PLATFORM FOUNDATION PF

Generation Y PLATFORM FOUNDATION Generation Y

10 - 28 JUNE 2019

AIMÉE PARROTT • ALICE BROWNE • ANTHONY BANKS • ANTOINE LANGENIEUX-VILLARD • BEA BONAFINI • BRUCE INGRAM • CATHERINE PARSONAGE • DANIEL DAVIES • DANNY AUGUSTINE • DECLAN JENKINS • DICKON DRURY • ELIZA HOPEWELL • FRANCE-LISE MCGURN • GINA SODEN • HANNAH LEES • HANNAH QUINLAN & ROSIE HASTINGS • HENRY HUSSEY • LAUREN KEELEY • LEWIS HAMMOND • MARIE JACOTEY • MATT AGER • MAX WADE • MAY HANDS • REBECCA ACKROYD • SARAH MAPLE • SCARLETT BOWMAN • SEBASTIAN JEFFORD • TOM POPE • VIVIEN ZHANG • YONATAN VINITSKY

Supported by

10 Hanover Street | London W1S 1YQ +44 (0)20 3778 0938 | www.platformfoundation.org Platform Foundation Forward

AN INTRODUCTION BY KATE BRYAN

Platform Foundation is a non-profit organisa- Our exhibiting platform aims to make artists’ The Soho House Art Collection numbers over I hope you enjoy getting to know these art- tion dedicated to promoting the practice of work accessible to the wider public from our 5000 artworks on display permanently across ists and their work. Generation Y is a valuable emerging artists in the UK. We support talent- base in Mayfair, the historical heart of London’s our sites in 8 countries, making it one of the snapshot into London’s young art scene in ed individuals through an annual programme of art scene. Visitors can not only discover new largest and most respected collections of its 2019, and possibly will one day serve as a nice curated exhibitions, mentoring workshops and talents but also buy the artworks on display. kind. We pride ourselves on the relationships reminder of how some of the most established public talks. Each purchase will support our community we have developed with artists, at both contemporary artists of the future started out. objectives, as the proceeds are used to pay the emerging and museum level. We are often Let’s support them on their journey. The artists we identify as “emerging” are at an artists’ costs, reinvest in the public programme asked by members if they can buy the work they see. Since our collection is non-com- Kate Bryan, Head of Collections for Soho early and critical stage of their career. The term and be shared with worthy charities that also mercial and permanent (not to say much House and Co. globally does not imply an age limit but is applied to support artists, as well as advance the creative cherished!) I am delighted to have been able Confirmed Art Addict and Arts Broadcaster artists who are still forging their career and may education of the youngest and most vulnerable to create an alternative avenue for collecting be on the rise, be they young practitioners or in our society. some of the brightest young stars. artists who have not received critical or com- mercial recognition to date. They are carefully assembled here in Generation Y, the first exhibition at Platform Foundation. The selling exhibition shows a diverse range of mediums and approaches but one thing that unites these artists is that they are all undeniably bold and exciting new talent. They all have work in at least one Soho House site and we will continue to support and ac- quire their work for many years to come. I have wonderful visions of seeing them in museums in the not too distant future, something they deserve. It’s no easy thing to be a young artist in London at the moment and I am so thrilled that Platform Foundation exists as a vehicle to select, support, promote and sell work with the added benefit of being a not for profit space.

Aimée Parrott Alice Browne Anthony Banks Antoine Langenieux-Villard Bea Bonafini Bruce Ingram Catherine Parsonage Daniel Davies Danny Augustine Declan Jenkins Dickon Drury Eliza Hopewell France-Lise McGurn Gina Soden Hannah Lees Hannah Quinlan & Rosie Hastings Henry Hussey Lauren Keeley Lewis Hammond Marie Jacotey Matt Ager Max Wade May Hands Rebecca Ackroyd Sarah Maple Scarlett Bowman Sebastian Jefford Tom Pope Vivien Zhang Yonatan Vinitsky skin andconnectivity. the notions of internal andexternal space, explore paintingasboth image andobject, incorporating sculptural elementsinorder to In hermostrecent work,Parrott hasalsobeen and interconnected organisms. nod to theartistsinterest inorganicprocesses and itscycles,hernonfigurative works often Referencing thebodyanditsfunctions,nature to makingbarely informs usof herprocesses. stitching. Hercomplex anddelicate approach process of dying,screen-printing, paintingand like layersof pigmentationthrough acomplex played withpictorial depth bybuildingupveil- Aimée Parrott’s practice hastraditionally AIMÉE PARROTT work? None. What kindof musicdoyoulisten to whileyou Do youcollectanything? Shells. overpriced. Describe yourstudiointhree words: Messy, light, as Imake them). taken onandoff thestretcher barsmultipletimes studio? Astapleremover (myworks are What isthemostindispensableitem in your Helen Chadwick’s ‘Viral Landscapes’. Which workof artyou wishedyouowned?Oneof Who isyourartistichero? WilliamBlake. PLATFORM FOUNDATION ASKS the Ford Award, andtheDenton ArtPrize. recipient of theArchie ShermanScholarship, York andAngelika Studios, andshewasthe residencies withtheArtistsLeagueof New Little, London(2016).Shehascompleted Academy of Arts,London(2017);andBreese Houldsworth Gallery, London(2018);Royal Her workhasrecently beenshownat:Pippy from theUniversity College Falmouth in2009. Schools, London,in2014andaBAFineArt ate diplomafrom theRoyalAcademy Aimée Parrott (b.1987)received apostgradu- FABRIC DYE, INK,FELT, THREAD, MONOTYPE, BATIK ONCANVAS PUNCTURE, 2018 60 X110CM £3,500 SALEP, 2019 WATERCOLOUR MONOTYPE, ACRYLIC, THREAD ON CALICO, HARWOOD 35 X 46 CM £2,500

WHITECAP, 2019 WATERCOLOUR MONOTYPE, ACRYLIC, THREAD ON CALICO, HARWOOD 43 X 40 CM £2,500 Alice Browne’s practice is predominantly paint- the reflecting thoughts and influences gained ing-based but expands also into installation, over the time of their creation. drawing and sculpture. Her works describe im- aginative spaces occupied by floating objects, Alice Browne (b. 1986) completed her MA in often charged with latent symbolism, which Fine Art Painting at the Royal College of Art, play with the rules of gravity and perspective. London, in 2016 and her BA in Fine Art Painting Underlying Browne’s research is the notion that at Wimbledon College of Art, London, in 2009. physical experiences take place alongside a Selected recent solo and group exhibitions network of secondary and imaginative sourc- have taken place at: Tintype Gallery, London es, resulting in an intoxicating, partly fictional, (2019); Flatland Gallery, Amsterdam (2019); and reality. Limoncello, London (2016). Residencies and Creating her works over a long period of time awards: New Contemporaries Studio Bursary without a planned outcome, she captures the with Hospitalfield, 2017, and Bursary with Bow physical location of their production as well as Arts Trust.

OBSTACLE NO. 8, 2017 ACRYLIC AND OIL ON LINEN 52 X 45 CM £2,500

OBSTACLE NO. 9, 2018 ACRYLIC AND OIL ON CANVAS 50 X 45 CM £2,500 PLATFORM FOUNDATION ASKS

Who is your artistic hero? I’ve not met them yet. Which work of art you wished you owned? Something vast like a Richard Serra sculpture or one of Phyllida Barlow’s installations. Though a Philip Guston drawing would be more realistic for my small London flat. What is the most indispensable item in your studio? My table. Like the kitchen at a party, everything revolves around it. Describe your studio in three words: Practical, changeable, odd. Do you collect anything? Paint brushes. Oh, and I have a good collection of teabags and OS maps. What kind of music do you listen to while you work? Often heavy ambient stuff like Mogwai or Explosions in the Sky. Or the Flaming Lips and Metronomy if I want a dance. ALICE BROWNE Anthony Banks is a painter whose work lies within frames’ elements suggest that we are between the abstract and figurative language. looking at a painting within a painting. His style is characterised by brushstrokes made consciously raw and informal, with a Anthony Banks (b. 1988) studied at the simplicity reminiscent of naïve painting as University of Brighton (BA Hons) and much as more expressionist styles. completed his MA in Painting at The Royal Looking at the 20th century British painters College of Art, London, in 2016. During his MA and often drawing inspiration from the he was student prize winner of The Marmite landscape around him, Banks has defined a Prize for Painting and has recently been new language to engage with this traditional awarded a residency at Bon Volks Art Studio genre by the use of innovative colour palettes in Margate, UK. Recent selected exhibitions as well as unusual geometric formal devices. were held at: Kris Day, London (2017); Mernier Layers of paint invite the viewer to explore Gallery, London (2017); and The Dyson Gallery, and uncover the shards of images buried London (2016). within the surface of the canvas as ‘frames

PLATFORM FOUNDATION ASKS JAPANESE LANDSCAPE, 2015-19 OIL ON WAX ON LINEN Who is your artistic hero? Ivon Hitchens’ particular 40 X 45 X 3 CM blend of British modernity really makes me want £1,400 to get in the studio and paint - there is no bigger STATUE, 2012-19 complement to a painting than that. His house was OIL ON WAX ON CANVAS bombed in the Second World War and then he lived 45 X 35 X 3 CM and painted out of a caravan in Sussex for most of £1,300 his life, which I think sums up the romance, loss and melancholy of his work. Which work of art you wished you owned? I think a Matisse - I can’t choose between “The Goldfish” and “The Red Studio”. I’ll take either. What is the most indispensable item in your studio? The cafetiere, caffeine is key to a productive day in the studio. Describe your studio in three words: Disorganised, bright, chaotic. Do you collect anything? Currently ceramics, bonsai trees, friends’ artworks and mid-century coffee tables are my main vices. What kind of music do you listen to while you work? I always put the radio on straight away, I like peripheral noise around me. Cricket commentary is a perfect mix of conversational and entertaining but not distracting, plus it goes on for days. Otherwise Radio 6 Music is a safe bet - I often have both playing over the top of each other which works surprisingly well. ANTHONY BANKS Antoine Langenieux-Villard’s practice transparency in order to reveal and disrupt undertakes a constant investigation of the the support. The surface operates as a subject of painting. Through a number of series discontinuous chronology allowing the viewer he explores the technique of collage, as a tool to reassess the temporality and materiality that of construction, to stress the importance of the constitutes the work. The outcome behaves as surface as a place to build. a map of activity that lets one dissect the object By adding and discarding materials on the of painting itself. painting, Langenieux-Villard attempts to remove the trace of his hand from the making. The Antoine Langenieux-Villard (b. 1991) completed studio space is influential in generating the a BA in Fine Art at Central Saint Martins, London, work as the artist gathers residues of previous in 2017. His work has recently been shown at: paintings and found elements, and then Arthouse1, London (2019); the Koppel Project assembles them through rivets, nails, sewing Hive, London (2018); and Griffin Gallery, London and other techniques of layering. (2017). He was recipient of the Kate Barton Award Looking to question the nature of the for Painting (2017), the Queen Scholarship Award pictorial plane Langenieux-Villard often uses (2016) and Phoebe Llewellyn Smith Award (2016).

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Who is your artistic hero? It goes from Henri Matisse to Robert Ryman. Which work of art you wished you owned? The last painting of Nicolas de Staël, “Le Concert” (1955). CLOUÉE TENSION What is the most indispensable item in your (SOUS LE SOLEIL EXACTEMENT), 2019 studio? A bucket of water. ACRYLIC, SPRAY PAINT, NAILS, CALICO AND WOOD ON PANEL Describe your studio in three words: A countryside 47.5 X 38.5 CM barn. £800

Do you collect anything? I have boxes full of the CLOUÉE TENSION (PKGCOV), 2019 residues of my work and off-cuts. ACRYLIC, SPRAY PAINT, NAILS, CALICO What kind of music do you listen to while you AND WOOD ON PANEL 47.5 X 38.5 CM work? Loud music. I obsessively listen to one album £800 for weeks then I change. ANTOINE LANGENIEUX-VILLARD ANTOINE and splicing.Sherepeats thefragmentation process of continuous andobsessive slicing technique, usingcarpet, following ahorizontal Bea continuesto develop inherpractice aninlay and theaesthetic. operate ontheboundarybetween functionality of comfort, herinstallationsandperformances by replacing paintwithfabric.Testing thenotion the flexibility of formal possibilitiesthatcomes With herfabricworks inparticularsheexplores visceral. processes andnotions of thesensualand confrontation inhumanrelationships, ritual based andsociallyengaged; inspired by Her interdisciplinary practice isoften textile- sculpture, ceramics, textiles andinstallations. Bea Bonafiniworks across painting,drawing, BEA BONAFINI (2016) andTheBeekeepers Residency(2015). Fieldworks Studio Residency(2017),VillaLena Residency (2018),FiBRAColombia Residencies includePlatform SouthwarkStudio ; ZabludowiczCollection,London(2017). London (2019);RenataFabbri, Milan(2018) person showswere heldat:BosseandBaum, Art, London(2014).Recentsoloandtwo- BA inFineArtfrom theSladeSchoolof Fine Royal College of Art,London(2016)anda based artistwithanMAinPaintingfrom the Bea Bonafini(b.1990)isanItalian,London- reading of the work. syncopated forms, to slowdowntheviewer’s to complicate theimage, sothatitappears in HIM (LO SPOSO),2019 PASTEL ONPAPER 48 X38.5CM £1,070 Bruce Ingram works primarily in the collage ever-changing sense of reinvention. Through technique with which he creates works the process of ‘play’ materials are assembled shifting from flat to three-dimensional. His and morphed together. Ingram chooses to dynamic and gestural materials-led practice physically edit his works by collapsing and takes form in works on paper, sculpture and joining works together, producing outcomes painting. that are a manifestation of starting points and Paper sits at the centre of his practice compositions. for its versatility but also ephemeral and fragile nature. From this starting point he Bruce Ingram (b. 1981) graduated from the combines layers of meaning in sculptural and Royal College of Art, London, in 2008. His assembled works, where found objects such work has recently been exhibited at: New Art as clothing, off cuts of wood, and sawdust, are Projects, London (2019); No Format Gallery, combined with more traditional art materials London (2018); Bell House, London (2018). such as paint, spray paint, and plaster. He was shortlisted for the Jerwood Drawing Printed images acquire new meaning while Prize (2016) and was a finalist in the Dazed/ tactile materials remind us of our everyday Converse Emerging Artist Award (2011). experiences, providing the viewer with an

PLATFORM FOUNDATION ASKS

Who is your artistic hero? Van Gogh. Which work of art you wished you owned? “Two Dancers” (1938) a pinned paper cut by Henri Matisse. What is the most indispensable item in your studio? Staple gun for instant attachment. Describe your studio in three words: Topsy-Turvy, chaos, magic. Do you collect anything? Yes! I am a gatherer of stuff. I am constantly collecting things to utilise in my work, often I find discarded objects in the street ON FRIENDLY STREET, 2019 on my way to the studio in Deptford. I have also TEXTILES, HOUSEHOLD PAINTS, ACRYLIC AND SPRAY recently started to recycle my own clothing in the PAINT, SILICONE SEALANT, CARDBOARD, COLOURED SAND surfaces of my paintings. All this gathered stuff AND STUDIO DEBRIS ON WOODEN PAINTING SUPPORT 51 X 40 CM kicks around the studio floor for a while until it finds £1,500 a purpose or ‘place’ in an artwork. What kind of music do you listen to while you work? I am partial to an audio book and love a good epic - a Dickens novel will always get me through a rainy afternoon in the studio. Musically my go to artists reflect my creative mood but PJ Harvey, Neil Young and Mazzy Star always remain on heavy rotation. Also lots of 70’s disco for those high energy studio days! BRUCE INGRAM AROUND IN BLUE, 2019 TEXTILES, HOUSEHOLD PAINTS, ACRYLIC PAINT AND SPRAY PAINT, SILICONE SEALANT, GLITTER, OIL PASTEL ON WOODEN PAINTING SUPPORT MOUNTED IN ARTIST MADE FRAME 63.5 X 45.5 CM £1,800

YARD PAINTINGS, 2019 TEXTILES, HOUSEHOLD PAINTS, ACRYLIC PAINT AND SPRAY PAINT, SILICONE SEALANT, GLITTER, COLOURED SAND, OIL PASTEL ON WOODEN PAINTING SUPPORT MOUNTED IN ARTIST MADE FRAME 63.5 X 45.5 CM £2,000 Catherine Parsonage’s practice incorporates Manchester Metropolitan University in 2011. painting, performance and poetry. Her Recent solo exhibitions were held at: Clima, work combines personal experience with a Milan (2019); Bosse and Baum, London wide range of literary references including (2018); House of Egorn, Berlin (2016). In 2016 fiction, mythology, and poetry; the resulting she was awarded the Sainsbury Scholarship work explores emotional and identity-based in Painting and Sculpture from the British states caught on the boundary between the School in Rome, and she is currently in imagined and the real. residence at Castro Projects, Rome. She has been included in prestigious awards such as Catherine Parsonage (b. 1989) received her the Bloomberg New Contemporaries, Catlin MA from the Royal College of Art, London, Prize and BP Portrait Award. in 2013 after studying Fine Arts at the

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Who is your artistic hero? Philip Guston. UNTITLED, 2018 Which work of art you wished you owned? One COLOURED PENCIL ON PAPER of the recent Jana Euler paintings from her show 21 X 13 CM £800 ‘Great White Fear’ at Galerie Neu. What is the most indispensable item in your UNTITLED, 2018 studio? Probably my kettle, I get sent Yorkshire tea GRAPHITE ON PAPER 21 X 13 CM bags to Italy. £800 Describe your studio in three words: Perfectly Organised Chaos. Do you collect anything? Not really, toys for my cat that he’s too lazy to play with. What kind of music do you listen to while you work? I mainly listen to podcasts in the studio, the New Yorker Fiction & Poetry podcast when I want to use my brain, true crime when I don’t. CATHERINE PARSONAGE CATHERINE in howthedeliberate flawsinherent inhis domestic architecture -Daviesisinterested children’s buildingblocks, andinterior patterned clothing, woodchipwallpaper, surrounded himwhilstgrowing up-including and theeveryday textures andshapesthat Taking hissource material from hischildhood and printmaking. analogue spacethrough theactof painting then placingthemediated imagery backinto environments into digitalinformation, and information gathered from domestic arrived atthrough aprocess of translating Daniel Davies’autobiographical paintingsare DANIEL DAVIES is asolidexample. work? Something repetitive, byDrake ‘Passionfruit’ What kindof musicdoyoulisten to whileyou Do youcollectanything? Bills. mess. Describe yourstudiointhree words: Anorganised quite decide. studio? Thecoffee machineorthechair. Ican’t What isthemostindispensableitem in your Courtship” byGertrudeAbercrombie. Which workof artyou wished youowned?“The It’s tough. Who isyourartistichero? Allartistsworkingtoday. PLATFORM FOUNDATION ASKS London (2016). Galleria Acappella,Naples(2017);Limoncello, at Sunday-SGallery, Copenhagen (2018); London. Hisworkwasrecently exhibited is currently studyingatTheRoyalAcademy, Northumbria University, Newcastle(2015)and Daniel Davies(b.1992)studiedFineArtat memory andpersonalhistory. the unstructured andatemporal nature of and transient imagery thatrepresents and overlaid, create amore subtle, complex images thatwhenscaled,repeated, cropped processes result inundefined,poorquality £1.100 29.7 X21CM AND ACRYLIC ONCANVAS IMAGE TRANSFER,PHOTOCOPY, THE BUNGALOW, 2019 £1,100 29.7 X21CM AND ACRYLIC ONCANVAS IMAGE TRANSFER,PHOTOCOPY, EMULSION EMPTY ROOM,2019 failed relationships thatcanoften be of love andfamily:potential feelings and His practice alsoexplores therepresentation ideas of hope,powerandcarnalvice. a work’s narrative, simultaneouslybalancing He often playswiththeviewer’s perception of individuals. male, female, transgender orhomosexual portrayed intoday’s society inrelation to gender, addressing howthesethemesare predominantly withideasof identityand Danny Augustine’s printworkdeals DANNY AUGUSTINE made andwhatitlooks like bytheendof it. it. Themusicdefinitely fuelshowtheworks being piece wouldbedoinginthe worldonceI’ve finished work, itliterally dependsonwhatIimaginethe work? Ilisten to alot of musicwhen I’mmaking What kindof musicdo youlisten to whileyou build acollectionof anything. anything. I’mnot thesamepersonlongenoughto Do youcollectanything?Ihave never collected whenever’. or equipment.Somywords wouldbe:‘Wherever make large scaleprintswithouthuge printbeds on transfer printsatthemomentbecauseIcan able to make workwherever Iam.I’mworking Describe yourstudiointhree words: Iprefer being around withmeto wherever I’mworkingthatday. a tinylaserprinter thatIabsolutely love andtake it home andother printstudiosaround London.Ihave studio? Idon’thave onemainstudio, Iworkfrom What isthemostindispensableitem inyour don’t. A friendof minehasoneanditmakes mesadthatI I ownedasmallEduardo Paolozziplaster sculpture. Which workof artyouwishedowned?Iwish screenprints of myown. work whenIwas20anditmademewantto make late Sixties tillhistragic deathin1997.Isawhis British screen printer whowasmakingworkinthe Who isyourartistichero? TimMara. Hewasa PLATFORM FOUNDATION ASKS in Santiago, Chile. participated to theMolten Capitalresidency Gallery, London(2016,2015).In2017hehas selected exhibitions were heldatJealous College of Art,London,in2014. Recent completed hisMAinPrintmakingattheRoyal at theUniversity of EastLondon(2012),and Danny Augustine(b.1986)studiedFineArt gender politics. distorted underthelabelsandrestrictions of PHOTOCOPY TRANSFERON300GSMSOMERSETPAPER WATER LILIESANDCOLOUR WHEEL,2019 76 X56CM £560 ROLLING BOTTLES, 2019 COMPOSITE SCRENPRINT 139.8 X 100.6 CM (EACH 69.9 X 50.3 CM) £2,900 Declan Jenkins produces woodcut prints, work across a variety of media including paintings and drawings defined by an organic, performance, video, installation, and sculptural use of line married to planes of flat sculpture. bright colour. The creation and development of imagery lies at the heart of his practice. Declan Jenkins (b. 1984) completed his Patterns and forms that suggest archaic, postgraduate diploma in Fine Art at the Royal neolithic art sit alongside more futuristic Academy Schools, London, in 2015 having elements that resemble circuitry, space travel previously studied at Wimbledon College of or the dreams of machine elves. Through his Art. He recently had a solo show at Sims Reed cerebral sensibility he creates in his work a Gallery, London (2017). His work has been new fictional mythology characterised by a featured in the XL Catlin Art Guide 2016, haptic, handmade and rhythmic language. Flaunt Magazine (issue 145), Financial Times His style is inspired by, among others, Collecting: London Art Week 2017 and the the work of German expressionists, the Royal Academy of Arts Magazine (Summer minimalist movement, and the aesthetics of issue, 2017). Aboriginal and African geometric patterns. Over the last few years, he has made

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Who is your artistic hero? Joseph Beuys. BERET IDENTITY, 2019 Which work of art you wished you owned? Emil ACRYLIC ON CANVAS Nolde’s 1912 woodcut, “Prophet”. 59 X 42 CM £750 What is the most indispensable item in your studio? My two ‘Faithful’ G clamps. Describe your studio in three words: Like a chapel. Do you collect anything? I’m a magpie, and my wife is the same. Trinkets really: horns, croquet balls, trilobites, shells, seedpods. Oh and we have a few antique door wedges. There is one with a dancing bear on it. What kind of music do you listen to while you work? Anything really. At the moment LCD Soundsystem. DECLAN JENKINS DECLAN THE MISSIONARY, 2019 WOODCUT ON 85GSM HOSHO PAPER 25 X 35 CM | EDITION OF 15 £240

L’ATTENTE, 2019 WOODCUT ON 85GSM HOSHO PAPER 25 X 35 CM | EDITION OF 15 £240 Oscillating between fiction and illusion, of production, as if an unseen maker has Dickon Drury’s images embrace the uncanny stepped out of frame. as a vehicle for investigating the practice of Everyday objects such as an applecore, painting. Best known for his large-scale oil cigarette butt, or pair of scissors transcend paintings, Drury also makes prints, pastel their traditional semiotic associations and drawings and watercolours. gesture toward the likes of René Magritte, Fluid lines and vibrant fields of colour play Philip Guston or Henri Matisse, while the a key role in the construction of his images, depiction of artists’ tools, like canvas pliers, which include recurring liminal motifs of sketchbooks or pencils, implies the paintings shadow, reflection, and refraction. The world possess a self-awareness of their own he creates is an off-kilter echo of our own. making. Perspectives are bent while picture planes are flattened and littered with visual puns and Dickon Drury (b. 1986) completed a BFA in nods to art history in the form of postcards or Fine Art Painting at Falmouth College of Art posters. before graduating from his MFA in Painting Drury’s recent work employs a saturated at The Slade School of Fine Art, London, in palette to depict unpopulated interior 2016. Recent solo shows were held at: Galleri spaces. Traditional still-life tropes sit Opdahl, Stavanger (2018); Frutta, Rome alongside imagined artworks, often in a state (2017); and Koppe Astner, Glasgow (2016).

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Who is your artistic hero? Right now, it’s Nicole Eisenman. Which work of art you wished you owned? The first thing that comes to mind is the Christopher Wood self-portrait at Kettle’s Yard. What is the most indispensable item in your studio? Paint. Describe your studio in three words: Really good light. Do you collect anything? Studio pottery, art by my ASCENSION, 2018 OIL ON HERRINGBONE LINEN friends and records. 56.5 X 46.2 CM What kind of music do you listen to while you £4,000 work? All sorts. At the moment it’s grungey female DANCING IN THE DARK, 2018 artists: Camp Cope, Hop Along, Big Thief, Girlpool, OIL ON HERRINGBONE LINEN Chastity Belt etc. 56.5 X 46.2 CM £4,000 DICKON DRURY DICKON Through hersardonic illustration sheexplores for itsunassumingnature anddomesticity. amongst womeninthelate 19thcentury medium asplates paintingbecamepopular the traditional imagery associated withthe Her colourfulandsubversive plates reverse and riotously enjoyingthemselves. representation of women:often naked, hairy, core of herpractice isanunapologetic whimsical andwittyartworks. At the with ceramics, paintingonplates to create Eliza Hopewellisanartistworkingprimarily ELIZA HOPEWELL Elsewhere Gallery, Berlin(2018). at: AWOMANfest, London(2018);andEastOf Art (2016).Herworkwasrecently ondisplay & Printmakingfrom TheGlasgow Schoolof Eliza Hopewell(b.1994)holdsaBAinPainting settings. often features nudefemales indomestic work of HenriMatisse,whoseownpractice Eliza cites ashermaininfluencethejoyous and consumerism. notions of identity, gender politics,feminism, £750 101 X50CM ON FOUND CHAIR CYANOTYPE PRINTEDFABRIC LEGS, 2019 JANUARY, 2019 PAINTED PORCELAIN PLATE 25.4 CM DIAMETER £600

SLEEPOVER, 2019 PAINTED PORCELAIN PLATE 25.4 CM DIAMETER £600

AUGUST, 2019 PAINTED PORCELAIN PLATE 25.4 CM DIAMETER £600 of materials andhistorical contexts, abroad McGurn explores, byuseof adiverse range prescribed. between thefigures thatisnot explicitly colour palette, there isoften asexual tension transient moment.Despite heruseof asoft narrative andinstead are representative of a another butdon’tascribeto aparticular and layered figures, which relate to one Her workdepictsthecontours of sensuous of thecanvas. her sensualimagery spillsoutof theconfines often works directly onto wallsandfloorsas in film,art,advertising and television. She personal archive of collected imagery found paintings anddrawings grow outof her France-Lise McGurn’s vibrant figurative FRANCE-LISE MCGURN museum’s exhibition onVirginiaWoolf. she wascommissionedamural workfor the Tate St Ives Artists’Programme andin2018 (2016). In2016shewasinvited to take partof London (2016);Werble Gallery, NewYork Gallery, Rome(2018);BosseandBaum, Selected exhibitions were heldat:Frutta the RoyalCollege of Art,Londonin2012. Art, Dundee,in2005andwithanMAfrom a BAfrom Duncanof Jordanstone College of France-Lise McGurn(b.1983)graduated with creation of hierarchies withinart. communion, juvenile delinquencyandthe identity construction,theephemera of social the representation of women inthemedia, spectrum of interests andideas,including JAPANESE INKONCARTRIDGE PAPER JAPANESE INKONCARTRIDGE PAPER 18(FROMTHE‘PRIME’SERIES),2019 39 X30CM 52 X70CM SALT, 2019 £1,100 £700 Gina Soden is an artist working primarily with and her studied compositions hint at a hidden photography whose practice explores notions narrative, directing the viewer to explore the of beauty, decay, nostalgia and neglect. concept of time and memory. Her work features abandoned structures and locations such as derelict asylums, long since Gina Soden (b. 1985) has recently exhibited closed schools, fallen palaces and city power her work at: Charlie Smith Gallery, London stations in various stages of decay. (2019); K35 Gallery, Moscow (2016); and Every image is a product of a journey, Eleven Gallery, London (2015). She has referring both to the physical demands of won the Rise Art UK Artist of the Year and gaining entry to often out of bound areas and Photographer of the Year in 2018, and the to the passing of time which is evident in the Naylor Award for the National Open Art abandoned locations. Competition in 2014. Gina’s work has a distinctly painterly aesthetic

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Who is your artistic hero? Candida Höfer. Her work is so neat and technically amazing, it is really inspirational, and I’d love to still be doing photography when I’m in my 70’s! Which work of art you wished you owned? I’d love to (somehow) own “Franchise Freedom”, an installation of drones setup by Studio Drift which mimics the flock of birds. I saw it at Miami Beach in 2017 and it was incredible. What is the most indispensable item in your studio? Absolutely my camera and computer setup. My Nikon D850, PC and I are a great team when they eventually get together to backlog edit years worth of abandoned buildings! Describe your studio in three words: Productive, intriguing and homely. Do you collect anything? I collect Art Deco mirrors, pins of locations on Google Maps I can’t photograph GRANDE ALBERGO, 2018 yet as mostly too busy, worries, and crafting DIGITAL PRINT ON FINE ART BARYTA GICLEE FRAMED IN LOW REFLECTION GLASS equipment that I WILL use one day. 123 X 88 CM | EDITION OF 10 + 2APs What kind of music do you listen to while you £2,100 work? Depends what mood I am in, right now it’s ‘music for concentration’ other times it’s sing-along drum and bass, other times it’s hip hop or indie. Quite a range of tastes! GINA SODEN PEACOCK CASTLE ON MIRROR, 2019 PHOTOGRAPH HAND PRINTED ONTO ANTIQUE MIRROR WITH ACRYLIC SEAL 50 CM DIAMETER £3,500

BAROQUE VILLA ON FOXED MIRROR, 2018 PHOTOGRAPH HAND PRINTED ONTO ANTIQUE MIRROR WITH ACRYLIC SEAL 22 CM DIAMETER £1,995 Hannah Lees’ work investigates ideas of writing, sound and video. cycles, constancy and mortality; the sense that things come to an end and the potential Hannah Lees (b. 1983) studied at the for new beginnings. This constancy be it in University of Creative Arts, Canterbury religion, science, history or in organic matter, (2006), and obtained a postgraduate diploma is visible in her practice through her attempts in Fine Art from the Chelsea College of Art, to make sense of and recognise traces of London (2011). life. Through appreciating this, her work is Recent exhibitions with her works were focused towards an understanding of the held at: Whitstable Biennale, Kent (2018); essential nature of the materials she uses as Workbench, Milan (2016); The Sunday well as allowing space for shifts in context Painter, London (2015). In 2016 she was in order to disrupt interpretation and allow commissioned to create new work for for new meaning. Her practice encompasses the Clore Learning Studio by the Turner painting, drawing, sculpture, installation, Contemporary and the British Museum. textiles, ceramics, internet art, performance,

PLATFORM FOUNDATION ASKS

Who is your artistic hero? Too many to mention but I have always loved Marisa & Mario Merz (I know that’s two artists and a couple so I’m cheating). IMPERFECT TENSION I, 2018 Which work of art you wished you owned? Gary ALUMINIUM FRAMED VEGETABLE DYED FUJI SILK Hume’s “Snowman” sculpture, totally impractical 55 X 59 CM and slightly dumb but so endearing. £1,800 What is the most indispensable item in your studio? Laptop and mobile! Describe your studio in three words: Domestic, messy, smelly. Do you collect anything? Yes, I have an uncontrollable urge to keep everything from olive stones and date seeds to shells, dried leaves, stones... What kind of music do you listen to while you work? Radio 4 and Radio 3. My day is dictated by ‘World at One’ at 1 pm and ‘PM’ at 5 pm. HANNAH LEES shadow of Brexit. patriarchy often collide,particularlyinthe of class,nationalism,gentrification, and light onacomplex terrain inwhichquestions and aesthetics of queerspaces,shininga They criticallyexamine thepolitics,histories, moments of queercultural history. apocalyptic landscaperenders taken from characters onthecuspof love orviolenceto from meticulous drawings showingheroic text, andaudiowork.Theirprojects range CGI animation,videoinstallation,archival, artistic duowhosepractice includesdrawing, Hannah QuinlanandRosieHastingsare an HANNAH QUINLAN & ROSIE HASTINGS audiobook ‘Tales From Earthsea’. by FKATwigs, Honeyby 070,Rihanna,the work? BachCelloSuites, MariaCallas,‘Cellophane’ What kindof musicdoyoulisten to whileyou time again,it’s thefoundation of ourpractice. music. Thiscollectioniswhatwereturn to timeand sound recordings, videofootage, sketches and together in 2014wehave beenarchiving photos, Do youcollectanything?Sincewestarted working day. control onabadday, burstingwithlife onagood Describe yourstudiointhree words: Poor climate studio? Dates, walnutsanddarkchocolate. What isthemostindispensableitem in your by Van Gogh,aPaulaRego etching.... “The crucifixion”byMantegna, “The Potato Eaters” Derek Jarmanpainting,aJohnCocteau drawing, collage from the“Iam”seriesbyGabySahar, a Which workof artyouwishedowned?A Tsang, CatherineOpie-there are somany! Huxtable, PaulineBoudryandRenate Lorenz, Wu Julien, LeslieFeinberg, DenzilForrester, Juliana Michelangelo, Mangenga, DavidWojnarowicz, Issac Who isyourartistichero? OurPeers andfriends: PLATFORM FOUNDATION ASKS Consequences, Geneva. by Arcadia Missa,LondonandTruth and and TheBritishCouncil.Theyare represented acquired byTheWalker ArtGallery, Liverpool Directory –andrelated works hasbeen bars of majorBritishcities–TheU.K.Gaybar Night London.Theirvideoarchive of thegay working onamajornewcommissionfor Art Centre aspartof Move Festival andare preparing to showworkatthePompidou and theHayward gallery, London.Theyare display atTheWhitechapel gallery, London London, in2014.Theirworkiscurrently on (b.1991) both graduated from Goldsmith, Hannah Quinlan(b.1991)andRosieHastings FUCK MEONTHEMIDDLEWALK NO. 8ANDNO. 12, 2017 21 X29.7CMEACH PENCIL ONPAPER £1,800 each Henry Hussey produces emotionally raw which is used to both reinforce their narra- artworks, created primarily through the tive as well as underline the labour-intensive paradoxically laboured and intricate medi- aspect of his practice. um of textiles, utilising a collage technique Further developments with other materials of embroidery, appliqué, digital printing, and including glass, bronze, and monoprint, reveal silkscreening. He often uses vintage fabrics a deeper concern with control and chaos and that imbue his artworks with a physical and the place in between these two distinctive symbolic weight, weaving history into his states. works. Hussey draws inspiration, particularly in his word based pieces, from historical union Henry Hussey (b.1990) studied Textiles banners akin to those used during the British at Chelsea College of Art, London before miners’ strikes, for their palpable conviction completing an MA in Textiles at the Royal and guttural impact. Whether through an College of Art, London. His work has been expanding vocabulary of quasi-mythological exhibited at: Anima-Mundi, St Ives (2017), symbols, or embroidered lines of text extract- Textiel Biennale at Museum Rijswijk, Hague ed from weighted performative situations, he (2017); Art Central, Hong Kong; the Bloomb- explores both personal, national and universal erg New Contemporaries (2014); the Institute identity, often in response to aggravating of Contemporary Art, London; and Volta NY, relationships and events. The dramatic and New York. Henry Hussey is represented by intense impression created by these works Anima-Mundi. is heightened by a vibrant and bold palette,

PLATFORM FOUNDATION ASKS

Who is your artistic hero? Dale Adcock: his work is made with an emotional and intellectual depth that is astounding. I strive to give my work as much individuality as he does. Which work of art you wished you owned? The head of Constantine The Great housed at the Musei Capitolini in Rome, it was part of a monumental statue. The work has a breathtaking sense of grandeur and reverence. What is the most indispensable item in your studio? A highlighter. I am continuously writing and highlighting notes in order of imperativeness, there is pragmatic approach to my work and to do that effectively I need to be strategic and disciplined. Describe your studio in three words: Chaos, Order, Unknown. Do you collect anything? For someone that makes work which features found materials that is embellished with personal grievances from my life I am strangely minimalist. I try to expel any THE NORTH, 2016 extraneous objects from my surroundings. ANTIQUE LINEN NAVAL FLAG, CHIFFON What kind of music do you listen to while you AND SCREEN-PRINTED 210 X 110 CM work? Right now I am listening to Frank Carters £5,600 new album ‘End of Suffering’, following his work that has gone from raging-disaffected-youth-punk- frontman yet without losing the anger he is making refined and mature music. HENRY HUSSEY HENRY UNTITLED (BURIED II-V), 2018 OIL-BASED MONOTYPE ON PAPER 30 X 28 CM EACH £900 each and form, inabidto reflect thesepressured, sised arrangements of shape,pattern, colour These observationsare reduced to synthe- the co-ordinated structures weare allpartof. life -theindividualwithinmechanised, Keeley’s imagery ruminates oncontemporary sculptural, actingasasortof friezeonthewall. mensional imagery theyare physicallyvery to create arelief: whilstportraying two-di- wooden panelswhichare layered together processes. Herlifelike works are madeupof tion withawarm,tactilequalityof hand-made cool, computer-precise styleof digitalfabrica- tiple processes of image-making mixingthe Lauren Keeley’s practice encompassesmul- LAUREN KEELEY Gilles Peterson onaSaturday. work? Imostlylisten to podcasts, andthenalways What kindof musicdoyoulisten to whileyou I love them. that looklike him.Theyare mostlypretty kitschbut accidentally accumulatingdrawings andceramics called Shoji(after Hamada),sincethenIhave been Do youcollectanything?Igot adogwhileago, functional, tidyish. Describe yourstudiointhree words: Plant-filled, out. studio? Scalpel!Idoalot of maskingandcutting What isthemostindispensableitem in your around wouldmake mehappyevery day. in France afew yearsago andIthinkhavingone Picasso ‘Owlplate’. Isawasmallexhibition of them Which workof artyouwishedowned?A way of life. dedication to aprocess, anaesthetic, amaterial, a Albers, Bernard Leach,ShojiHamada.Ilove their more of acraft/applied artsway-peoplelike Anni the heroes Ithinkof mostare thosewhoworked in Who isyourartistichero? There are many, but PLATFORM FOUNDATION ASKS cy andBarto dosSantos MemorialPrize(2014). sary Award (2019),Porthmeor Studios Residen- residencies andprizes:ChelseaArtsTrust Bur (2017); Supplement,London(2015).Recent (2017); Parallax Scrolling, Breese|Little, London 2015); Breese|Little, London(2017);Liste, Basel Focus, London(2018);Frutta, Rome(2018, ed at:GalerieDerouillon, Paris(2019);Frieze Art, Oxford. Herworkwasrecently exhibit- from theRuskinSchoolof Drawing andFine the SladeSchoolof Art,London,andaBFA Lauren Keeley (b.1986)obtained aMFA from continuous systems weare allcomplicitin. - SCREENPRINT, LINEN,LEATHER, SPRAYED ALUMINIUM, ON BOARD INPOWDER COATED ALUMINIUM FRAME *IMAGE ISTHEDESIGNFOR THEFINISHEDWORK NEXT STOP*, 2019 65 X48CM £4,000 suspended, andtheideaof personalstruggle Any senseof placeandhistory isforcibly reminds theviewerof Kafkaesque situations. they frequently present animalforms that dering insolitaryandalienated spaces,and The figures inhispaintingscanbeseenwon- relationships andhisblackheritage. self-portraits speakingof theartist’s personal the faceof death.Theycanoften beseenas sorrow of violenceandhumanvulnerability in self, theimpossibilityof self-knowledge, the and unknown.Hisworks examines theideaof mentary pictures of aworldthatisboth familiar Lewis Hammond’s oilpaintingspresent frag- LEWIS HAMMOND Softer andmore contemplative musicfor painting. Fast andheavypunk musicfor laborioustasks. dependent onmoodandstudio activityIamdoing. work? Imostlylisten to audiobooks. Music What kindof musicdoyoulisten to whileyou digging. OtherthanthatIbuyalot of books. collecting againthough-Ireally enjoyed thecrate thinned outover theyears.I’minterested instarting I usedto have alarge record collection,whichhas Do youcollectanything?Not somuchanymore. place. Describe yourstudiointhree words: Myfavourite studio? Mypaintingtable. What isthemostindispensableitem in your byFraMocking of Christ” Angelico. Cupid”... orTitian’s “Flayingof Marsyas”...OR“The perhaps theBronzino “An Allegory withVenus and Which workof artyouwishedowned?Ithink middle. Rankine to ArthurJafa.Andthenlots andlots inthe from from Goyato JusepedeRibera. From Claudia Who isyourartistichero? My“heroes” range PLATFORM FOUNDATION ASKS Academy Schools,London. Prize andthefor PaintingattheRoyal rah Schamoni,Munich.HehaswontheTravel shows atAntenna Space,ShanghaiandDebo- Condo, NewYork (2018).Hehasforthcoming Sophie Tappeiner Gallery, Vienna(2018); London (2019);BaliceHertling,Paris(2018); Recent exhibitions include:Arcadia Missa, Royal AcademySchools,London,in2017. Lewis Hammond(b.1987)graduated from the artist’s movement onthecanvas. thinly appliedlayerof paint,whichexpose the is underlinedbyaboldpalette butalsobythe UNTITLED (MIRROR),2017 OIL ONCANVAS 71 X30CM £3,200 Marie Jacotey’s work draws inspiration drag, swipe etc. from the gathering of people together, the expression of emotions in their many and Marie Jacotey (b. 1988) graduated with an MA varied interactions and the contexts and in Printmaking from the Royal College of Art, details in which these engagements take London, in 2013 after completing a DNSAD place - be it in an architectural filed space or in 2011 from École Nationale Supérieure des landscape; picking out wallpaper, furniture, Arts Décoratifs, Paris. Recent solo exhibitions clothes. include those at: NADA Art Fair, Miami (2018); Her works, though insistently manual in their Ballon Rouge, Paris (2018); Hannah Barry making (she creates paintings on plaster Gallery, London (2017, 2015 and 2014); and dust sheets, pencil drawings, sewing Francis Carrette Galerie, Brussels (2016); and and fabric), make use of perspectives that Robert Blumenthal Gallery, Hamptons, NY reference the world of cinema and slow- (2015). In 2014, she was selected as one of motion and the photographer’s point and Bloomberg New Contemporaries. Her work shoot, action reflective of an artist who has can be found in the collection of the Victoria come of age in the smartphone world where & Albert Museum, London. with its prevalent verbs are zoom, scroll, tap,

PLATFORM FOUNDATION ASKS

Who is your artistic hero? My peer group, all my artist friends surviving and making work in London and all over the world are my absolute heroes and inspiration. Which work of art you wished you owned? Any house by Shigeru Ban, his ‘Curtain House’ or his ‘Naked House’ would be the ultimate dream. What is the most indispensable item in your studio? Chit-chats. Describe your studio in three words: Friendly LA COSA, 2018 messy sassy. DRY PASTEL ON JAPANESE PAPER 69 X 53.9 CM Do you collect anything? Small trinkets, reminders £2,600 of people and places. What kind of music do you listen to while you work? I listen mostly to radio shows when working, my latest obsession is a French podcast called ‘Transfert’ in which one person unfolds for 40 minute a story about their life. MARIE JACOTEY LITTLE DOGGY, 2015 WHAT YOU’RE MISSING OUT ON, 2014 COLOURED PENCIL ON PAPER COLOURED PENCIL ON PLASTER 28.1 X 21 CM 14 X 11 X 1 CM £550 £850

MY OLD LOVE, 2015 SWEATY NIGHTS POSTER (FINAL), 2016 COLOURED PENCIL ON PAPER COLOURED PENCIL ON PAPER 28.1 X 21 CM 24.9 X 16.2 CM £550 £550 Matt Ager creates sculptural works in which convention, his works call out the observers’ he plays with different materials and culturally prejudices about taste and ironically hold their loaded objects to question ideas of taste and values judgments to account. identity. Selecting a combination of found and bought items, he creates facsimiles, hybrids Matt Ager (b. 1985) graduated from the Royal and replicas of interior domestic objects such Academy Schools, London in 2015 and holds as work surfaces, shelving and fake fruit. a BA in Sculpture from Camberwell College of With materials often masquerading as another Art, London (2008). Recent exhibitions include: and through his process of reinvention, Matt Cass Sculpture Foundation, UK (2017); Studio asks the viewer to consider the fundamental Leigh, London (2016); White Cube, London question of what makes an object – or a collage (2013). In 2015 he has undertaken the Lokaal of objects – a sculpture. 01 Residency, Antwerp and the Yaddo Often positioned in unusual places by standard Residency.

PLATFORM FOUNDATION ASKS BLEND, 2019 Who is your artistic hero? Zebedee Armstrong. PLASTER POLYMER AND DOWEL 45 X 20 X 15 CM Which work of art you wished you owned? Blinky £3,000 Palermo’s “Untitled (Totem)”, 1964-1967. What is the most indispensable item in your studio? The window. Describe your studio in three words: Dusty, scruffy, complex. Do you collect anything? Baggage. What kind of music do you listen to while you work? Afro beat, ambient and jazz. MATT AGER MATT UNTITLED 8, 2018 PENCIL ON PAPER 59 X 42 CM £500

UNTITLED 10, 2018 PENCIL ON PAPER 59 X 42 CM £500 Max Wade’s abstract paintings emerge from a experiences — traces of something tangible long creative process where drawings of every- remain as tantalising footholds or prompts. day objects and scenes morph and transform into multiple layers of colours. Scaled up, sim- Max Wade (b. 1985) studied Fine Art Painting plified, processed and adapted, these drawings at Brighton University. Recent solo exhibitions are reduced to their critical forms and trans- of his work were held at: Cob Gallery, London formed into something new. Negative space (2019); Roz Barr Gallery, London (2016); The is reversed and becomes positive, it is coated Annexe, London (2015) and future solo exhibi- with hues and it asserts its own presence. tion at Sid Motion gallery in September 2019. His practice of abstraction produces scenes Residences include Artist’s workshop & whose near-recognisability starts an imagi- Exchange, Muscat, Oman (2013) and Sofia, native dialogue with the viewer, suggesting Bulgaria (2003). the memory of some half-forgotten places or

PLATFORM FOUNDATION ASKS

Who is your artistic hero? William de Kooning. Which work of art you wished you owned? “Piano Lesson” by Henri Matisse. What is the most indispensable item in your studio? My sketchbooks. Describe your studio in three words: Hot, airless, UNTITLED, 2019 exciting. OIL ON CANVAS 150 X 110 CM Do you collect anything? I collect everything. £4,345 What kind of music do you listen to while you work? Philip Glass, Steve Riech, Alice Coltrane, Henryk Goreki, Nigerian pysch from the 70’s, William Basinski, Talking Heads. MAX WADE UNTITLED, 2019 OIL ON PANEL 45 X 60 CM £2,640

UNTITLED, 2019 OIL ON PANEL 40 X 40 CM £1,980 May Hands creates sculptural paintings and of the things that we consume, such as their installations using collected organic materials design and utility, set against aspects of the and discarded synthetic objects from her daily natural and wild opens up questions of how life, digesting and responding to her immediate society constructs and articulates value and environment. At the core of her practice is an desire. She aims to imbue in her work a sense engagement with the rituals and trends of con- of fragility, tactility, awareness and sustainabil- sumer consumption, along with observing the ity. transitioning of natural cycles, such as the sea- sons. She places importance on capturing the May Hands (b. 1990) graduated from Camber- essence and sensuality of her surroundings, well College of Arts (UAL), London, 2013 and not just through the material objects she finds, is currently undertaking a MFA in Fine Art at but also through reflection upon the moment Goldsmiths, London. Her work was recently ex- and its specific situation. hibited at: Supplement, London (2018); BACO, There is an economy to her work that is deeply Bergamo (2015); T293, Rome (2015). In 2018 informed by seeking to minimise consumption she was artist in residence at Bosse and Baum, and waste, through re-use and recycling in both London. her life and practice. Reflecting upon qualities

PLATFORM FOUNDATION ASKS

Who is your artistic hero? There are many artistic people who I admire, there isn’t just one. To name just a few: Agnes Martin, Henri Matisse, Alexandra Bircken, Howard Hodgkin, Sarah Sze, and Joan Jonas. Which work of art you wished you owned? I could happily live with a painting by Howard Hodgkin. What is the most indispensable item in your studio? I keep a folder that I call ‘Fragments’, which contains all my recent finds and things that might be used in artworks I am working on at that time. Describe your studio in three words: Textured, experimental and abundant. Do you collect anything? I collect many things; my practice relies on a constant supply of found WAVES 1, 2017 materials and leftovers e.g. perfume cards, sugar WOODEN STRETCHER, packets, shopping lists, fruit net bags, napkins, SHOP AWNING CANVAS AND SCRIM 60 X 45 CM ribbons, ropes, magazine adverts, flowers, seeds, £1,700 onion skins and shopping bags. What kind of music do you listen to while you work? I don’t always listen to music as I make, sometimes I prefer silence, a podcast or even talking to myself. Albums I have been listening to recently in the studio include: ‘Music For Airports’ by Brian Eno, ‘Post’ by Bjork and ‘20th Century Women (Original Motion Picture Soundtrack)’. MAY HANDS MAY CHOCOLATE BOX (DREAM), 2018 WOODEN STRETCHER, COTTON CANVAS, AND ASSORTED RIBBONS 40 X 30 CM £1,200

BUY ME AND BECOME ME, 2019 WOODEN STRETCHER, COTTON CANVAS, AND ASSORTED RIBBONS 40 X 30 CM £1,200 and absurd to thesubtle andintimate —her scales andmoods—from thearrestingly bold and frames becomeribcages. Through shifting pipes becomelimbs,vents becomeorifices, and buildingisarecurring motif inherpractice: The metaphoric associationbetween body stark rawness. body inawaythatconfronts theviewerwithits sculptures, pushingandreimagining thehuman her workoften takes shapeinlarger thanlife Playing between abstraction andfiguration, bines sculpture andinstallationswithdrawing. Rebecca Ackroyd’s artisticpractice com- REBECCA ACKROYD be anythingfrom BlackSabbathto Robyn. work? Itvarieswildlydepending onmymood,could What kindof musicdoyoulisten to whileyou Do youcollectanything? No. chaotic. Describe yourstudiointhree words: Full, filthy, studio? Mycoffee maker. What isthemostindispensableitem in your “Summer Days”(1936)byGeorgiaO’Keeffe. Which workof artyou wishedyouowned? Who isyourartistichero? AgnesMartin. PLATFORM FOUNDATION ASKS one of theBloombergNewContemporaries. lery (2014).In2013,herworkwasselected as Hunter/Wakefield, London(2015);KinmanGal- (2018); ZabludowiczCollection,London(2017); exhibitions were heldat:Peres Projects, Berlin School of Art,London,in2010.Recentsolo completing herBAinFineArtatByamShaw Royal AcademySchools,London,in2015after Rebecca Ackroyd (b.1987)graduated from the chology of spaceandtheownershipof bodies. work pursuesafeminist exploration of thepsy- SOFT PASTEL ONPAPER BETWEEN US,2018 20 X30CM £2,200 Sarah Maple is an outspoken visual artist division, toxic masculinity, and xenophobia. known for her bold, witty, and occasionally Sarah often references the work of Sarah Lu- controversial practice. She works in a wide va- cas in her own, sharing the YBA sharp humour riety of media (including painting, photography, and satirical eye. sculpture, collage, and video) that challenge notions of identity, religion, feminism, violence, Sarah Maple (b. 1985) graduated with a BA in freedom of expression and the status quo. Fine Art from Kingston University, London, in Much of Maple’s inspiration originates from her 2007. Recent solo exhibitions were held at: The mixed religious and cultural upbringing and she Untitled Space, New York (2019); KochxBos often employs self-portraiture, alongside her Gallery, Amsterdam (2017); The Cob Gallery, guerrilla-style performances, as a vehicle for London (2015). She has been awarded the New her narrative. Sensation Art Prize in 2007 and was recently Her recent practice has focused on the dis- commissioned new work by The Baltic, New turbing parallels between the political climate Art Exchange and Sky Arts. in the US and the UK looking at themes of fear,

PLATFORM FOUNDATION ASKS

Who is your artistic hero? ? I know I’m not meant to say this but... I do love Banksy. Which work of art you wished you owned? ‘I would love to wake up to ‘Almond Blossom’ by Van Gogh WOMEN ARTISTS DO NOT EXIST, 2019 everyday. GLOSS PAINT ON BOARD, TAPE 84.1 X 59.4 CM What is the most indispensable item in your £2,650 studio? Definitely the kettle! Describe your studio in three words: Me, myself, I. Do you collect anything? Cats. What kind of music do you listen to while you work? Last year I made playlist which happened to have ‘It Was A Good Day’ by Ice Cube as the first track, so now it’s become my morning mantra! SARAH MAPLE Scarlett Bowman is a mixed-media artist collage and assemblage at the core of her who creates abstract sculpture and reliefs practice, techniques that acts as a metaphor and whose work addresses material culture for recording information about materials, and modern craft. Her approach is directed space and time. through craft and industry where she takes mundane, everyday and found materials Scarlett Bowman (b. 1985) completed a BA and re-contextualises them to remove their in Classics at Newcastle University before intended use, instead creating a new, tactile undertaking an MA in Fine Art at Chelsea and aesthetic appeal. Their once utilitarian College of Art, London, in 2014. Her work then value gives way to a more symbolic was recently exhibites at: the Koppel Project, one, inviting us to think about the complex London (2019); Saatchi Gallery, London process involved in taking a raw material to (2018); Fold Gallery, London (2016); Balzer its final form. Accidental shapes and forms Projects, Basel (2015); Soho Revue, London are created before being embedded to the (2015). In 2016 she was shortlisted for surface, enabling multiple references to be the Bloomberg New Contemporaries. She weaved into a single narrative. completed a residency at The Villa Lena Scarlett is inspired in her practice by the Foundation, 2018. Italian Arte Povera movement and places

PLATFORM FOUNDATION ASKS

Who is your artistic hero? Robert Rauschenberg. Which work of art you wished you owned? Any of Rauschenberg’s ‘Combine paintings’. LOOSE ENDS, 2019 What is the most indispensable item in your COMPOSITE, MIXED MEDIA 42 X 32 CM studio? My antique plan chest. £2,400 Describe your studio in three words: Bright, CANDY, 2019 Dishevelled, Comforting. ACRYLIC ON CANVAS Do you collect anything? Yes everything! Stuff. I’m 50.5 X 40.5 CM a compulsive hoarder. £1,600 What kind of music do you listen to while you work? Literally everything from Classical to French Jazz to Hip Hop and everything in between. SCARLETT BOWMAN SCARLETT of theday, inaworldthatcomposesand compressed, andsnubbedto fittheneeds built into time,andevents are stretched, His practice considershowhistories are heavy, toxic andinsidious. innocuous butatthesametimepotentially how theyare seeminglylight,throwaway and on thequestionof whatanimage mightbe- and digitalplatforms. Hefocuses primarily Sebastian Jefford works insculpture, drawing SEBASTIAN JEFFORD and ‘Nosedrip’. work? Ilike theNTSradio shows‘Fervent Moon’ What kindof musicdoyoulisten to whileyou then forget aboutit. collecting particularartist’s books, buyone, and Do youcollectanything?Ioften decide to start place. Describe yourstudiointhree words: Myspecial studio? Classicpenandpaper. What isthemostindispensableitem in your “DuriaAntiquior”. Scharf’s Which workof artyou wishedyouowned?George Who isyourartistichero? RobertWyatt. PLATFORM FOUNDATION ASKS the BloombergNewContemporaries. UK (2017).In2016hewasselected asoneof London (2018);CASS Sculpture Foundation, Manhattan Vienna(2018);V22Young London, 2017. Recentexhibitions were heldat:Gianni the RoyalAcademySchools,Londonin Sebastian Jefford (b.1990)graduated from process of dissatisfaction. recomposes itselfconstantlyinanendless Pu foam, plasticsnaps,acrylic,mdf 83.8 X55.9CM SHRILL, 2019 £3,500 Tom Pope’s practice encompasses Tom Pope (b. 1986) studied Photography in performance, photography and film. He the Arts at Swansea Metropolitan University is interested in working with performed in 2008, and received his MA in Photography photography where the act of creating from the Royal College of Art, London, in a photograph or film is transformed into 2011. Recent exhibitions of his work were a performative event. In these instances held at: One Square Club, Frieze LA (2019); he works in public spaces, often enacting Gazelli Art House, London (2016); ArtLacuna, playful or irrational actions and ungraspable London (2016). He was the recipient of a experiments, and inviting the public to Deutsche Bank Award in 2011. His work is become participants in his works. Tom’s in the collection of the National Museum of works explore the notion of time and travel, Wales and National Portrait Gallery, London. and are frequently playful and tongue-in- cheek.

PLATFORM FOUNDATION ASKS

Who is your artistic hero? Yves Klein, his serious yet playful approach to art is unparalleled. Which work of art you wished you owned? “Untitled Blue Monochrome (IKB 79)”, 1959 by Yves Klein. What is the most indispensable item in your studio? Water Pistol. MASK OF MASCULINITY, 2019 Describe your studio in three words: Super fun CYNOTYPE PRINT 30 X 25 CM | EDITION OF 5 + 2APs playground. £800 Do you collect anything? Games and toys, the more obscure the better. WHITENING, 2018 CYNOTYPE PRINT What kind of music do you listen to while you 40 X 30 CM | EDITION OF 5 + 2APs work? Mostly contemporary jazz, punk and BBC6 £800 Music. TOM POPE TOM Vivien Zhang’s work reflects disjunctions simulate digital layers and user interface one experiences as a third-culture citizen designs, making apparent the increasingly and as a digital native. Her paintings present fragmented ways in which we relate to reach a cultural and geographical fluidity that other and consume visual information today. interrogates the palimpsest nature of contemporary culture and the challenges Vivien Zhang (b. 1990) received her MA of constructing contemporary identities. in Painting from the Royal College of Art, Zhang collates motifs and manifest them London, and BA from the Slade School of Fine in various combinations in her paintings. Art, London. She was named on the Forbes Some examples include the mathematical 30 Under 30 2017 Asia list, and won the shape Gömböc, spiral Baroque pillars, and Abbey Award 2016–17 at the British School 20th century world map projections. In the of Rome and the Chadwell Award 2014–15. space of her paintings, the motifs collide Zhang’s work was recently exhibited at: Long and generate ‘alternative landscapes’ for an March Space, Beijing (2018); PLUS-ONE imagined new generation of third-culture Gallery, Antwerp (2018); House of Egorn, inhabitants. Berlin (2018). Alternating layers and motifs in Zhang’s work often follow personal algorithms. They

PLATFORM FOUNDATION ASKS

Who is your artistic hero? At the moment Charline von Heyl. Previously, it has also been Allan McCollum, Julie Mehretu, and Martin Kippenberger… HUNG PLATFORMS (TAGS), 2019 Which work of art you wished you owned? A ACRYLIC, OIL, AND SPRAY PAINT ON CANVAS 50.8 X 45.7 CM Christo and Jeanne-Claude. They’re heroes too. But £5,770 you can’t really own their work. What is the most indispensable item in your studio? Nitrile gloves. Describe your studio in three words: Zoning- much-needed. Do you collect anything? Motifs from very different contexts. And discarded gloves on the street – I’ve been taking pictures of them for 4 years now. What kind of music do you listen to while you work? Crime podcasts. VIVIEN ZHANG Goldsmiths College, London,(2006),andholds Yonatan Vinitsky(b.1980)isagraduate of recent years. legacies hasbeenthecore of hispractice in ods to explore arthistory andvariousartistic and creative interventions asalternative meth- with other works andtheviewer. Collaboration of aworkinthespace,alongsideitsrelation work questionsthenotion of scaleandposition creative methods of communication.Vinitsky’s of editing,reproduction andre-enactment as techniques thatmadethem-exploring issues analysis of thespecificity of materials and kind, whichbecometransformed through an in thereproduction of found objectsof every of exhibitions andbooks. Hispractice isrooted tography, andsculpture, both intheproduction Yonatan Vinitskyworks across painting,pho- YONATAN VINITSKY you whichone:-). repeat, changingitevery few days.ButI can’t tell work? Iamusuallylistening to thesamesongin What kindof musicdoyoulisten to whileyou Do youcollectanything? Too much. orchestrated mess. Describe yourstudiointhree words: Carefully studio? Tesa yellowmaskingtape. What isthemostindispensableitem in your in Londonsoeveryone canseeit. Zurbarán, butIamhappyit’s inTheNationalGallery Francis inMeditation”(1635-9)byFrancisco de Which workof artyou wished youowned?“Saint Rockburne. Who isyourartistichero? GioPonti andDorothea PLATFORM FOUNDATION ASKS Museum of Art,Tel Aviv. Cosmos’ willopeninJanuary2020atTel Aviv Montini, 2015).Hisupcomingsoloshow’The (Public SchoolEditions&TheEstate of Matt 2017) and‘WIND–Five Variations onaThemeʼ 2019), TheMiddleof theWorld (Empire Books, publication includes:REALLIFE(onestarpress, where hethenexhibited hiswork.Recent lion ReisdencyatthePalaisdeTokyo, France, (2014). In2013-2014heundertook thePavil- ta Gallery, Rome(2015);Limoncello, London (2017); Braverman Gallery, Tel Aviv (2016);Frut- Alençon (2018);Workplace Gateshead, UK Gallery, London(2018);LesBains-Douches, and onestarpress, Paris(2019);SouthLondon of hisworks were heldat:SolidView, London College, London(2009).Recentexhibitions a Masters degree inSculpture from theRoyal ALUMINUM SELF-ADHESIVETAPE, CANDLE WAX, ALUMINUM SELF-ADHESIVETAPE, CANDLE WAX, LAMINATED PRINTEDLABELS,BESPOKE FRAME, BESPOKE FRAME,ENGRAVED PLASTIC PLAQUE FOUR LAYERS OFPLEXIGLASS SHEETSWITH FOUR LAYERS OFPLEXIGLASS SHEETSWITH BACK-PAINTED ACRYLIC PAINT, ASSORTED BACK-PAINTED ACRYLIC PAINT, ASSORTED BURDEN OBLIQUECAPITAL NOON,2017-19 EXIT DICTIONARY CLAUSE LIMPID, 2017-19 COLOURED PENCILS,PENS,COPPER AND COLOURED PENCILS,PENS,COPPER AND STICKERS, MECHANICAL PENCIL, STICKERS, MECHANICAL PENCIL, ENGRAVED PLASTIC PLAQUE 50 X37.56CM 50 X37.56CM £3,500 £3,500 Published online by Platform Foundation C.I.C. for the exhibition Generation Y held at 10 Hanover Street, Mayfar, London W1S 1YQ, 10 - 28 June 2019

Catalogue © Platform Foundation C.I.C. Forward © Kate Bryan Text © The Artists Images © The Artists

Photo credits: Sean Fader and Hannah Barry Gallery for Marie Jacotey Rob Harris and Bosse and Baum for May Hands Thierry Bal for Yontan Vinitsky

All rights reserved

Designed by Sara Terzi

With special thanks to: CJ Jones, Kate Bryan, Soho House & Co., Anima Mundi, Arcadia Missa, Bosse and Baum, Hannah Barry Gallery

PLATFORM FOUNDATION 10 Hanover Street | London W1S 1YQ +44 (0)20 3778 0938 | www.platformfoundation.org Enquiries: [email protected] Generation Y PLATFORM FOUNDATION PF