VIP Preview: Tuesday 3 December, 10am - 7pm
4 - 8 December
Wednesday 4 - 7 December, 11am - 7pm
Sunday 8 December, 11am - 5pm
1200 Ocean Dr
Miami Beach
FL 33139
United States
Vigo Gallery will be returning to Untitled Miami this year, with a group presentation of works by Jordy Kerwick, Henrik Godsk, Johnny Abrahams, Lakwena Maciver, Lucienne O'Mara, Oliver Marsden and Ibrahim El-Salahi.
For enquiries, please contact info@vigogallery.com.
Jordy Kerwick (b. 1982, Melbourne, Australia) lives and works in Albi, France. He is self taught, taking up painting in 2016, and has exhibited extensively internationally, including most recently at the Thyssen Museum, Madrid. His paintings and sculptures are held in numerous public and private collections. At once historic and compellingly naïve in their mining of archetypes and ancestral memories, Kerwick's works are populated by quasi-mythical creatures. Wolves, tigers, cobras, bears, horses, unicorns, and humans all figure, often presenting as zoomorphic hybrids. Such forms lie deep in our collective consciousness, being the subject of some of the earliest cave paintings, dating from the Palaeolithic era. The childlike rendering of these story patterns is significant to Kerwick’s process, as he seeks to unlearn the conventional constraints of both adulthood and the art world. Merging mythical creatures with human forms, flowers and landscapes, Kerwick’s imaginative work challenges the normal constraints of both adulthood and the art world.
Johnny Abrahams (b. 1979, Tacoma, WA) lives and works in London and New York. He has exhibited extensively in the UK and internationally, in the US, Korea, Denmark and Belgium. Deceptively simple, Abrahams' paintings present a unique vocabulary of satisfying meditative yet rhythmic shapes rendered with a rich texture which plays strongly with the negative space of the raw canvas. The symbols within Abrahams’ practice exist under a certain formalism, the different planes conveying near-musical patterns, oscillating between comfort and dissonance to form melodic variants. The forms within the compositions and the variations between individual paintings are experienced in the way microtones are experienced by a musician using a twelve-tone scale. The shapes seem familiar yet slightly askew, creating tension and drama through the disruption of self-imposed structures. This play of chance reflects the artist's interest in the meeting of atoms; the contact between paint and canvas exacting a game of destiny. Thinking through this rhythm and phasing, the artist continues his exploration of balance without symmetry.
Henrik Godsk (b. 1975, Hjørring, Denmark) lives and works in Denmark. Godsk is of seventh generation travelling heritage, having grown up among the world of his family’s funfair in Denmark and Norway. His practice reflects pride in his upbringing and cultural identity, fusing folkloric and high art, using portraits and ‘creatures’ as vessels for his exploration of colour and form. The formal components of the artwork are a direct result of the artist's time spent as a child painting and renovating the panels and façades of these rides. At twelve, he began to design and paint them himself; at fifteen, he came across books about Picasso and Modigliani, the latter’s elongated necks and distorted, flattened proportions heavily influencing Godsk’s current oeuvre. Then at 23 he left fairground life to become an artist. The controlled brushwork, geometric lines, flat surfaces, and tight compositions of his cubistic portraits act as a conduit for his personal exploration of classically modernist forms. By playing with artistic conventions of the past, Godsk offers a refreshing take on portraiture through the lens of his cultural upbringing and love of twentieth-century modernism.
Ibrahim El-Salahi (b. 1930, Sudan) is one of the most important living African artists. A key figure in the development of African Modernism, he grew up in Omdurman, Sudan and studied at the Slade School in London. On his return to Sudan in 1957, he established a new visual vocabulary which arose from his pioneering integration of Sudanese, Islamic, African, Arab and Western artistic traditions. Since 2016, Sudanese Oxford-based artist Ibrahim El-Salahi has created an extraordinary body of work from the comfort of an armchair, refusing to let physical restriction limit his ambition. He has produced around 200 tiny, but incredible drawings in pen and ink created on the inside cardboard of his medicine packets and on the backs of envelopes after consuming their contents. The ‘Godfather of African Modernism’ says the act of creating these drawings is the only time he really has relief from the pain he experiences from his chronic sciatica and Parkinson’s pain. These were drawings in their own right, but they were also seeds for a very ambitious project. El-Salahi wanted to make larger-scale work despite his physical constraints and achieved this by using these drawings as a nucleus from which to create large, unique mono-print paintings transferred by screen from the drawings.
Oliver Marsden’s (b. 1973, Gloucestershire, UK) creative process can be seen as a daily practice, as all preparation - a preparation to see – a clearing away, a focusing of perception, in order for his paintings to speak, or rather sing for themselves. Not only are his works replete with musical references, it is his whole approach, his praxis that accords with a musical sensibility. He attunes himself in his preparation to make a painting, his daily routines evolved over a 25 year span of painting with physical and mental discipline. He trains himself in the art of seeing as a form of listening. Marsden's desire was to strip a painting down to the simplest raw elements with which to explore perceived form and space in a quest for truth. His works reference the enlightened auras and halos of saints and buddhas. An aura of energy. "OM" the vibrational seed sound. If God were to paint a canvas what would he paint? Hindus believe that as creation began, the divine, all-encompassing consciousness, took the form of the first and original vibration manifesting as sound "OM". Following this idea, Marsden proposes his halo works as “a universal painting”. He paints freehand with an airbrush and “sculpts” the form to a resonating point of balance.
Lakwena Maciver (b. 1986, UK) creates painted prayers and meditations which respond to and re-appropriate elements of popular culture. Exploring the role of the artist as mythmaker, with their use of acid-bright colour and bold typographic text, her paintings act as a means of decolonisation, subtly subverting prevailing mythologies. Her approach is instinctive and autodidactic, producing visceral, rhythmic and immersive panel paintings, iconic murals and installations. Challenging both the external and the internalised voice of mass media, Lakwena has created works in the public realm internationally, from installations at Tate Britain, Somerset House, Facebook and the Southbank Centre in London, to a juvenile detention centre in Arkansas, a monastery in Vienna, and the Bowery Wall in New York City.
