Barnard will be participating in the sixth edition of the Investec Cape Town Art Fair (ICTAF) from Friday 16 – 18 February 2018 at the Cape Town International Convention Centre (CTICC).
This curated presentation will include new works by Richard Mudariki, Lien Botha, Tom Cullberg, Alex Emsley, Ryan Hewett, Sarah Biggs, MJ Lourens, Virginia MacKenny, Ndikhumbule Ngqinambi, Katherine Spindler, Jaco van Schalkwyk, Robyn Penn & Alexia Vogel.
Please find us at Booth B5.
Showcasing signature works by the gallery’s stable alongside works by invited artists this exhibition reviews examples of highlights from the past year while introducing examples of exciting collaborations planned for 2018.
Barnard Collective includes works by Alexia Vogel, Sarah Biggs, Lien Botha, Hugh Byrne, Tom Cullberg, Alex Emsley, Ryan Hewett, MJ Lourens, Virginia MacKenny, Richard Mudariki, Ndikhumbule Ngqinambi, Robyn Penn, Katherine Spindler, Alastair Whitton and Jaco van Schalkwyk. The exhibition will run through to 23 January, 2018.
Alex Emsley shares details and particularities regarding oil painting:
Sarah Sands, the senior technical specialist at Golden Artist Colors Inc, recently described oil paintings as “battlegrounds of conflicting forces”. This sounds dramatic, but when one reads her research papers, one gets the picture. The “battle” she is referring to may be raging on a microscopic level, but the fight is nevertheless brutal. Oil paintings are chemically dynamic melting pots, and even centuries after the painter has put his/her brushes down, complex processes still take place within the paint film.
Oil paint consists of pigments suspended in drying oils (usually linseed or safflower oil). Like a group of random strangers gatecrashing a party, these pigments all behave differently and do not share the same properties. Some dry quickly, other take an eternity. Some absorb lots of oil, and others not at all. The drying oils dry through a process known as ‘autoxidation’. This can be described as a chemical reaction between the fatty-acids within the oil, and the oxygen molecules that enter the paint and bind to them. As oil paint oxidises, polymer chains are cross-linked together, locking the pigment particles in place. A skin-like film first forms on the outer, exposed layer of paint, and this film eventually spreads deep into the paint layer until all of the paint is hardened. This process slows over time, but it actually continues for centuries, and the paint becomes increasingly brittle over time.
This process can be classified as an exothermic reaction, meaning that heat is generated. This ‘heat’ can obviously not be detected, but a drying oil painting is literally doing a slow burn through a process of flameless combustion. It is also interesting to note that a paint film expands and becomes heavier as it dries — thanks to absorption of oxygen. Research conducted by Golden Artist Colors revealed that a paint layer can gain 15 – 20% of its mass as it dries. For further details please click on this link: http://www.justpaint.org/weighing-in-on-the-drying-of-oils/. The first few days of drying time is the period when the expansion rate peaks. It is for this reason that painters should avoid applying a fast-drying layer of paint over slow-drying layer, because the wetter lower layer continues to expand under the dry upper layer (which is expanding at a slower rate). If this rule is ignored, then cracking becomes a real possibility.
Showcasing signature works by the gallery’s stable along side works by invited artists this exhibition reviews examples of highlights from the past year while introducing examples of exciting collaborations planned for 2018.
Barnard Collective includes works by Alexia Vogel, Sarah Biggs, Lien Botha, Hugh Byrne, Tom Cullberg, Alex Emsley, Ryan Hewett, MJ Lourens, Virginia MacKenny, Richard Mudariki, Ndikhumbule Ngqinambi, Robyn Penn, Katherine Spindler, Alastair Whitton and Jaco van Schalkwyk. The show will open to the public from 6 December running through 23 January, 2018.
Known for uniquely designed booth presentations at the Joburg Art Fair, Barnard again presented a signature show at this years event; look out for Ashraf Jamal’s review of the work of Alex Emsley in the summer edition of Art Africa.
Barnard Gallery will be participating in the 2017 FNB Johannesburg Art Fair (8 – 10 September at the Sandton Convention Centre) where we will be showcasing a unique display of contemporary still life paintings by Alex Emsley. Find us at Booth C07.
Fascinated by the technical aspects of painting, Alex Emsley (b.1973) devotes his practice to a rigorous and methodical observation of the procedures employed by painters for centuries in the creation of convincing illusions. A dimension of painting he feels has become somewhat overlooked in contemporary practices, Emsley revisits these empirical techniques and approaches within the tradition of the still life or vanitas painting. Simple arrangements of objects – ranging from luxurious floral bouquets to jars of candy and toy cars – depicted in rigorous detail, become pretexts for a quasi-scientific engagement with paint and its various applications. Colour, surface and light become paramount, allowing the artist and viewer a welcome retreat to the senses and return to the enduring satisfaction and wonder of mimesis.
Barnard Gallery will be participating in the 2017 FNB Johannesburg Art Fair (7 – 10 September at the Sandton Convention Centre) where we will be showcasing a unique display of contemporary still life paintings by Alex Emsley. Find us at booth C07.
Barnard Gallery will be participating in the 2017 Cape Town Art Fair, which runs from the 17th to the 19th of February at the Cape Town International Convention Centre. Artists represented will include Ryan Hewett, Sarah Biggs, Alexia Vogel, Alex Emsley, Robyn Penn, MJ Lourens, Katherine Spindler and Jaco van Schalkwyk. Find us at booth B3.
Barnard Gallery is pleased to announce the addition of Alex Emsley to its stable of artists. Alex Emsley is fascinated by the technical aspects of painting. He is captivated by the procedures that painters employ to create convincing illusions in paint. This “scientific” characteristic of painting is often neglected in the contemporary art environment. Through his work, the artist re-explores these empirical techniques that painters have used for centuries, often within the tradition of still life painting. Simple arrangements of objects, depicted in rigorous detail, become pretexts for the observation of old painting techniques.