Press Release

Breaking New

15/05/09 - 14/06/09

Private view 6-9pm 14/05/09

First Thursday 6-9pm 04/06/09

Charlotte Bracegirdle / Aliki Braine / Tessa Farmer / Becky Hunt / Mindy Lee / Clare Mitten / Michael Pybus / Nathaniel Rackowe / Rachel Shannon / Jonathan Trayte / Stephen Warrington

Five Hundred Dollars is a new temporary exhibition space recently opened with the generous support of the Jerwood Charitable Foundation. Breaking New is the second exhibition at the gallery and showcases new work by eleven artists including:

A large-scale architectural light sculpture

Altered reproductions of old master paintings

A monochrome installation of bunting, painting and plinths

A bronze cast sculpture smothered in gloss paint

A small sculptural installation of taxidermy animals

Large-scale paintings of creatures and totems

A photographic series from hole-punched negatives

A sound and drawing installation

Portrait paintings on psychedelic marbled surfaces

Grotesque, beautiful collage and painting

An evolving drawing and sculptural installation

It is a transitory review of artists whose works are brought together without an overarching thematic or conceptual delineation. Patterns of interest emerge throughout with associations of; intricacy, intentions, parallel investigations, colour and media. Inclusively there is a sense of wonderment be it visible in the of production processes, or in the presentation of unexpected correlations or conclusions.

Exhibition curated by Sarah Williams and Rose Heelas

For further information or images please contacts: thewrongimage@googlemail.com

BREAKING NEW runs from 15th May to 14th June 2009 at Five Hundred Dollars, 12 Vyner Street, London, E2 9DG (nearest tube: Bethnal Green). Opening times: Friday to Sunday, 12–6pm, First Thursdays & by appointment. Contact: info@fivehundreddollars.co.uk www.fivehundreddollars.co.uk

Notes to Editors:

For images or further information about the exhibition please contact Sarah Williams and Rose Heelas: thewrongimage@googlemail.com

Five Hundred Dollars is a temporary, artist-run space opening in April 2009. Over six months it will present a series of group and one-person shows, accompanied by a diverse programme of events. Offering an experimental exhibition environment, Five Hundred Dollars aims to encourage mid-career and emerging artists to develop their work in new and unexpected ways.

Roanne Dods, Director of The Jerwood Charitable Foundation writes: “I adore each of these artists and we have had a lovely partnership with most of them in various ways over several years. So it is extremely exciting to see them opening up a new art-space in Bethnal Green in that vibrant East End of London where exciting new art is being created by a younger generation of artists who are almost household names.”

For information about the Jerwood Charitable Foundation please visit www.jerwoodcharitablefoundation.org

For details on Five Hundred Dollars gallery space please

e-mail info@fivehundreddollars.co.uk

or call Lina Brocchieri on 07794 695 789

Stephen Warrington

[Illustrated: Untitled (Composite Drawing), Pencil on paper, 2008 from Poignancy Passing Muster, at The Wharf Road Project, London]

Carriers

2009, Pencil on paper, wooden speaker-stands, speakers and sound, Dimensions variable

Stephen Warrington presents an audio-visual piece combining a set of sounds playing through a pair of speakers, with drawings displayed on constructed speaker-stands. These two modes of production are explored in relation to constructing a combined narrative. Through layering recordings of hand-made sounds, the notion of the artist's hand as an expressive tool is given an importance which is at once undermined by the austere arrangement of the sound and the rigidity of the drawing. Although the intimacy of viewing the drawn elements is at odds with the public projection of the sound, these two methods are held together - one mode literally supporting the other.

Exhibitions

2008 Poignancy Passing Muster, at The Wharf Road Project, London

2007 Flock, GX Gallery, London

2006 Pessimism is Solar / A Flat Unaccented Signal OR Electrifying the Night, Parade Space, London

2006 Stepsiblings, Temporary Contemporary, London

2005 3:16, Candid Arts, London

2005 Memorise, Candid Arts, London

2004 InsideOut, Corridor Gallery, London

2003 Usual ¦ Ominous ¦ Sentiment, Hotel Bellville, London

2003 One Night Stand, Notting Hill Arts Club, London

Education

Foundation, Chelsea College of Art & Design (2000-01)

BA (Hons) Fine Art: Painting, Wimbledon School of Art (2001-04)

www.stephenwarrington.co.uk

Jonathan Trayte

Cream Supreme (detail)

2009, Bronze, paint and plywood, 190 x 95 x 65 cms

Currently my work is concerned with still life as sculpture and the mimicry of domestic ornaments. The use of foodstuff, plant matter and gloss paint is intended to engender everyday objects and materials, imbuing them with a subtle sexual charge. I like to try and refer to feelings of desire, lust, hunger and repulsion. The aim is to create seductive compositions with dark and sinister undertones.

Education

Oct 07 - ongoing

PG Dip Fine Art

Royal Academy of Arts

Sept 01 - June 04

BA (Hons) Fine Art

Kent Institute of Art and Design

Sept 98 - June 00

B-Tec ND Art and Design

Huddersfield Tech. College

Exhibitions

New Contemporaries - 2009 (Forth-coming)

LECG - March 2009

Premiums Interim Show, Royal Academy of Arts - Feb 2009

Royal Academy Summer Show - June 2008

Employment

Oct 06 - present

AB Fine Art Foundry, London

Lost wax bronze sculpture fabrication and mould making

Nov 05 - Oct 06

Studio assistant for Gary Hume, London

Stone, lead and steel; fabrication work

Rachel Shannon

Laudanum Portrait 2

2008, Oil on canvas

The Hallucinatory themes of my recent series have developed from questions of painterly surface. The surfaces are heavily marbled and fluid and the paintings are largely improvised. The marbled surface seems to me to be a reoccurring motif that appears in various guises at particular points in history. Its morphic language belongs to the phantasmagoria of the Romantic period, and also the LSD culture of free love of the late 1960’s and the UFO club. I see the marbled surface as a signifier; in its convulsive movement I explore the anxieties of the individual spirit, rebelliousness and the subconscious.

I also look at the cult of the young dead poet. Youth, beauty and genius cut off before full bloom is a tragic ideal. I find images of decadentism and decay alluring, and in my paintings, the central protagonist is often given over to this luxurious despair. Out of this decadentism comes my interest in Laudanum; particularly the Romantic poets and Wilkie Collins dependency on the opiate and their experiences of being wracked with hallucinations. I think it is poetic that Laudanum it is primarily a painkiller and this decadentism is derived from an alleviation of suffering. In its cure is a kind of beauty.

I also draw influences from Victorian Fairy Painting. There is a grotesque quality to the over-abundant and over-populated works of Joseph Noel Paton, and in the paintings of John Anster Fitzgerald. This style of painting developed out of thinly constructed rationalism that might at any point collapse. My paintings belong to that moment of collapse. They are overwrought projections of psychological disturbance and the psychedelia.

After huge consumptions of Laudanum, Wikie Collins became haunted by an apparition of his double, “Ghost Wilkie”. I’m interested in “Ghost Wilkie” because I think that my paintings are like this apparition. My paintings have an awkward and nostalgic view of the Romantic period. They re-enact, but in doing so, become something else. I don’t see my practice as parodic; instead I feel it has more in common with “Ghost Wilkie”. The work becomes a Doppelganger. In this instance, the Doppelganger emerges from images of fervent passions, but is transformed into a double, aping and re-enacting that passion until the memory is consumed. My work, through the act of doubling, mocks the torturous moment whilst seeking to inhabit it.

Education

Royal Academy Schools- PGDip Fine Art (RAS)

Falmouth College of Art- BA Hons. Fine Art Painting

Exhibitions

2008-The Colour Show, Frieze Education Space, Frieze Art Fair, London

2008-Laudanum, Solo Show, Gone Tomorrow Gallery, London

2007-Durty Turkey, Group Show, Gone Tomorrow Gallery, London

2007-Salon, New British Painting and Works on Paper, London

2006-Bunny Incinerator, Group Show, Gone Tomorrow Gallery, London

2006-Night Thoughts, Solo Show, Gone Tomorrow Gallery, London

2006-George Polke Presents, Group Show, London

2005-Acid Drops and Sugar Candy, Group Show, Transition, London

2005-Launch, Group Show, Gone Tomorrow Gallery, London

2005-Radical, Group Show, Jerwood Space, London

2004-Group Show, The Pump House Gallery, Hornsey

2004-The Assembly, Group Show, The Assembly, London

2004-The Schools Degree Show, The Royal Academy Schools

2003-Work Ethic, Group Show, Gone Tomorrow Gallery, London

2003-Premiums, The Royal Academy, London

2001-Little Comfort, Solo Show, The Cluny, Newcastle Upon Tyne

Bibliography

2008-Garageland, Supernatural Issue

2005-Academic Brilliance, Colin Gleadell, The Telegraph Magazine, Feb

2004-Underground Movement, Ossian Ward, The RA Magazine, Summer Issue

Collections

Murderme Collection

Ed Morris Collection

Nathaniel Rackowe

SP8 (detail)

2008, Aluminium scaffolding tubes, scaffolding clamps, fluorescent lights, paint, 290 x 140 x 70 cms

Forthcoming:

Group Show, Duve Gallery, Berlin, March 09
Solo Show, Delfina Foundation, London
Delfina Residency, Beirut
Solo Show, Bischoff Weiss, London

Solo Exhibitions:

2008:
Government Art Collection commission for 50 Queens Anne’s Gate, London
Divisions, The Centro Colombo Americano, Bogotá
Pathfinding. Solo Show, Galerie Almine Rech, Paris
Preverberation. Solo Show, Siobhan Davies Dance Studio, London

2007:
Luminous Territories at Bischoff/Weiss, London
RP3 at The Economist Plaza, London
First Floor, Galerie Almine Rech, Paris

2006:
LP4, Public Sculpture, Victoria, London

2005:
Shift. Solo Show, Bischoff/Weiss, London
Stanhope Solo Exhibition, Serpentine Pavilion, London
Captive Light, Solo Installation at Hull Time Based Arts

2004:
Solo show, Garden Fresh Gallery, Chicago

Group Shows:

2008:
Rackowe and White, Art Vandelay, London
Constructs for Illumination, Group show at Allsopp Contemporary (curated by Brooke Lynn McGowan), London
After Dark, Louise Blouin Foundation, London
Domestic Appliance, Flowers East Gallery, London.
Walls & Gateways. Group show, Gent, Belgium.
‘LUMIÈRE’ Group Show at Galerie Jan Wentrup, Berlin
Monologue / Dialogue, Part II. Bischoff/Weiss, London

2007:
All Tomorrows Pictures, ICA, London
Jerwood Sculpture Prize: Short Listed Artist Exhibition, Jerwood Space,London
Time, Burghley Sculpture Garden, Burghley House, Stamford
The Armory Show, exhibiting with Galerie Almine Rech, NYC

2006:
Artificial Light. Group Show. Anderson Gallery, Richmond, Virginia and Miami
Museum of Contemporary Art, USA. September 06 and December 06.
Frieze Art Fair, London, showing with Almine Rech. October 06.
Monologue/Dialogue UK-Thai art today, British Council Residency
followed by Group Show at BU Gallery, Bangkok. August 2006.
Art Basel, exhibiting with Galerie Almine Rech, June 06

Education:
1999 – 2001 University College London, The Slade School Of Fine Art, Master of Fine Art (Sculpture)
1995 – 1998 Sheffield Hallam University, B.A. Honours Fine Art (Sculpture)
1994 – 1995 Cambridge Regional College, B.T.E.C Diploma, Foundation Studies

Represented by:

Bischoff/Weiss 95 Rivinton Street London EC2A 3AY www.bischoffweiss.com

Almine Rech 19, rue de Saintonge 75003 Paris www.galeriealminerech.com

Michael Pybus

THE NEW AGENDA

2009, Mixed media - painting, clay heads on plinths & popped balloon bunting, Dimensions variable

My work is at times vibrant, colourful and sprawling. Qualities which I do very much enjoy. However in the current climate of social, political and financial uncertainty my work is exploiting the more dark and sinister elements, which have always existed in my practice. Hence a toned down colour palette of current works, my burnt out fashion advertising collages and paintings reading subjective yet ambiguous phrases such as THE NICE DECADE & WESTERN CIVILIZATION.

Instead of bombarding the viewer with an array of surfaces, colours and imagery I have chosen to present a much more melancholic work. A minimal piece (in relation to some of my previous works) which responds to a situation of unrest and doom. A painting reading THE LAST PICTURE - a black monochrome paying reference to the great failure of Modernism's journey into the end of painting Ad Reinhart/Malevich. A caption which was appropriated from a newspaper image of the last photograph taken of a teenager before he was murdered. The heads whilst paying homage to the classical bust, reference the dark oppressive regimes of places such as Guantanamo Bay and the Middle East. Black popped balloon bunting strewn over the architectural features of the gallery space signalling the party is over.

Of course THE NEW AGENDA is not directly and illustration of these issues (I always prefer my work to be more ambiguous and universal) it is a reflection of them and other situations.

Michael Pybus lives and works in London.

Education

2006- 08 MA in Sculpture Royal College of Art, London, UK

2001 - 04 Fine Art BA (Hons) Goldsmiths College, London, UK

Solo Exhibitions

2006 neon flips malibu crash Dazed & Confused Gallery, London, UK

Clincher Cafe Space, Jerwood Space, London, UK

Group Exhibitions

2008 Robert Dowling - Tim Ellis - Nick Goss - Michael Pybus - Jia Jia Wang, London UK

An Experiment in Collaboration, Jerwood Space, London, UK

2007 New Build Terrace gallery, London, UK

2006 The Birthday Show, The Foundry, London, UK

Future First, The Residence, London, UK

Summer Sale, Fosterart, London, UK

Way out East, Tram Depot Gallery, London, UK

Works on Paper Flux Factory, Long Island, New York, USA

Hallelujah! The Tab Centre, London, UK

2005 Blue Tac and Chimney Sweeps The Seabright Arms, London, UK

A Collection The Tab Centre, London, UK

The Hackney Artists, The Foundry, London, UK

The Housewarming, The Residence, London, UK

Summer Show, Fosterart, Shoreditch, London, UK

Summer Salon: with a twist, Hackney Museum, London, UK

Island Art Film and Video Festival, Prenelle Gallery, London, UK

2004 Conurbation, Unit 2.4 Kingly Court, London, UK

2003 Miasma Hexagon Space, London, UK

2002 Art Below Zero, Nottingham Arts Club, London, UK

2001 Yr: 1, Photographers Gallery, London, UK

2000 Our Town, Millenium Dome, London, UK

Special Projects

2008 Exclusive Portfolio for Spectacle publication by CS Leigh and produced by Syntax,

2007 Ongoing Contributing Arts Editor for, PLASTIQUE Magazine - OUT NOW!! featuring Agathe Snow, Sterling Ruby, Dan Attoe, Josephine Meckseper, Josh Smith

2007 Creative Director, Bread and Butter Fair, Installation for Dazed & Confused Magazine, Barcelona, Spain

Editorial

2006 Illustration, Brief History: CHIP TUNES Dazed & Confused Magazine June 2006

Bibliography

2008 SUPERSUPER Magazine, Interview September

2007 Grafik Magazine, Showcase article on Untitled (Installation) July

Nothing Magazine, Issue #15 Interview

2006 Creative Directory, Dazed & Confused, Vol 2 Issue #36 April

2005 The Hackney Artists Artists publication