Awakenings: Art in Society in Asia 1960s–1990s, a major retrospective at Singapore's National Gallery (14 June–15 September 2019), opens emphatically in flames. At the exhibition's entrance, viewers encounter a wall-sized image from 1964 titled Burning Canvases Floating on the River. The photograph captures a performance by Lee Seung-taek, in which...
When the London-born artist Thomas J Price graduated with a Bachelor of Fine Arts from Chelsea College of Arts in 2004, the school's college art prize was by no means his most notable accomplishment as an emerging artist. In 2001, Price presented his much-talked-about work Licked, a daring performance, later profiled on the BBC 4 television...
Without punctuation, She Said Why Me, the title of May Fung's 1989 video presents itself as a statement, rather than a question. It suggests a subject who expects no response, a person prepared to make what she can from being chosen though perplexed by the attention. The video follows a blindfolded woman, then unmasked, through late colonial-era...
Victoria Miro is delighted to present an exhibition of new and recent pastels by Chantal Joffe. This is the first exhibition by the artist comprised solely of pastel works on paper. It marks a return to Venice for Joffe who, between 1999 and 2011, exhibited four times at Galleria Il Capricorno.
When you change the medium, you change everything. - Chantal Joffe
Chantal Joffe brings a combination of insight and integrity, as well as psychological and emotional force, to the genre of figurative art. In these recent works, the sense of mobile immediacy that distinguishes Joffe's paintings is intensified. Focusing on relatives, friends, and herself in scenes of leisure and domestic life, she brings images robustly to life using sticks of coloured pastel on fine-toothed paper.
While drawing has always been integral to Joffe's practice, the medium of pastel offers a number of unique challenges and opportunities. Joffe has described the absorbing, as well as the highly physical experience of the work's making; the thickly applied pastel accumulating with a luminous purity that is markedly different from the act of painting and the ways in which oil behaves on canvas or board. 'You can get a kind of brutality with pastel that you can't with paint,' Joffe explains. 'With paint there's always an extension of your arm and brush. Whereas pastel is so primitive. You can't draw hard enough.'
This highly visceral process of laying down line, form, and colour serves to condense an always palpable sense of connection between artist and subject in Joffe's work. Conveying both the physicality of her engagement and the movement of the human bodies she portrays, these works build upon complex narratives about perception and representation. Ostensibly depicting scenes from everyday life - a windswept walk along beach, the artist's daughter, dancing, sewing, or putting on a shoe - the works in this exhibition alert us to the endless nuance of bodily expression and the myriad ways in which we reveal ourselves and communicate emotion, such as happiness, sadness, confidence, doubt or even distraction, consciously or not. Ideas of interiority and exteriority, intimacy and self-disclosure, are further explored in series of naked self-portraits, in which the artist's unflinching scrutiny is directed towards herself.
About the artist
Born in 1969, Chantal Joffe lives and works in London. She holds an MA from the Royal College of Art and was awarded the Royal Academy Wollaston Prize in 2006. Joffe has exhibited nationally and internationally at institutional venues including the National Museum of Iceland, Reykjavík, 2016; National Portrait Gallery, London, 2015; Jewish Museum, New York, 2015; Jerwood Gallery, Hastings, 2015; Collezione Maramotti, Reggio Emilia, Italy, 2014-2015; Saatchi Gallery, London, 2013-2014; MODEM, Hungary, 2012; Mackintosh Museum, Glasgow, 2012; Turner Contemporary, Margate, 2011; Neuberger Museum of Art, Purchase, New York, 2009; University of the Arts, London, 2007; MIMA Middlesbrough Institute of Modern Art, 2007; Royal Academy of Arts, London, 2005; Galleri KB, Oslo, 2005; and Bloomberg Space, London, 2004. Joffe's work has been featured in the recent exhibitions ISelf Collection: The End of Love at the Whitechapel Gallery, London, 2017; Hope and Hazard: A Comedy of Eros, curated by Eric Fischl, at Hall Art Foundation, Reading, Vermont, 2017; and in the current exhibition From Life at the Royal Academy of Arts, London, until 11 March 2018.
An exhibition of recent works by the artist, titled Personal Feeling is the Main Thing, will be on display at The Lowry, Salford, 19 May–2 September 2018. The exhibition will include a number of works by the German artist Paula Modersohn-Becker (1876-1907), whose paintings of women and children are an enduring influence on Joffe.
Joffe will create a major new public work for the Elizabeth line station at Whitechapel. Titled A Sunday Afternoon in Whitechapel, the work will be on view when the Crossrail station opens in December 2018. Art Capital: Art for the Elizabeth line, which brings together unseen material by all the artists contributing to the Crossrail Art Programme, will be on display at the Whitechapel Gallery, 13 March-6 May 2018.
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