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Dentons Art Prize 8.0 Dentons Art Prize 8.0 June – December 2019 cover image: Venetia Berry, Cameo, 2018 About the Dentons Art Prize Dentons is collaborating with curator a series of booklets, artist talks and Centre for Contemporary Art), Niamh White and artist Tim A Shaw events. As part of the initiative, the Patrick Morey Burrows, art consultant to host a biannual prize for the most shortlisted artists are given access and founder of Art Source and art exciting emerging contemporary to expert pro bono legal advice and historian Rebecca Daniels. artists working today. The shortlisted their artwork is offered for sale. artists exhibit their artwork in Previous winners of the Dentons Art Dentons’ meeting rooms and offices The Dentons Art Prize is a £5,000 Prize include Cherelle Sappleton, at One Fleet Place, London, providing award that is given to one artist Katharine Lazenby, Liqing Tan, Alzbeta a stimulating and vibrant environment biannually by an independent jury Jaresova, Paresha Amin, Alexandra for Dentons’ staff, clients and of top art world professionals. Our Lethbridge and Aimee Parrott. partners. Dentons is committed to previous panels have included high supporting promising artists as they profile artists Richard Wentworth, Staff Prize progress in their careers and values Mark Titchner, Susan Hiller and the vibrant and responsive insights Michael Landy, gallerists Neil In conjunction with this award, on both local and global culture Wenman, Simon Lee, Hannah Barry Dentons also celebrates one artist that they provide. The initiative and Maureen Paley, collectors David with the “Staff Prize”. This will be gives the Dentons community the Roberts and Valeria Napoleone, awarded to the most popular artist opportunity to engage with the curators Ziba Ardalan (Parasol Unit) as voted by Dentons’ London artworks in a meaningful way through and Natasha Hoare (Goldsmiths employees. “ Exciting cities remind you how very different spaces can be at different times of day and how they can be put to a diversity of uses. What fun if walls had ears. I found it so compelling to be in Dentons’ offices one evening and imagine a week’s footfall and debate, whilst realising that so much ambitious art had been both a foil and a witness. What a great scheme this is, what a great conversation for all the participants to find themselves as players…” — Richard Wentworth, Artist Judge of the Dentons Art Prize “ Visitors to the client meeting floor at Dentons are able to enjoy a lush and delicious looking picture… calming, as well, during tricky negotiations” — Edward Fennell; The Times Law Diary 4 Dentons Art Prize 8.0 Shortlist Bindi Vora 6 Caroline Jane Harris 10 John Booth 16 Alex Franco 20 Madelynn Mae Green 26 Larry Amponsah 32 Emily Lazerwitz 37 Anouk Mercier 41 Jeremie Magar 48 Sonia Martin 53 Jennifer Pattison 58 Eskandar 63 Venetia Berry 69 All enquiries and feedback on the Dentons Art Prize to: [email protected] 5 Bindi Vora Bindi Vora is a contemporary fibre based photographic light and movement to encounter photographic artist. Her practice paper through mark making. the work. utilises various analogue processes, The photographic sculptures and often takes inspiration from are interpretations of an imagined Bindi graduated from University her everyday surroundings, landscape, capturing impressions of Westminster with a BA in including her personal archive. from the surface of rocks and flat Photographic Arts (2013). She has Bindi’s work teases out subtle marks planes. The visible indentations and participated in a number of group and pigments within the materials fold marks reveal the subtleties and exhibitions in the United Kingdom she uses, such as negatives and gestures of the contours imprinted and abroad, most recently at The photographic paper. The results on the surface of the imagined Photographers’ Gallery during their often create vast spaces of land, including the most minuscule Hyperanalogue Geekender; has colour, light and subtle detail that elevations. The pigments inscribed been published in PYLOT Magazine, contemplate ideas of perception into the images reference the light Capricious Magazine as well as and representation of the embodied from their environment appearing on various websites photographic print. marking the plane of the paper including The Photographers’ once more. The fabric intimates Gallery, Troika Editions, Paper Plane Paper is an ongoing body of a performative action of the Journal and For Example; being work that continues to explore the changing surface of the landscape named as one to watch by Art surface of a sheet of unexposed creating endless possibilities for Fetch. She published her first 6 Bindi Vora Plane Paper, 2019 Photographic sculpture, fabric and metal rod 84.1 x 118.9 x 20 cm Edition of 10 + 2 APs £800 Location: Room 20 photographic book In the blue light we failed. in 2014 which was acquired by The Museum of Modern Art, NY,The Women’s Art Library at Goldsmiths University, London, Indie Photobook Library, NewYork, The Hellenic Centre for Photography, Athens amongst others. In 2019 she was commissioned by the Hospital Rooms to create a new work for the Psychiatric Intensive Care Unit at Devon PartnershipTrust NHS. In addition, she is a Visiting Lecturer at the University of Westminster. She lives and works in London. 7 Bindi Vora Plane Paper, 2019 Photographic sculpture, fabric and metal rod 84.1 x 118.9 x 20 cm Edition of 10 + 2 APs £800 Location: Room 20 8 Bindi Vora Plane Paper, 2019 Photographic sculpture, fabric and metal rod 84.1 x 118.9 x 20 cm Edition of 10 + 2 APs £800 Location: Corridor near Room 20 9 Caroline Jane Harris British artist Caroline Jane Harris upon, real and virtual windows technologies. In other iterations of her explores expanded photographic that cite our contemporary visual works, pigment prints are placed over techniques and image-making experience. Central to each work is stencils to make ghost-like rubbing processes, in dialogue with a digital photograph that has been drawings that render the absent printmaking, drawing and digital printed and precisely cut-out by present. Harris creates meticulous mediations. For the past ten years hand, translating immaterial image hybrid artworks that collapse time, Harris has been collecting images into human fallibility that remains space and place into an array of primarily with her phone’s camera visible throughout each iteration multi-dimensional tactile artworks. favouring the speed, spontaneity of the evolving artworks. Leftover and an immediate response from stencils from cut-out archival pigment Harris graduated from MA Fine Art at a mobile capture in order to form a prints are combined with etching City & Guilds of London Art School relationship to what is and is not seen. and drawing processes that marry in 2015, where she was awarded the From her JPEG files she employs the digital, analogue, machine and Norman Ackroyd Prize for Etching, low resolution of poor images, as a hand-tool to create hybrid artworks. and the Roger de Gray drawing counterpoint to her slow, forensic Using intaglio processes the artist’s prize. Harris was invited to stay on examination of a single picture stencils are etched into copper, as Research Printmaking Fellow at frame and its material insistence. For a ubiquitous material used in mobile the university until 2018. In 2016 this body of work, Harris selected phones, and chart the slow undoing Harris was selected as an ‘Artist in photographs of the surfaces and of the picture plane that point to Residence’ at The Florence Trust, dimensions that we look into and the inevitable obsolescence of ‘new’ London and in 2017 Harris was 10 Caroline Jane Harris Hard Copy (Shroud), 2018 Etched and inked copper 112 x 82 cm £9600 Location: Corridor near Room 13 awarded a solo exhibition at ASC Publications include; ‘Printmaking Gallery selected by critic and curator Today, Previews ‘A Three-Dimensional Paul Carey-Kent. In 2019 Harris had Sky’, Jude Cowan Montague, Journal, her first solo show with representing Royal Society of Painter-Printmakers, gallery Kristin Hjellegjerde ‘A Three- Cello Press Limited, Oxon (2019), Dimensional Sky’ in 2019. Selected ‘Trebuchet Magazine, Issue 1: Art exhibitions include; ‘Creekside Curation’, Trebuchet Magazine, Open, Selected by Sacha Craddock’, London (2017), ‘Art Maze Mag Issue I’, A.P.T. Gallery, London (2019), ‘The Art Maze Magazine (2017), ‘Paper Play’, Metallurgical Ouroboros’, curated Sandu Cultural Media, Gingko Press, by Samuel Capps, Gossamer Fog, CA, USA (2014), ‘Aesthetica Art Prize London (2018), ‘Exceptional Graduate Anthology and Aesthetica Magazine’, Art Award’, curated by Rosalind Aesthetica Magazine, York (2013). Davis, Collyer Bristow, London (2017), ‘Perfectionism (Part III): The Alchemy of Making’, curated by Becca Pelly- Fry, Griffin Gallery, London (2016). 11 Caroline Jane Harris Hard Copy (Monolith), 2018 Etched and inked copper 110 x 62 cm £8400 Location: Corridor near Room 13 Caroline Jane Harris Liquid Light, 2018 Hand-cut archival pigment print 102 x 130 cm £9600 Location: Corridor near Room 16 12 13 Caroline Jane Harris Blind Light, 2016 Hand-cut archival pigment print 97 x 127 cm £9600 Location: Room 10 14 Caroline Jane Harris Losing Sight, 2017 Red, green and blue biro rubbing on archival pigment print 92 x 122 cm £7200 Location: Room 5 15 John Booth London based artist, illustrator, taught as a lecturer both at Central which were later acquired for the ceramicist and textile designer Saint Martins and the University of permanent Tate collection. He was John Booth creates graphic works Westminster. His recent projects awarded the Rising Talent Award featuring multi–layered collages of include The Artist’s Bedroom, from Maison & Objet in 2017 and textures and colours. Booth draws Interior installation commissioned was nominated by Sir Paul Smith. inspiration from artists including by Studio Voltaire Frieze- London, Karel Appel and Betty Woodman Allied Editions, London (2018), as well as from retro children’s Studio Voltaire, Art Basel Miami, playgrounds and postmodern Miami (2018) and a ceramic portrait Italian designers.
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