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Icarus

Henri Matessi, 1947

The falling figure of Icarus, his heart beating, has become the most iconic image in Jazz. Matisse made his first version in 1943. This led in turn to the creation of Jazz. The yellow forms have been interpreted variously as sunbursts, stars and exploding military shells. The single figures in Jazz are possibly metaphors for the artist. Matisse cheekily placed this image at the end of the ‘Aeroplane’ section in Jazz. In Greek mythology, Icarus flew too close to the sun. This melted the wax securing his home-made wings and he fell to his death.

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We are proud to present an exhibition of art books by one of the greatest artists of the 20th century, Henri Matisse (1869-1954), on public display for the first time in the UK. The exhibition comprises 63 framed original illustrations with text from four of Matisse’s most significant books, including his famous 'Jazz' (1947), one of the most celebrated artists’ books in the history of modern art.

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Hirst's Shark Tank

Emin's Bed

The Little Artist, 2008

The Little Artists (John Cake and Darren Neave) immortalize iconic artists and their artworks in un-manipulated Lego. In Art Craziest Nation they have curated and built their own mini-exhibition of modern art. Cake & Neave have transformed themselves into two loveable, mischievous cartoon characters, The Little Artists. They exist in the realm of merchandise, between aggressively marketed children's culture like Pokemon and gallery gift shops, where art becomes a commodity. Priding themselves on the integrity and accuracy of their hybrid artworks, their knowledge of Lego is comprehensive and respects its association with learning and creativity.

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Cake & Neave’s sculptures and photographs restage icons of contemporary art in Lego. The sculptural pieces transpose key works of art, by the likes of Hirst, Warhol, Beuys and Koons, to the microcosmic scale of the Lego world, forming miniature, fetishistic relics that subvert the grand gestures of these artists.

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An Alphabet (A)

Sir Peter Blake, 2007

A part of 26 silkscreen prints and shows Sir Peter Blake's fascination with letters, fonts and typography. Blake incorporates imagery from popular culture into his work, including comic books, consumer goods and advertisements. In this display you can find anything from a poem about Leopards (in L), to images of Father Christmas (in X). There is a childlike quality to ‘An Alphabet’ that has its roots in Peter’s own childhood, which was disrupted by the Second World War when he was evacuated. He is one of the most influential painters in the UK and a leading figure in British Pop Art.

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Painter of urban realist subjects and pioneer of Pop Art. Born 25 June 1932 at Dartford, Kent. Studied at Gravesend Art School 1948–51. Blake won the Leverhulme Research Award to study popular art and travelled in Holland, Belgium, France, Italy and Spain between 1956–7 and was influenced by American realist painters. Blake was awarded First Prize in the Junior Section, John Moores Liverpool Exhibition 1961. First one-man exhibition at the Portal Gallery 1962.

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Blink

Paul Cordwell, 2011

Projecting from the dead expanse of the gallery wall, four bunched nylon bristles taper to a fine point. As the viewer moves towards it, its initial invisibility shifts to a dot which on closer inspection proves to be a needle-thin assault on the eye. 

From the Sorry For The Inconvenience exhibition at PSL.

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40 Days of Prayer (Top)

Bridging the Gap 2 (Bottom left)

21 Grams (Bottom right)

Gill Greenhough, 2011

Greenhough represents out inherent vulnerability and mortality through the use of materials such as glass and vapor. The ephemeral and the eternal express the fragility of out existence, the work uses the obscurity of shadow with the eternal optimism of light.  Suggestions of a transitional passage between alternate states, notions of absence. The context for the work exists within the realms of experiential installation, making the intangible tangible, using the viewer as a connecting link and a transient, ephemeral substrate/material.

The series is apart of the Welcome To The Real World at PSL

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Not filth, not hair

Marion Michell, 2008

Michell's art touches on childhood, on growing up and its anxieties. It is much an exploration of memory as of physical experience. Not necessarily concrete memories, more moods and atmospheres, interwoven with elements form myths and fairly tales. She works in paper, wools and artificial hair, making shoes, figures, dresses from scratch and transforming found objects into something that expresses new sets of emotions and fantasies.

Shown at PSL during the Welcome To The Real World exhibition.

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The Terminal

Ben Cove, 2011

His works often derived from the artsi's collection of found images which include buildings, furniture, and pattern design. Cove is interested in the manner in which these objects and images are assigned cultural and intellectual weight or allocated mystical or spiritual significance. His work appear to reflect these concerns but they have an inherently awkward, provisional or clunky nature. Between abstraction and representation, they're displaced from any recognisable context and have no clear sense of scale.

As part as the Welcome To The Real World at PSL.

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Untitled

Untiled Gallery, 2011

Untitled gallery is a small contemporary art gallery in Manchester city centre. Building on Sorry For The Inconvenience artists' affiliation with the gallery.

Shown at PSL, during the Sorry For The Inconvenience exhibition.

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Six Pack

Dave Griffiths, 2011

A fragment of found advertising for Players No 6. Flatness expanded in a Möbius strip. Testing the cinematic and sculptural dynamics of occupying and crossing corner.

Shown during the Sorry For The Inconvenience exhibition at PSL.

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Balls

Paul Cordwell, 2011

Two matte deep blue ping-pong balls hang side-by-side high on the gallery wall. Acting as a compromising between hard black punctuations to the architecture and confused minimalist molluscs they demand attention through their gravity-defying indifference.

At PSL, Sorry For The Inconvenience.

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Parisian Street Scene

Dan Mort, 2011

An abstraction made from surface urethane, built around a wooden carpenter's T-square  from which the piece hangs. attached is an enigmatic painting, originally depicting something like a Parisian boulevard, now distorted beyond recognition.

Sorry For The Inconvenience exhibition at PSL.

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Tape Twig

Lee Machell,  2011

The base of a tape dispenser pins the broken end of a twig to the floor, whilst an unreeled length of sellotape connects the vertically seated roll of the tape to the fine end of the twig, maintaining a tense and precariously balanced bowed D form. Its gravity defying vertically and the title's snappy alliteration both exist as reminders of the deferred but inevitable twang of the wood snapping free of the restraining sticky tape.

A part of the Sorry For The Inconvenience exhibition at PSL 2011.

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PSL [Project Space Leeds]