All works measure 32.5 x 24.5 cm unframed
All works measure 32.5 x 24.5 cm unframed
All works measure 32.5 x 24.5 cm unframed
Stephanie Hoppen Gallery is pleased to present Nikoleta Sekulovic ‘Mother & Muse’, an exceptional body of work that aims to redefine traditional notions of motherhood.
A collection of large format paintings depicts present-day mothers without props or distractions. The paintings, created in the tradition of Odalisque portraiture redefine the mother as a ’vanguard Odalisque’ where she is both parent and muse, proud of herself and of her body. The artist’s intent is to highlight their uniqueness, stripped of external expectations, to convey their authenticity.
“Every single woman is different; the way my models pose reflects a part of who they are, expressing their personality. There is no pretence, no trying to act out, they are simply themselves, and that’s great. The way a women thinks she should look or tries to conform to an ideal of beauty, should not hold her back from being who she is and achieving her goals in life..” Nikoleta Sekulovic
Nikoleta Sekulovic is an artist and mother, presently living and creating in Madrid, Nikoleta was born in Rome to a German mother and a Serbian father. She was raised in Switzerland, is fluent in five languages.
Hugo Grenville is a leading British Romantic painter whose work stands as a symbol of promise in a world where satire and irony predominate. Like the paintings made by Bonnard and Matisse during the Second World War, none of which allude to the grim reality of daily life, his work is grounded in the need to celebrate life, and to express our sense of existence through the recognition of the transforming power of colour and light.
Through the arrangement of shape, line, pattern and colour the world that is conjured is lyrical, dreamlike and at peace with itself. The still life, landscape and figure paintings do not represent an actual moment in time, but are rather the result of a process of reflection, recollection and reinvention, a distillation of human experience. The flowers in the jug, or the nude on the bed belong not to now, but to all time, just as the abstract elements of colour and light are timeless, and connect us to both the past and the future, to the visible world, and to the invisible.
What initially strikes the viewer as an unusual and perhaps menacing subject matter of oil tankers, rigs and mining sites soon after resonates with the shimmering and tranquil landscapes of J.M.W Turner. Growing up in Australia, Penman Sweet developed a fascination with the power and scale of great deserted landscapes, along with the sense of timelessness of old, disused industrial sites.
Every one of the magnificent tankers she paints has a distinct character and history. Each title is drawn from a god, be they classical Greek or Roman, Norse or Aztec in origin, and carries with it a mythical power and resonance.
In the artist's words, “what I'm attempting to do through the depiction of these diverse and nameless places is to provide a space of resonance, of interiority and inner recognition – a moment of stillness.”
Penman Sweet graduated from St Martins School of Art in 1977. She has exhibited widely across galleries in the UK and Australia. She now lives and works in Sydney.
Renowned ballet designer and portrait painter who collaborated with Kenneth MacMillan.
Yolanda Pauline Tamara Sonnabend was born in 1935 in Bulawayo Rhodesia (now Zimbabwe) to highly cultured German-Russian Parents. Upon finishing high school she headed to Europe settling in England in 1954 and becoming a student of painting and stage design at the Slade School of Fine Arts. She designed her first ballet - A Blue Rose by Peter Wright while still an undergraduate. She gained experience creating sets and costumes for the New Opera Company and the Oxford Playhouse.
Sonnabend enhanced MacMillan’s choreography with her innovative way of thinking and she quickly became one of his favourite designers though she was most closely associated with the royal ballet. Over a period of 20 years, Sonnabend’s different way of seeing was crucial to the set designs and costumes for Macmillan’s ballet.
Through the 60’s and 70’s she was commissioned by dance companies abroad with her costumes gracing the stages of, among others, Bonn Opera House in Germany and La Scala in Milan. She had a distinguished parallel career as a painter of portraits, exhibiting at the Whitechapel and Serpentine galleries in London as well as abroad. Several of her works are held by the National Portrait Gallery including those of Macmillan, Steven Berkoff and Steven Hawking. The Victoria & Albert Museum is home to many of her Sketches.
She died November 9th 2015 at age 80.
Will Ayres (b. 1974) describes himself as a realist. His inspiration comes from the everyday; the people he meets and the places he goes.
In his recent body of work, Ayres explores ideas of representation and memory to question our responses to individually captured moments as recollections based on nostalgia. From new life to death, from purity to passion, flowers are associated with youth, ephemeral beauty and
A born and bred Londoner, Will Ayres studied at The Central St Martins School of Art. He has undertaken commissions from the likes of The Groucho Club, and his work has appeared in group shows across the UK.
Born in Naples in 1971, OTTIERI's iconography has certainly been shaped during his years as an architecture student in his hometown and in Aberdeen, where he attended the Robert Gordon School of Architecture.
Indeed, it is almost impossible to separate his pictorial production to his training background, as subjects like urban landscapes, theatres, churches, post-industrial interiors and buildings are recurrent themes. Colour, light and movement are the elements that define his works.
Born in 1972 in a small Greek village called Lazati, Tilemachos Kyriazatis was taught by Panayiotis Xaralampous during his years at the Athens School of Fine Art.
The main inspiration for his paintings comes from his continuous contact with the sea and the ports of his country, a keen observation of natural landscape and the human intervention upon it.
He lives and works in Athens.
The photography of Suzanne Jongmans investigates the relationship between present and past, and the transience and vulnerability of time. Since 2007, the Dutch photographer has been working on her series ʻFoam Sculpturesʼ, inspired by 16th and 17th century paintings. She describes her process thus:
"I use the elements in the present as in the past. The objects in my work are used as symbols of values. I mutate old costumes into new plastics and old masters in new photographic works. By using time foreign materials, plastics and techno's, I am creating a time crux: a tension of time."
The resulting images convey an elegance and timelessness whilst referencing consumerism and its rapacious production of waste. While the photographs themselves, with their technical refinement and painterly lighting, bring to mind the portraits of Holbein, Clouet, Vermeer and Hollandʼs Golden Age, Jongman's subtle inclusion of a tattoo, an i-pod or a foot in plaster integrates these images into the 21st century.
Seamus A. Ryan's fine art images come under the collective title of "Involuntary Sculptures" which he has broken down into 3 distinct subsets, floral, fruits & vegetables and shells & skulls.
Seamus approaches his floral studies from a background in portrait photography. His intention is to try to show his subjects as more than just the object itself.
Seamus has exhibited widely, including at Victoria and Albert Museum, London, Museum of Fine Art Houston and the Worcester Museum of Art. His work has appeared in the British Journal of Photography, the Observer Magazine, Times & Independent newspapers.
Inspired by the great portraits of the 15th, 16th and 17th centuries, Maria creates fabulous and original new works of oil and collage, incorporating Spanish and Belgian linens, antique lace embroidered by her grandmother, ribbons, hessian and even shells collected on her travels.
These portraits have been shown in several exhibitions and are now held in private collections in Mexico, Argentina, London and Shanghai.
John Bauer is an established ceramicist who lives and works in Cape Town. His work has been exhibited world-wide, and collected by two museums before he was thirty.
He is globally recognised for his unusual, cutting edge developments in Porcelain production. Using Sung Dynasty techniques, the images on his work rise above the surface of the clay. They are not negative impressions, but positive ‘expressions’ from the clay’s surface.
He perfectly reproduces in porcelain the trappings of a past age, where skill and craftsmanship were an artist’s primary concern. By appropriating rare coins, carvings, lace and organic substances he not only references the technologies of the past but archives them for the future.
John Bauer pushes the limits of what is technically possible in ceramics. A sentimentalist, he salvages antique crochet cloth, linens and lace and makes these materials immortal by recreating them, stitch by stitch, in porcelain. He is able to enlarge them to gigantic proportions or offers them in an extreme diminutive form. There is always a surprise factor in his work. It is full of light and translucency. Love is a central theme in Bauer’s work. He sometimes uses the inspiration of netsuke, old coins, flowers, found objects and dolls to embellish his work. His signature bowls carry his artwork of mythical creatures and angels whispering words of wisdom and love.
Jeanne Lorioz was born in France in 1954 and studied at the ‘Ecole Superieurs des Arts Appliques’ in Paris.
In these delightful works, the artist seems to frankly laugh at the notion of magazine beauty, capturing her magnificently over-exaggerated female figures in moments of supremely feminine contemplation, dressing or lounging or dancing; alone, in groups or accompanied by their pets, and occasionally by somewhat diminuitive male companions. While much of her work is playful, many pieces also have a gently nostalgic feeling that borders on melancholy.
We have a collection of Limited Edition Prints as well as original paintings.
James Holdsworth’s art deals with issues of urban complexity and the relationship between modern society and its icons. The icons play a role in a complex story that takes place mainly in the background of the canvas.
It is contemporary life as seen through a looking glass of mass communication. Faces of infamous figures, both good and bad, politicians and rock stars, revolutionaries and pop icons all gaze out of the canvases as we gaze back at them, obstructed only by drips of paint, varnish and glitter. They are locked in a shiny, visceral cocoon that appears to be physically melting in front of our eyes.
Helen Lyon’s photographs of women are both beautiful and arresting at once. Their small scale, muted colours and incongruous focus enables Lyon to portray a glimpsed intimacy. They are ethereal and glamorous works, the image of pared down antiqued luxury.
Lyon has worked as a fashion photographer for many leading style magazines including Harper’s Bazaar and her work has appeared in titles such as Vanity Fair.
Lyon’s Mixed Media works are hand printed onto watercolour paper in editions of only five. The images take her experience of fashion photography a step further, creating unsettling but beautiful images that the artist has worked into with paints and inks, developing a story beyond the initial image. Their diminutive scale makes them highly intimate and very personal glimpses into the female psyche.
David Chow is a fine art photographer based in Cambridge; he studied photography at degree level and printmaking at master’s level at the Cambridge School of Art.
Chow's alternative printing techniques are inspired by those of the old masters of photography. He is passionate about using such techniques as they have an ability to capture an expansive tonal range, resulting in a unique luminescence.
The power of Chow's photography lies in its simplicity and his ability to capture beauty in both living and dying flowers.
Carla Kranendonk’s work is inspired by her travels in West Africa and the Caribbean. It is a tribute to the beauty, pride, tragedy, strength and humour of the African and Afro-American people. She tells their colourful stories with vibrant paints, combined with collage techniques using beads, fabrics and photographs.
Born in 1961 in Steggerda, a very small village in the North of the Netherlands, she studied between 1984-1987 in Amsterdam at the Rijksacademie vanBeeldende Kunsten. She lives and works in the Dutch capital.