitions and Interpretation
In this Policy, the following terms shall have the following meanings:
“personal data” means any and all data that relates to an identifiable person who can be directly or indirectly identified from that data. In this case, it means personal data that you give to Us via Our Site. This definition shall, where applicable, incorporate the definitions provided in the EU Regulation 2016/679 – the General Data Protection Regulation (“GDPR”)
“We/Us/Our” means Hannah Barry Ltd, company registration No. 6471361, address 4 Holly Grove, SE155DF.
2. Information About Us
2.1 Our Site is owned and operated by Hannah Barry Ltd.
2.2 Our Data Protection Officer is Diana Cordoba Barrios, and can be contacted by email at info@hannahbarry.com or by telephone on + 44 (0) 20 7732 5453
3. What Does This Policy Cover?
This Privacy Policy applies only to your use of Our Site. Our Site may contain links to other websites. Please note that We have no control over how your data is collected, stored, or used by other websites and We advise you to check the privacy policies of any such websites before providing any data to them.
4. Your Rights
4.1 As a data subject, you have the following rights under the GDPR, which this Policy and Our use of personal data have been designed to uphold:
4.1.1 The right to be informed about Our collection and use of personal data;
4.1.2 The right of access to the personal data we hold about you (see section 8);
4.1.3 The right to rectification if any personal data We hold about you is inaccurate or incomplete (please contact Us using the details in section 9);
4.1.4 The right to be forgotten – i.e. the right to ask Us to delete any personal data We hold about you (We only hold your personal data for a limited time, as explained in section 6 but if you would like Us to delete it sooner, please contact Us using the details in section 9);
4.1.5 The right to restrict (i.e. prevent) the processing of your personal data;
4.1.6 The right to data portability (obtaining a copy of your personal data to re-use with another service or organisation);
4.1.7 The right to object to Us using your personal data for particular purposes; and
4.1.8 Rights with respect to automated decision making and profiling.
4.2 If you have any cause for complaint about Our use of your personal data, please contact Us using the details provided in section 9 and We will do Our best to solve the problem for you. If We are unable to help, you also have the right to lodge a complaint with the UK’s supervisory authority, the Information Commissioner’s Office.
4.3 For further information about your rights, please contact the Information Commissioner’s Office or your local Citizens Advice Bureau.
5. What Data Do We Collect?
5.1 Please refer to our separate cookie policy for data collected in our use of Google Analytics.
5.2 If you send Us an email or subscribe to our Newsletter, We may collect your name, your email address, and any other information which you choose to give Us.
6. How Do We Use Your Data?
6.1 If We do collect any personal data, it will be processed and stored securely, for no longer than is necessary in light of the reason(s) for which it was first collected. We will comply with Our obligations and safeguard your rights under GDPR at all times. For more details on security see section 7, below.
6.2 As noted above, We do not generally collect any personal data. If you contact Us and We obtain your personal details from your email, We may use them as follows:
6.2.1 To reply to your email; For emailing you our Newsletter when you opt in;
6.3 Any and all emails containing your personal data will be deleted no later than 3 months after the matter you contacted Us about has been concluded.
6.4 You have the right to withdraw your consent to Us using your personal data at any time, and to request that We delete it.
6.5 You may opt out of our newsletter at any time by using the unsubscribe link in our Newsletter emails
6.6 We will not share any of your data with any third parties for any purposes.
7. How and Where Do We Store Your Data?
7.1 We only keep your personal data for as long as We need to in order to use it as described above in section 6, and/or for as long as We have your permission to keep it.
7.2 Some or all of your data may be stored outside of the European Economic Area (“the EEA”) (The EEA consists of all EU member states, plus Norway, Iceland, and Liechtenstein). If We do store data outside the EEA (this may be the case, for example, if Our email server is located in a country outside the EEA), We will take all reasonable steps to ensure that your data is treated as safely and securely as it would be within the UK and under GDPR including:
7.2.1 Holding all personal data in securely encrypted online servers (such as Microsoft Azure).
7.2.2 Applying high end business Antivirus protection on both remote servers and local infrastructure
7.3 Data security is very important to Us, and to protect your data We have taken suitable measures to safeguard and secure any data We hold about you (even if it is only your email address).
7.4 Steps We take to secure and protect your data include:
7.4.1 Adding 2FA security for password logins as well as ensuring regular password changes and strong password policies within Our practice.
7.4.2 Ensuring adequate staff training and keeping up to date with internal policies and procedures to enable us to perform our duties and remain compliant with GDPR
8. How Can You Access Your Data?
You have the right to ask for a copy of any of your personal data held by Us (where such data is held). Under the GDPR, no fee is payable and We will provide any and all information in response to your request free of charge. Please contact Us for more details at info@hannahbarry.com, or using the contact details below in section 9.
9. Contacting Us
If you have any questions about Our Site or this Privacy Policy, please contact Us by email at info@hannahbarry.com, or by telephone on+ 44 (0) 20 7732 5453. Please ensure that your query is clear, particularly if it is a request for information about the data We hold about you (as under section 8, above).
10. Changes to Our Privacy Policy
We may change this Privacy Policy from time to time (for example, if the law changes). Any changes will be immediately posted on Our Site and you will be deemed to have accepted the terms of the Privacy Policy on your first use of Our Site following the alterations. We recommend that you check this page regularly to keep up-to-date.