Gerald Shepherd: Self Portraits Since 1976 – Set Two

Gerald Shepherd: Self Portraits Since 1976 – Set One

Gerald Shepherd: Portraits Of My Wife

Gerald Shepherd: The Making Of Figure In Front Of A Mirror

Portrait painting is a genre I actively explore.

This work doesn’t break new ground stylistically as I have been overlaying facial feature variations on colour blocks for close to thirty years.  However I was quite interested in the idea of painting on a mirror so the spectator see themselves as well as the person portrayed in various combinations.  Also in the shots of the painting being completed the artist is visible within the picture.

As a final act of spontaneous perversion before I added all the images I turned the painting upside down!

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Paul Malone And Nicola Rae at Kinetica Art Fair 2012

The PM+NR Project.       Kinetica Art Fair 2012 : Ambika P3 : Stall 39.             Contact

Paul Malone and Nicola Rae will be showing at the Kinetica Art Fair in February 2012.
You can find them at the Stand No 39 at the Ambika P3 venue on the Marylebone Rd., London. This is underneath the University of Westminster building.
The panels below will give you an idea of the work on show, or please visit their individual websites.
Kinetica is at : Ambika P3, 35 Marylebone Road, London, NW1 5LS
9th to 12th February 2012
Paul Malone informs his artworks by reference to alternative, lost and forgotten scientific theories, especially in the area of cosmology. The series of projects associated with this thread come within the remit of ‘Cosmological Conceits’, describing the modeling of the Universe in terms of assemblages of the commonplace. At these times, Paul turns for assistance to the model railway community. Here at Kinetica, the extended project ‘The Inconstant Heavens’ explores historical interpretations of the morality of the night sky. Based on an essay by Livio Stecchini, fragments of text from Galileo, Newton and others swirl around inside perspex tanker wagons. These in turn orbit ‘perpetuum mobile’ around a celestial trackway.

Paul studied at Reading University (1976) and the Royal College of Art (1980) and has at studio at APT in Deptford. Recent exhibitions include Currents 2011, Santa Fe, Venice Biennale Collaterali 2011, Art Life for the World Gallery and ‘Perduto Padre’ CAVE Project Space, Sistiana, Trieste 2011. He also runs Ottica TV contemporary art channel and the Hybrasil sandpit.

Nicola Rae’s art practice engages with sound frequency visualisations in response to acoustic experimentation. Through the use of sound emission analysers, live sonic processes are made visual and projected as interactive installations. By activating a variety of microphones these sound frequency visualisations respond to voice, which often becomes reciprocal vocal/visual play, and continues into reflexive experimental noise production. Recent sound frequency installations have been activated by acoustic sounds, which have been recorded using a variety of microphones including hydrophones.

During 2011 exhibitions included: ‘Tap Drip Frequencies’, CUBE4x4x4, Mannheim, Germany; ‘MAPPING PROJECT: Markers 8’, during 54th Venice Biennale, Italy; ‘Track Changes: LV21 Lightship’, Gillingham, Kent (Arts Council England). In 2010 exhibitions included: ‘Erased Walls: Mediations Biennale’, ConcentArt e.V, Kreuzberg, Berlin; ‘SOUNDCITY: Action Field Kodra 10’, Thessaloniki, Greece; ‘DériveLab: project 2: Sound and Interaction’, C4CC, 16 Acton St, London (funded by Goldsmiths + University of London).

Gerald Shepherd: More Selected Works

THE STORY SO FAR:

I started painting in the early Seventies and by the end of the decade had evolved an entirely original approach to creating visual art (totally be accident I should add) which utilises ideas from all the sciences, mathematics, musical forms and theatre – as previously mentioned I called this Ionist Art (mainly as a joke!).

As I was constantly experimenting with this new creative technique I usually did two works in one style and then perhaps two more in another etc. etc..  However at the start of the new millennium I began to combine observation with the sequential and developmental nature of my previous work in an attempt to create a brand new landscape and portrait painting tradition.  I subsequently did a very large number of landscapes and portraits.

Since then I have tended to divide my work into four: my serial based work which I now call MEDITATIVE PROCESS ART, my landscapes (which I market under the name WESSEX VISIONS), my portraits (which I market under the name THE MODERN PORTRAIT PAINTER) and miscellaneous experimental work which I have taken to assigning to a series of pseudonyms.  They have strange names and strange identities and even stranger adventures of their own.

Here are a further ten pictures: