notton gallery, Notton, notton art, Delehag, jamie gallagher, alba urquia, Marzena ablewska-Lech, Vikram kushwah

 
  • Focus Art Fair 2024, 10-13th October

    Focus Art Fair 2024

    10-13th October
    We are delighted to announce that we will be exhibiting at the upcoming Focus Art Fair, coming this October in Saatchi Gallery - starting with a VVIP preview + press day on the 10th.
    This year’s fair promises to be exceptional, with highly anticipated partnerships with leading brands like LG, Roche Bobois, Blue Canvas, and Oulim. A diverse turnout is expected, thanks to the strong alliances Focus Fair has built with industry leaders such as Sotheby’s, Summit, Cadogan, and Peter Jones, with more exciting collaborations on the horizon.
    The fair reaches a wide and engaged audience, with key media partnerships such as Artsy, Cultured, Art+, LUXURY Magazine, ESSE, Apollo, Aesthetica, FAD, and MBC (Korea).
    We will be exhibiting new works of 5 artists: Henrik Delehag, Joseph Loughborough, Joanna Bailey, Anna-Belén and Jamie Gallagher. We are soon to announce further details of these never seen before pieces.
    This fair takes place on 10-13th October 2024 - a perfect excuse to attend after a visit to Frieze.
    We hope to see you there!
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  • Sound Mirror

    Sebastian Edge
    Sebastian Edge has always enjoyed the playfulness of the collodion process, and the cumbersome complexity of his "Hurricane Camera", hand-built with wood salvaged from fallen trees after the great storm of 1987. 
     
    Being so large the camera always attracted much attention especially at the festivals and events where the artist would photograph willing subjects. One such indivual was a band named "The Arthur Brothers" whom he worked with over a few years, producing potential album convers.
     
  • Sebastian Edge Sound Mirror 2012 46x56cm Silver Gelatine contact print
    Sebastian Edge
    Sound Mirror
    2012
    46x56cm
    Silver Gelatine contact print
  • Henrik Delehag

    Beach '24
    Henrik Delehag, Beach 24
    Beach '24. Mixed media on natural unprimed canvas.

    Henrik Delehag

    Beach 24
  • Sebastian Edge: Radiohead, The wet-plate collodion portraits Sebastian Edge: Radiohead, The wet-plate collodion portraits Sebastian Edge: Radiohead, The wet-plate collodion portraits Sebastian Edge: Radiohead, The wet-plate collodion portraits Sebastian Edge: Radiohead, The wet-plate collodion portraits

    Sebastian Edge: Radiohead

    The wet-plate collodion portraits
    This series of portraits were taken using the 19th century wet plate collodion photographic process, using the artist's hand-built camera. Named by the artist as the 'Hurricane' the camera was made from wood salvaged from fallen trees after the great storm of 1987.

    Being so large the camera always attracted much attention especially at the festivals and events where the artist would photograph willing subjects. One such individual happened to tour with the British rock band Radiohead. The band were looking for a photographer and photographic process that fitted both their aesthetic and that of their forthcoming album, The King of Limbs; a tribute album to a thousand-year-old oak tree. The ancient English Woodland has been a photographic subject for Sebastian for many years, so he was a natural fit for the band for this project. A few weeks later, armed with the Hurricane, he found himself at their studio in Oxfordshire.

  • Jamie Gallagher, Headsculpts Jamie Gallagher, Headsculpts Jamie Gallagher, Headsculpts Jamie Gallagher, Headsculpts Jamie Gallagher, Headsculpts

    Jamie Gallagher

    Headsculpts

    Known for his use of the physicality of paint to explore the border between abstraction and figuration Gallagher has turned to AI to further explore the human condition.

    From previously harvesting physical elements of paintings by hand to form anatomical sculptures, Gallagher has now ventured into a fresh and innovative form of application, producing photographic portraits of AI realised anatomic sculptures using his own existing paintings as learning recourses for the algorithm.

    These visual monologues can be considered as a new form of sketchbook, providing a new path for reflection, introspection and consideration of the intricate balance between the sublime and the brutal.