LAST CHANCE TO SEE JAMES UNSWORTH'S SHOW AND 'THE RUSSELL HERRON COLLECTION'!

'The Russell Herron Collection' features work made around the themes of history, identity and location. It includes contributions from more than 30 great artists. Sarah Baker, Charlotte Bracegirdle, Maria Soledad Checa, John Clayman, Julie Cockburn, Katie Cuddon, Oona Culley, Stuart Cumberland, Beverley Daniels, Jeremy Deller, Steve Double, Lee Edwards, Karin Eklund, Stewart Gough, Lucy Harrison, Mark Harrison, Graham Hudson, Tim Knowles, Hugh Mendes, Mie Mørkeberg, Chloe Mortimer, Humphrey Ocean, Hadrian Pigott, Cian Quayle, Brian Reed, Giorgio Sadotti, Dallas Seitz, David Shrigley, Melanie Stidolph, Barry Thompson, John Tiney, Bedwyr Williams.

'I
love you like a murderer loves their victims' will make its final showing this Saturday. There is still a week left to step into the weird and unsettling psyche of James Unsworth and company. James' video, outrageously macabre, and disturbingly paradoxical, ventures into urges of gluttony and homoeroticism which finds its way into public toilets, alley ways and couches of the middle aged working class, twining itself with comic satirizing of homosexuality taking to the darkest and most shameless of situations. There are fast food transsexual bondage fuelled dismemberments, limbs dipping in and out of buckets and transsexuals masturbating into garbage together. Nothing about it is pornographic or horrific though, the performers are rapped in tap and their flesh is not exposed. It is more like a comedy bondage murder short film with blasts of pathetic empty screaming.

The gallery will be closed to the public for the month of August. However, If you wish to arrange a viewing of any of our artists' works, please feel free to contact us by phone 020 7837 1013 or email art@sartorialart.com. The gallery will reopen on the 28 of August with inspiring exhibitions and a brand new website. Enjoy the summer!

THIS WAS NOW - THE RUSSELL HERRON COLLECTION

 


Shadow Memory 2006
Oil on canvas, twig & plinth 175 x 120 x 35cm

 


New York, London, Paris (Stupid Fucking People) 1998
140 Toilet paper rolls and chrome roll holders, 200 x 280 x 10cm

 
 
Oona Culley
Last leaves on the tree
whose unseen presence echoes
as a memory.
Shadows of what's gone
still remain in the present
as if time compressed.
 

Hadrian Pigott
The work is both a celebration and a critique of personal choice and
the quest for individuality, quilted, scented and embossed white is the choice in Manhattan , standard white and five pastels for the most
part in London , a preponderance of pinks, floral prints and crazy purples in Paris.

 
 


Vague Cover 2007
Photo: Iain McKell, Vague Paper 4, Cover, 25 x 30 cm framed

 



Hands 2007
Oil on Bought Picture 46 x 61cm

 
 
Sarah Baker
Sarah has some work in this new issue of Vague and also some fly posted up in the gallery. It's great stuff. Undiluted, unapologetic and unafraid to be what it is. In these piece she is wearing her sunglasses with her familiar signature across the lenses and she's all blinged up and behaving a magazine format. Part art star, part celebrity in her own right, she happily plays with branding and surface and celebrity and glamour and fashion and icons images and logos and identity. Phew. But she offers no easy critique of all this stuff: merely posits her own construct in its place. Perhaps she's trying to see how far this can go. Perhaps it goes all the way. I guess, yet, we none of us know what her work could be. Much of the time what she does doesn't even look like art. How good is that?? Russel Herron's Blog
Friday 16 February 2007
.....................
Charlotte Bracegirdle
My work is based around the subtle traces that we leave behind. When a person no longer occupies a space everything appears different, but visually nothing is altered.
Everything looks, smells and feels as it was when that person was there. But the image is not the same despite evidence telling you that it is.
The pictures become empty stages, deserted and uncanny ? left only with hints of past activity. When talking about the story behind the movie ?Eternal Sunshine Of The Spotless Mind', where people can have their memories erased, Pierre Bismuth comments: ?What situations would arise as a result and how would you deal with those possibilities?
For me, all activity ? art, film etc ? are traces that occupy space, even if you are only trying to do something simple. By erasing you are simply adding. Charlotte Bracegirdle
 
   

 

   

JAMES UNSWORTH - I LOVE YOU LIKE A MURDERER LOVES THEIR VICTIMS

............................................
No One Will See the Show, No One Will Write About the Show, ............................................................ Bernard 2009
What is the Point of the Show? 2009...................................................................................................Archival Giclee print mounted on aluminium 297 x 420 mm
Archival Giclee print mounted on aluminium 297 x 420 mm

Set on a university campus the photographs and movies from ' I Love You Like a Murderer Loves Their Victims' revel in their low budget aesthetic, framed by empty educational spaces that induce a sense of isolation, tension and danger. The scenes are populated by hyper-unreal depictions of murder, sex and dismemberment, comic/horrific figures engaged in acts of disembowelment, degradation and desecration while piles of body parts are splattered with simulated bodily fluids and are gradually engulfed by smoke. Scenes inspired by the low budget horror movies of his youth, research into homosexual serial killers and the life and death of Joe Orton and Kenneth Halliwell are spliced together into an incoherent orgy of on screen horror.

Minimally displayed in a white cube gallery setting the horror, stench and gore is all in the images allowing the viewer a voyeuristic look into a world of violence and inhumanity.

.................
Bloobath
2008 Screenprint, Unique, 38 x 66.5cm ........................................................................ Vegas Bloodbath 2007 Pen and Ink, 30 x 42cm