Donna Huddleston: Transitional Drawing

May 2 - June 1


Opening times: Fridays and Saturdays 11am-6pm or By Appointment

Saul Fletcher: Works from the recent past and the launch of his new monograph published by Inventory Press

October 4 - November 11


Opening times: Saturdays 11am-6pm or By Appointment

Saul Fletcher (*1967) was born to a working-class family in Barton-upon-Humber in northeastern England. For years he loaded coal on the docks of Hull, taking up photography as a hobby in the late 1980s. He moved to London in the 1990s, where he worked in commercial photography. In 1995 he showed his artwork for the first time at the Photographer’s Gallery in London.


His background is important, for the imagery he creates is fed by the experiences that have formed his reality and identity. His works reveal an often incomplete, fragmented, raw and yet powerful world. Coded emblems like the swastika, words and phrases, or religious symbols are used ambiguously. Found objects more readily associated with the occult-ritualistic or an archaic pictorial language—broken sticks, thorny vines, dried plants, bones or animal carcasses—lay next to elements borrowed from pop culture or art history. Untitled but numbered, the works seem to stem from an archive of memory closely connected with its author.


Since 1997 he has shown regularly with Anton Kern Gallery in New York and since 1999 with Sabine Knust in Munich. He has had important solo and group shows worldwide, including such major exhibitions as the Carnegie International (2004) , the 4th Berlin Biennial (2006), and the 30th São Paulo Biennial (2012).


Carol Rhodes: Selected paintings and drawings to mark the publication of the new SKIRA monograph.

Private View: April 11, 6-9pm

exhibition continues to May 12


Opening times: Friday & Saturday 11am-6pm or By Appointment

Carol Rhodes has been one of the most distinctive painters working in the UK in recent times. The significant body of work that she has produced over the past twenty five years assimilates and moves beyond two major critical impasses for modern painting: photography and pure abstraction.

Rhodes makes small-scale paintings depicting, from aerial viewpoints, encounters between the natural environment and human intervention, fictional syntheses resulting from a re-mixing of photographic sources. Finding beauty in deserted and apparently alienating places, her paintings allow us to contemplate our own relationship to the world around us. Writer Mark Prince has recently observed,

She creates compositions out of features she discovers in found photographic material – magazines, pictures, aerial mapping – which are then adapted into the network of a composition. Her marks claim to be in thrall to the way things are, only to turn out out be referent-less. They make us wonder what they might be trying to convince us of, and then encourage us to double back and realise that perhaps this is what all representational painting does.

(Art Review, December 2017)

Carol Rhodes was born in Edinburgh in 1959 and spent her early years in India. She studied at Glasgow School of Art, Scotland, and has lived and worked in Glasgow through her career, and has played an important role in the cultural life of that city and beyond.

This new monograph reproduces over forty of her paintings and, for the first time, a significant number of drawings. Specially commissioned texts by curator Lynda Morris and art critic Moira Jeffrey discuss Rhodes’s work in the context of her biography and cultural background, and examine its place and importance in contemporary art. Jeffrey writes,

Rhodes’s life beyond painting has sometimes been one of political activism... In the studio, her distinction has been to produce a kind of painting that is open and empathetic, alert to the clamour and conundrums of the outside world yet true to her private and sometimes unstated interests. Her paintings suggest that the studio is a place of possibilities... where the tension between freedom of ideas and the inevitable limits of the head, the hand and the materials, might be generative rather than didactic; and conversational rather than declamatory.

The monograph also includes an interview with Rhodes by gallerist and curator Andrew Mummery. Rhodes’s thoughts about her art have rarely appeared in print before and their inclusion here will be especially valuable. As well as the full-page plates, archival and documentary photographs accompany the texts, chronology, exhibition history and bibliography sections. The book provides the most comprehensive overview of Rhodes’s work yet available, and will be a standard reference work on the artist.


Thilo Heinzmann: Softside & Softspot in the Garden

Exhibition launches Wednesday 4th October 11am-6pm and continues to Saturday 25th November

Opening times: Friday & Saturday 11am-6pm or By Appointment
Special Frieze Week opening hours October 4th to 7th 11am-6pm

Styropor – a classic insulating material and expandable polystyrene. A trademarked product created by BASF in 1951.


THILO HEINZMANN (b.1969. Lives in Berlin) began working with Styropor soon after he completed his studies at the Frankfurt Städelschule (1992-97) where he had already started exploring his fascination with natural pigments derived from rock and glass. Moving to Berlin in late 1997, he began using standard sheets of this most modern of materials. Purchased from different suppliers for the varying character of their surfaces and finishes, these were then cut and broken by hand and brought together in patterns that he had previously resolved in drawings.


An example of these early Styropor Paintings is ‘O.T.’ from 1999/2000, where a variety of red pigments and epoxy resins are mixed and applied. First with a roller and scraper, then as drips and drops, which are absorbed into and encrusted onto the surfaces.


By 2001, Heinzmann had begun to use mouth-blown glass as another method of adding colour to his white surfaces. Bought in sheets sourced from specialist modern and antique dealers across the world, this is a feature of the most recent work in the exhibition from 2017. His use of more sculptural, hand-cut Styropor shapes (seen here in ‘Venus’ 2008) began in 2005 and persists in parallel with the pre-fabricated sheets. In some cases the surfaces are post-treated to further alter the texture of the material’s facets.


Why Styropor? Heinzmann states clearly that he is first and foremost a painter. A painter must contend with the very loaded tradition of canvas – that remarkable but uniform material in use for centuries, the 0-1 code, the warp & weft stretched over a wooden frame, is a medium Heinzmann still uses and reveres. The artist is equally attracted to this material that is modern, chaotic in its make up and therefore, in a way, more natural. These are his new proposals for the possibilities of painting.


The progressive nature of Styropor, it’s technical lightness as well as the quality of the way it reflects light, made this a logical step for Heinzmann and has been a key element of his practice for over 20 years.


Tom Burr: Works from the Recent Past (2005-2012)

Exhibition launches Friday June 2nd 11am-6pm and continues to Saturday July 15th

Opening times: Friday & Saturday 11am-6pm or By Appointment

TOM BURR is an artist from New Haven, Connecticut.

He was born there in 1963 and then attended the School Of Visual Arts, and the Whitney Independent Study Program in New York City.

Influenced by both the Modernist, specifically Brutalist vernacular of New Haven and nearby Manhattan, as well as by the clapboard neo-classical architecture of New England, the alternating urban and rural eastern seaboard continuously inflects Burr’s work. His recurring use of wooden panels, folding elements, screens, domestic furnishings and personal effects gives his works a craft-based simplicity,  but very far from the intentionally non-biographical American Minimalists to whom Burr alludes.  Burr’s works celebrate the confines of elicit encounters, of a liberated spirit.

The old school tie, thrown off.

This exhibition unites 4 works made between 2005 and 2012 with a selection of publications.

TOM BURR was an artist with the seminal New York gallery American Fine Arts run by Colin de Land between 1986 and 2003. He has had numerous one person exhibitions at museums and galleries in the United States and Europe and is represented by Bortolami in New York, Maureen Paley, London and Galerie Neu, Berlin. A selection of Tom Burr’s writings have been published in Artforum, Texte zur Kunst, October magazine and online.


His solo exhibition at Maureen Paley in London runs concurrently with this exhibition.

Maureen Paley, 21 Herald St. London E2 6JT www.maureenpaley.com



An exhibition of rare and influential publications by Paul Nash (1889-1946)

Exhibition Dates: Ends March 11
Private View: Friday January 27,


Opening Times: Friday & Saturday 11-6pm

This inaugural exhibition at Charles Asprey – Tyers Street of rare publications and works on paper by Paul Nash (1889-1946) coincides with his survey exhibition at Tate Britain curated by Emma Chambers (until March 5).

The hope here is to show an aspect of Nash’s practice that is not well known; namely that he was a prolific contributor to and designer of many publications and books between c1917 and his death in 1946. These dates coincide of course with two of the greatest catastrophes in human history (Nash was an official War Artist in both conflicts) but also the rise of Modernism, avant-garde thinking and radical, new aesthetics in this country which continue to have a profound influence on artists, designers and thinkers today.


Paul Nash
Paul Nash