Telling Tales at Collyer Bristow Gallery- PV 13 October
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Telling Tales is an exhibition rooted in fiction, in which worlds, truths and realities are created, dismantled and questioned. The exhibition traces the fragile lines between utopian fantasy and its dissolution into dystopian realities. The artists are testing alternate narratives, realities and blueprints, examining life stories and unravelling (other)worldly designs ‘and the stories we tell ourselves to make sense of our existence’ [Lex Thomas]. Telling Tales showcases the work of artists covering the age range of 19-84.   
Telling Tales is an exhibition rooted in fiction, in which worlds, truths and realities are created, dismantled and questioned. The exhibition traces the fragile lines between utopian fantasy and its dissolution into dystopian realities. The artists are testing alternate narratives, realities and blueprints, examining life stories and unravelling (other)worldly designs ‘and the stories we tell ourselves to make sense of our existence’ [Lex Thomas]. Telling Tales showcases the work of artists covering the age range of 19-84.  
The exhibition opens with Su Blackwell’s fantastical fairy-tale castle picturing the archetypical childhood idyll seen through our collective Disney filtered lenses. We understand the fairy tale is a fiction but choose to believe in it – it’s a known known. Countering this comforting fiction is Ami Clarke’s Unknown Unknowns which quotes former US Secretary of Defence, Donald Rumsfeld’s news briefing in the lead up to the Iraq war in 2002.  ‘It’s a statement that betrays itself, in its seemingly absurd investigation into what might be regarded as the truth.’ [Ami Clarke]. This widely commented upon statement was lifted by Rumsfeld from management culture risk assessment language but the phrase has its origins in D.H. Lawrence's poem ‘New Heaven and Earth’ which ended with the phrase ‘unknown unknown’. Unbeknownst to Rumsfeld, he was quoting from and distorting something expressing the transcendental nature of the human spirit.
Negotiating the 20th and 21st century struggles of the individual through her work, lived and unlived echoes in the form of graphic novel and cartoons, Emma Talbot mines her own autobiography, as well as biographies of others, both real and imaginary which are then sliced open, edited and articulated.  Sandra Lane’s imaginary forms and fictional spaces relate to her 1960s childhood; when idealised domesticity was set against the optimism of space travel, UFO magazines, synthetic colours and materials back lit by a sense of the metaphysical or the extraordinary. John Greenwood transposes both comedy and fantasy within his works, utilising the high-art tradition of 17th century still life painting combined with a Disney-esque absurdity.
As Nicky Hodge’s wrote in The Coruscating Eye, an essay about Eleanor Moreton’s paintings; ‘they convey illusions of fictional time and space. Although narrative could be said to be her subject matter, there are deliberate strategies embedded in the work to disrupt, confound and resist easy meaning.’ Lex Thomas examines in her work a range of unexplained natural phenomena, such as the supernatural and paranormal as well as altered psychological states, magic, cults and UFO religions. Exploring social narratives and remembered truths, mythologies, folktales, parables and underworlds underpin the works of Ben Coode-Adams, Iain Andrews and Peter Davis which they retell, reimagine, embellish and from which they deviate.  Blending mysterious representations of arcane customs embedded in traditional folklore with contemporary forms of communication, Adam Dix’s paintings survey an imagined world of the present in which the past is reinterpreted, appearing in a strange futuristic landscape; a borderland between the virtual and the real.
Gordon Cheung’s The Course of Empire ‘glitch’ prints are created from images appropriated from Museum Archives, propaganda and historical sources which are re-ordered through an open source code.  The process is a metaphor for the transformation of time and space in the digital age and a gesture raising questions about the transient nature of history.  Stella Kajombo’s work is a performance piece (photographically documented by Srirat Jongsanguandi) in which she traces the stories of skin; touching upon historical links to slavery and caste systems as well as African ritual and history, classical and contemporary notions of beauty and the heritage of African music in 21st century culture. The performance documents her painting her own skin white and then back to black as she reinvents and re-presents herself, depicting a powerful sense of celebration and empowerment.   
Evy Jokhova questions her subjective role in and relationship to society, history, landscape and architecture. Graham Crowley’s luminous landscapes track a fundamental narrative involving political, cultural and personal histories. His Drift series demarcate a vivid memory of flood in Ireland during his childhood, through which the lens of reality and perspective are disrupted. Objects and the invisible stories surrounding them are a constant draw for Annabel Dover’s work and life and have become a tangle of information, stories, images and objects. Her work is part distillation, part peripatetic ramble through her wide- ranging influences; from archaeological illustration to the theories of Freud and much in between. Helen Bermingham works with the remembrance of objects, both disappearing and reappearing and through them the narratives of history are eroded and interrupted, fading and dissolving.
Sue Williams ACourt’s reflective drawings on book covers present us with landscapes of imagined and unobtainable worlds.  Timothy Shepard’s landscapes derive from the overlaying of perceptions, memory and impressions of a particular place. Hundreds of image fragments taken from photographs of real places are reassembled to form a picture, interconnecting the actual and imagined. Richard Galpin engages with processes of change and transformation in the urban environment. He disassembles, stripping and peels back imagery of cityscapes, revealing other structures, networks and abstracted cityscapes making use of constructive and destructive processes.
Monica Ursina Jäger’s work is characterised by an engagement with the natural and constructed environment, her cognitive-map-like use of imagery, alongside linear architectural structures, gives one a sense of both every day and fantastical moments of overlap between the many signifiers by which we ‘read’ physical environments and recall our experiences of them. Tom Down's work revolves around romanticised landscapes. His paintings are based on low-fi physical models, built deliberately quickly so they look as if they might fall apart at any second.  They are all references to the artifice of the thing, a constant reminder that you are looking at a facsimile of a place rather than the place itself. 
EJ Major’s From a Distance addresses the reading of the same book at different times and in places by the same person. Major reproduces pages of William Faulkner’s As I Lay Dying from a copy she read and annotated herself, at the age of 17. The reproduced pages are further annotated by the artist as an adult with images of illustrations based on those found in children’s Brownie and Scout annuals, which obscure much of the text on the reproduced pages. Simon Leahy-Clark removes narratives and texts; stripping newspaper of its informative qualities, whilst drawing attention to the qualities of the material itself, the underlying structure and the information within it.

Born in Lincolnshire, Sue Williams A’Court first made a name for herself as an illustrator after receiving a BA in Illustration from Brighton Polytechnic. Her children’s book ‘Time for Telling’ won the prestigious Smarties Award in 1991. A’Court’s career as a commercial illustrator supported her painting until she decided to make the transition to painting full time. Solo exhibitions Pulse, Metropolitan Pavillion, New York City,“Le Salon Vert” Geneva (both 2016)  “Expose” Rue d’Amsterdam Paris (2006). Selected group exhibitions include the Royal Academy summer exhibition (2013&15) “The Open West” The Wilson Cheltenham Art Gallery Museum, The New English Arts Club Open, The Threadneedle Art Prize and the ING Discerning Eye all at the Mall Galleries, the Jerwood Drawing prize (2013) and with Bo Lee Galley a number of times since 2013. Sue has been shortlisted for the Threadneedle Art Prize 2014, the National Open Art Prize 2014&15. Her work is held in private and public collections.

Iain Andrews (b.1974 Birmingham, UK) studied MA Fine Art at Aberystwyth School of Art and PG Dip. Art Psychotherapy at Sheffield. His paintings often make reference to Folk tales and the world of the Faery story and selected solo exhibitions include Re-view, Castlefield Gallery, Manchester (2014), Il teatro dei Leviatano, Man and Eve, London, The Language of Paint, Atkinson Gallery, Somerset (both 2013) and Mythopoeia, Warrington Art Gallery (2012). Selected group exhibitions include Anthology, Van der Plas, New York (2016), Griffin Gallery Open, London (2015), National Open Art Competition (2015 & 2011), Contemporary British Painting, Huddersfield Art Gallery (2014), Jerwood Drawing Prize, London (2011) and Polemically Small, Garboushian Gallery, LA (2011).  Andrew’s work has been the subject of essays by Graham Crowley and Edward Lucie Smith, and Andrews was the first prize winner of both the Open up North (2014) and the Marmite Prize for Painting (2011) as well as being runner up in the inaugural GMCC Arts Prize (2016), National Art Open (2011) and being nominated for the Northern Art Prize in 2012. He has work in the Progressive Collection, Ohio, New Art Gallery, Walsall, UK, Warrington Art Gallery, UK and the Priseman Seabrook Collection (UK).
Helen Bermingham (b. Ireland 1983) is a London based artist working in painting and drawing.  She completed a degree in Art History and Theatre at Trinity College Dublin and a postgraduate at The Royal Academy of Dramatic Art. She has exhibited throughout the UK and Europe including with Geddes Gallery, Lubomirov Angus-Hughes Gallery, Zeitgeist Arts Projects and Universitat der Kunste Berlin and was recently part of Multiple Choices at Simmons & Simmons. She was part of the ALAS artists’ residency with Matt Roberts Arts and was longlisted for Anthology 2015 at Charlie Smith London. Her work is held in private collections in the UK, Europe and the USA.

Su Blackwell (b. 1975 Sheffield) is known for her delicate paper sculptures, which often transform books into fantastical three-dimensional worlds.  Since graduating from the Royal College of Art in London with an MA in textiles in 2003, Blackwell has been developing her technique, often working with themes of fairy tales and folklore. In 2006, Blackwell began exhibiting what she has termed as her ‘book-cut sculptures’. Blackwell’s work has been exhibited in London, New York and Tokyo, and her sculptures are in the permanent collections of Graves Art Gallery, Sheffield, The Bronte Parsonage Museum, Haworth and Robert Burns Birthplace Museum in Ayrshire. She lives and works in Hastings, East Sussex.

Gordon Cheung (b. 1975 in London) studied painting at Central St Martins College of Art and at the Royal College of Art, London from where he graduated in 2001.He has exhibited extensively and in 2005 was notably part of the The British Art Show 6 which toured the UK and The John Moores Painting Prize in 2006. He was commissioned for the Laing Art Solo Award in 2007. Cheung's works are in international public and private collections including the Hirshhorn Museum, Whitworth Museum, ASU Art Museum and UBS Collection.
Ben Coode-Adams (b.1965, Essex) studied Fine Art at The University of Edinburgh. Most of his career he has produced large scale sculptures for housing associations, local authorities and private clients. He pioneered the public art methodology of historical research coupled with community engagement. This expertise in audience development led projects in museums funded by NESTA, the Wellcome Trust, and the Manchester Museum, developing ideas about communicating complicated subtle narratives which turned into a series of performance projects about exploration, produced with Grizedale Arts, Hastings Museum and the Banff Centre in Canada. Coode-Adams has always produced drawings alongside his sculptural practice. He has exhibited these periodically, in Berlin in 2004 and Mainz 2006. In 2008 he was shortlisted for the Jerwood Drawing Prize and exhibited at Wayfarers Gallery and Theodore:Art in Brooklyn, New York in 2014, and this year has been shortlisted for the Sunday Times Watercolour Prize. Most recently he exhibited with his wife Freddie Robins at the Sentinel Gallery, Wivenhoe.
Ami Clarke is an artist whose practice explores the limits of contemporary art within a differential economy as an increasingly general condition. She is also founder of Banner Repeater; a reading room with a public Archive of Artists’ Publishing and project space, opening up an experimental space for others, on a working train station platform at Hackney Downs station, London.  Ideas that come of publishing, distribution, and dissemination, that lead to a critical analysis of post-digital art production, are shared in her practice as an artist and inform the working remit of Banner Repeater.  She has recently exhibited/curated works at the ICA, Wysing Arts Centre, Museo Del Chopo Mexico City, the Hayward Gallery, Ithuba Gallery Johannesburg, David Roberts Arts Foundation, Camden Arts Centre and The Container Japan.  She continues to commission new artists/writers works through the Banner Repeater platform, and several publishing imprints: Banner Repeater paperbacks, Banner Repeater publishing, and the UN-PUBLISH series.  She teaches across the UK with a focus on Publishing as Process: post-digital art production and publishing.
Graham Crowley (b. 1950) studied at St. Martin’s School of Art London (1968-72) and Royal College of Art London (1972-75) and has held significant teaching posts including Professor of Painting at the RCA (1998-2006). Crowley was a judge on the 25 John Moores panel in 2008 and as an applicant he has exhibited eight times, winning prizes in 1987 and 2006. Crowley has been a tutor and mentor at Zeitgeist Arts Projects since its inception, an artist led organisation providing a dynamic educational and exhibition programme for artists.
Peter Davis (b. Calcutta.1932) was educated in England. On completing his studies, he moved to Africa, working first as a land ranger then going onto South Africa where he worked for 12 years as furniture maker, interior design consultant and sculptor.Davis has exhibited in group and one-man shows, in South Africa; he had eight solo exhibitions at the Lidchi Gallery and Gallery 101 in Johannesburg, Pretoria Society of Arts, the Wolfe Gallery in Capetown. Since his return to England in the 80’s Peter has exhibited at the Royal Academy, the Barbican Centre and at private and public galleries in Blackheath, Doncaster, Islington and Canterbury. His work has been bought by major international collectors including John Orrs Department Stores, Sir Harry Oppenheimer of De Beers the Arts Dept of Witwatersrand, University of Johannesburg and the Schlesinger Foundation as well as to a number of private collectors. Peter lives and works in Canterbury.

Adam Dix (b.1967) studied B.A. (Hons) Graphics and Illustration at Middlesex Polytechnic (1990),  an MFA at Wimbledon College of Art (2009) and completed a residency at Florence Trust, London (2012).  Solo shows include Yesterday's Prophets. Eleven Gallery. London (2013), Urban Nature. Royal Overseas League, London touring to Edinburgh (2004/05), Arrival and Departure. Attendi Gallery, London (2003). Selected Group shows include Modern Mythology. Space W10, The Contemporary, London, Ten Year Anniversary Show, Eleven, London, Strange Cities,Onassis Cultural Centre. Athens (2015). 100 Painters of Tomorrow, Christies and Beers Contemporary. London, So Long, and Thanks for all the Fish, Lawrie Shabibi. Dubai. The East London Painting Prize, Whitechapel Gallery, London (All 2014), The Jerwood Drawing Prize, Jerwood Space.London and The Creekside Open, APT Gallery, London (2013) 'The Future Can Wait', London (2011 and 2012), FrateniseThe Salon, Beaconsfield, London (2011), and Transmission, Haunch of Venison, London (2010). His work is also part of prestigious collections including the Royal Collection of Monaco and the Zabludowicz Collection, London. He has a solo show at Eleven Gallery in autumn 2016. Dix lives and works in London.
Annabel Dover was born in Liverpool, educated in Newcastle and London. She is currently studying for a PHD at Wimbledon exploring a practice lead response to the cyanotype albums of Anna Atkins. She has shown her work nationally and internationally.
Originally from Birmingham, Tom Down graduated in 2008 with a BA in Fine Art: Painting from Wimbledon College of art. Since then he has exhibited around the UK, recently he has had work shortlisted for the Beep Wales: Painting prize, been involved in a group exhibition at Sound & Vision Gallery in Lancaster, selected for the Royal Academy Summer exhibition (2016) and the Zeitgeist Open (2015). He currently lives and works in London.
Richard Galpin (b. Cambridgeshire,1975), studied an MFA at Goldsmiths College, (2001) and a BA (Hons) UWE (94-98).  Galpin first became known for a distinctive body of 'excised photograph' works (2001 - 2011) in which the artist's own photographs of cities were partially erased with a scalpel, creating intricately detailed works with a fragmented and dynamic aesthetic. His wider practice incorporates other alternative photographic processes, sculpture, and public projects such as 'Viewing Station' (2010) for the High Line in New York.  Solo exhibitions include Cristin Tierney Gallery (NY), Franklin Art Works (Minneapolis), Brancolini Grimaldi Arte Contemporanea (Rome), Galeria Leme (São Paulo) and Hales Gallery (London). Select group exhibitions include the British Museum, Norton Art Museum (Palm Beach), Marlborough Chelsea (NY) and Museum of Contemporary Art Lima (Peru). Galpin's work can be found in the British Government Art Collection, British Museum, Victoria & Albert Museum, RISD (US) and Deutsche Bank.  He lives and works in London.

John Greenwood (b. Leeds, 1959) graduated from the Royal College of Art in 1990, where he received the Cite Internationale Paris residency award, the Burston Award and the Midland Bank purchase award. Solo exhibitions include: Jason Rhodes Gallery, London (1995 and 1998), Galerie Helmut Pabst, Frankfurt (2000) and Europaische Zentral Galerie, Frankfurt (2002).  Selected Group exhibitions include; ‘Young British Artists’, Saatchi Gallery (1992), ‘mutations’ (two person show with William Latham), Manchester City Art Gallery (1993), Helen de Sybil and John Greenwood, Jason Rhodes Gallery (1994), ‘Fusion’, Rhodes + Mann Gallery inaugural show (2000), ‘The Modern City in Europe’, Museum of Contempory Art, Tokyo (1996), ‘Cheers’, Sun and Doves Gallery, London (1999), ‘The Armory Show’, Rhodes + Mann Gallery, New York (2002), ‘Trailer’ (2001) and Guns and Roses, London (2002), curated by Juan Bolivar.
Following a career break, recent shows have included; a solo show, ‘Being John Greenwood’ in 2014, curated by Juan Bolivar at the C+C Gallery, London and group shows in 2015, ‘Doppelganger’, No Format Gallery, London, ‘Tutti-Frutti’, Turps Gallery, London, ‘Anti-Social Realism’, Charlie Smith, London, ‘Present Tense’, Swindon Art Gallery and Museum and the ‘2nd Nanjing International Art Festival, Nanjing, China.  In 2015 John; won the Bronze Award at the 2nd Nanjing International Festival, had a residency at the C+C Gallery, London and an article ‘John Greenwood’, published in the Autumn Turps 

Monica Ursina Jäger (Swiss Art Award 2007) was born in Thalwil, Switzerland in 1974 and gained her MA at Goldsmiths College in London. Jäger has exhibited widely nationally and internationally, e.g., Kunsthalle Düsseldorf, Kunstmuseum Thun, Haus für Kunst Uri, Galeria Pilar Sao Paulo, Kunstmuseum Chur, Sammlung Essl Klosterneuburg/Wien, Haus Konstruktiv Zurich, Kunsthalle Osnabrück, Kunstverein Pforzheim. Winner of the Swiss Art Award 2007. Monica Ursina Jäger is a lecturer at University of Applied Sciences Zurich ZHAW at the Institute of Natural Resource Sciences IUNR. Her work is part of many private and public collections including Essl Collection, Kunstmuseum Thun, Bank Julius Baer, Art Collection Canton Graubünden, Sparda-Bank Nordrhein-Westfalen. Recent shows include Haus Konstruktiv, Zurich, Kunstmuseum Thun, Kunsthalle Düsseldorf, Kunstverein Pforzheim, Kunstmuseum Chur, Museum Essl Klosterneuburg/Wien.
Evy Jokhova is a multi-disciplinary artist whose practice engages with dialogue and relationships between Social anthropology, Architecture, Philosophy and Art. A graduate of MA Political Communications, Goldsmiths College and MA Fine Art, Royal College of Art, Jokhova is the recipient of the BSR Bursary Award (2016), Art Council Individual Grant Award (2012) and has been nominated for John Ruskin Prize (2014), Griffin Art Prize (2014) and Conran Foundation Awards (2011). She has been artist-in-residence at das weisse  haus, Vienna (2016), Florence Trust, London (2008-09) and Schauraum, Vienna (2009). Recent exhibitions include: 'We work in the dark...', Rye Creative Centre, UK; 'In between #1', das weisse haus, Vienna, AT; 'Prison Drawing Project', Scarbrough, UK; 'Mimesis' (with Amelia Critchlow), Westminster Reference Library, London, UK; 'Sketch for a British Business', Lubomirov/Angus-Hughes, London, UK; 'Allotment: Revolution', SALT Gallery, Istanbul, TR; 'No one lives in the real world', Standpoint Gallery, London, UK; 'Play/Game/Place/State', Day + Gluckman, London, UK. Upcoming in 2016: 'Staccato', site-specific installation in the chapel at House of St Barnabas, London with Marcelle Joseph Projects. Jokhova is the founder of the Allotment project - a series of collaborative dinners and talks about the relationship between the politics of food and society.
Stella Kajombo (b.1996, Malawi) recently graduated from Foundation Studies at Kensington and Chelsea College where she won the Peter Stanley Prize and was selected for the Origins exhibition, a UAL showcase of students from foundation courses from across the country shown at Menier Gallery (2016). Kajombo is currently in her first year of BA (Hons) Fine Art at Arts University Bournemouth.
Sandra Lane gained a BA (Hons) in Fine Art Drawing at Camberwell College of Art (2013) and is currently in the second year of her MFA in Sculpture at the Slade. On graduating in 2013 she received the Camberwell Acme Award consisting of a studio and bursary which culminated in her first solo show at Bearspace Gallery, Deptford (2014). Lane has also shown work in the Limbo Open, Margate (2013), selected by Bob and Roberta Smith and Sarah Martin and has been chosen for the Contemporary Watercolour Competition Show 2016. She contributed to Indigo Vastness, 2016, a UCL open call for Slade members. She has also shown work in group shows including Little Mountains at Embassy Tea Gallery (2015), and co-curated XXL, a Slade group Sculpture exhibition at Hotel Elephant in June 2016.  She lives and works in London.
Simon Leahy-Clark (b. 1973, Cardiff) studied Fine Art at Middlesex University (1996-1999). Selected exhibitions include Jerwood Drawing Prize (2011, 2008); RA Summer Exhibition (2011, 2014); Hundreds and Thousands, Luborimov / Angus-Hughes Gallery, London (2015); ArtWorks Open, Barbican Art Trust (2014, 2013, 2011, 2010); The Distance Between, Zeitgeist Arts Projects, London (2014); ZAP Open (2013), NeoArt Prize, Bolton (2013); Photo/Print Open, Charlie Dutton Gallery (2013); Creekside Open, APT Gallery, London (2013, 2007); Crash, Charlie Dutton Gallery (2010); So What's Different Today, Globe Gallery, Newcastle (2010); The National Open Art Competition, (2009); 40 Artist 40 Drawing, The Drawing Gallery, Shropshire (2009); Re:Drawing, Oriel Davies Gallery, (2008); 13th Yoshihara Memorial Exhibition, Osaka Contemporary Arts Centre, winner Gutai Group Prize (2005), Aftershock, 1a Space, Hong Kong (2004); Faith, Transition Gallery, London (2004); Oriel Mostyn Open, (2002). Art fairs include Art Athina, Athens, with Luborimov / Angus-Hughes, (2016); The London Art Fair (2016, 2015); Sluice, London (2015); Art Copenhagen (2015); Cologne Liste (2015) Exchange Rates, New York (2014), The Manchester Contemporary (2014), all with PAPER Gallery. Solo exhibitions include Library, Westminster Reference Library (2012); From the Lagado Academy, CAS Gallery, Osaka, (2005), supported by the British Council. Works are held in public, private and corporate collections. He lives and works in London.

EJ Major studied at Goldsmiths University (MFA 2009) and Nottingham Trent University (BA (Hons) Photography, 1996-99.  In 2011 having won the Salon Photo Prize Major was awarded a Solo Show at Matt Roberts Gallery in London. She held her first solo show at Street Level Photoworks in Glasgow 2008. Playing and Reality at Forum fur Fotografie in Cologne from January until April 2016, showcased her major works over the last ten years. Selected group shows include: Feminine Masculine at Photo 50, London, Liberties at Collyer Bristow Gallery London, Helsinki Photography Triennial, Helsinki City Art Museum, Finland, ICY, Minnesota Centre for Photography, USA, As serious as your life, Bildmuseet Umea, Sweden, Girl Parade, Australian Centre for Photography, Sydney, Emergence of The Digital Portrait, Clampart Gallery, New York. Major has also self-published a number of books and has been a member of Artists Book Co-operative since 2011.

Eleanor Moreton studied painting at Exeter College of Art and Chelsea College of Art, and Art History and Theory at the University of Central England. Solo shows include Im Wartezimmer, I See the Bones in the River and Tales of Love and Darkness at Ceri Hand Gallery (Liverpool and London) and California Dreaming, Canal (London), The Ladies of Shalott, Jack Hanley (New York), group shows include the John Moores at the Walker Art Gallery, East International, Rituals are the Tellers of Us at the Newlyn Gallery, Painting Past Present at the Laing Gallery, Behind the Mask at the New Art Gallery, Walsall and Liberties at Collyer Bristow. International shows include Make Believe, Magnus Karlsson Gallery (Stockholm) and Galerie Vidal St Phalle (Paris), She was Durham Cathedral Artist in Residence 2007-8. Her work features in Picturing People by Charlotte Mullins (Thames and Hudson 2015).and is in the Government Art Collection and a number of private collections. She is based in London.
Timothy Shepard graduated from Georgetown University, Washington DC where he double majored in Fine Art  (sculpture) and Theology. Solo shows have been at Grosvenor Street Art Space, London (2013) and the National Centre for Atmospheric Research in Boulder Colorado (2012-13). Group shows include: Zeitgeist Arts Projects, Charlie Dutton Gallery, Caroline Wiseman Modern & Contemporary, London Art Fair and 20/21 British Art Fair. His works are in private collections in the USA, UK, Japan and France. Shepard has also created a number of album covers, including Paul Weller 22 Dreams, and Kevin Ayers, The Unfairground, which Shepard also produced and ran and curated the experimental music label, underground sounds (1993- 2007). He lives and works in London.

Lex Thomas (b. 1972, London) read Sociology at the University of Greenwich before studying Fine Art for three years at the University of the West of England. She subsequently gained a Postgraduate Diploma from Chelsea College of Art and will be starting a Masters degree at the Royal College of Art in September 2016. She has exhibited in Europe and the States and widely throughout the UK including at the Royal Academy’s Summer Exhibition, the Princes Foundation Gallery, the Mall Galleries and Orleans House Gallery. Solo exhibitions have been Of Truth of Clouds, South Hill Park Arts Centre, Berkshire (2013) and Future Proof, Opus Gallery, Newcastle (2011).  She has been shortlisted for the Lynn Painter-Stainers Prize, the Rising Stars Prize and won third place in the Woolgather Art Prize. Her work is held in private collections in the UK, USA and Germany as well as the Cill Rialaig Arts Collection, Ireland. She has recently published an artists’ book In Search of an Author (ArtCircus Books).

E­mma Talbot studied at the Royal College of Art and the Birmingham Institute of Art & Design.  Recent one-person exhibitions include:  ‘Time After Time’ Petra Rinck Galerie, Düsseldorf, “Unravel These Knots’ The Freud Museum, London, , ‘Step Inside Love’ domobaal, London and ‘Entrances and Exits’ Gallery Twenty Two, Bristol, ‘Memories turn to Dusk’ Petra Rinck Galerie, Düsseldorf. Recent group exhibitions: ‘Comic Tragics, The Exploding Language of Contemporary Art’ The Art Gallery of Western Australia, Perth, ‘Ina Van Zyl, William N Copley, Emma Talbot’ Galerie Onrust, Amsterdam, DAM, Berlin. She is in the 2016 John Moores Painting Prize and is shortlisted for the 2016 MAC international Ulster Bank Prize, Belfast. Forthcoming solo exhibitions are at Arcadia Missa London and Galerie Onrust, Amsterdam. Talbot’s work is included in two Thames and Hudson books, ‘100 Painters of Tomorrow’ by Kurt Beers and ‘Drawing People’ by Roger Malbert. She lives in London.
Rosalind Davis is an artist-curator and a graduate of The Royal College of Art (2005) and Chelsea College of Art (2003).   She was appointed permanent Curator at Collyer Bristow Gallery in Summer 2016. Her first exhibition at the Gallery; Complicity. Artifice and Illusion was a great success and was reviewed by Art Top 10; ‘Cracking Show. Superb Artists. Brilliantly curated.’  Previous curatorial projects have been at Standpoint Gallery, Geddes Gallery and with ZAP at Bond House Gallery (ASC).  Davis has previously co-directed and developed two innovative artists’ educational, membership and exhibition arts organizations; Zeitgeist Arts Projects (ZAP 2012-15) and Core Gallery (2009-11,) based in London.
Davis also lectures at universities, galleries and arts organisations across the country including the Royal College of Art, ICA, Camden Arts Centre. University of the Arts and ArtQuest and contributed to BBC4’s Film ‘Tales of Winter. The Art of Snow and Ice.’  She is also an Ambassador and curatorial mentor for UK Young Artists. Davis is a Published writer for a variety of publications and co-author of ‘What they didn’t teach you at art school’ commissioned by Octopus Books which will be internationally distributed November 2016.
Collyer Bristow Gallery is a bespoke gallery space with a dynamic exhibition programme. Collyer Bristow LLP is a leading UK law firm with offices in London and Geneva. The firm provides business and personal legal advice to a wide range of clients both in the UK and internationally. Collyer Bristow has been championing emerging talent in contemporary art for nearly twenty years.

General Opening Times
Monday – Friday 9am-5pm. To visit the exhibition, please call reception at Collyer Bristow in advance:
Tel: +44 (0) 20 7242 7363

Images: Stella Kajombo and Eleanor Moreton
Editors notes:
For more information on the artists or specific works in this exhibition please contact the curator Rosalind Davis, Tel: 07813 076 251
Press enquiries:
Darren Butt, Business Development Manager, Collyer Bristow LLP
Tel: +44 (0) 20 7470 4408
Copyright © Rosalind Davis 2016.  All rights reserved.

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