Sir Peter Blake on John Minton

Sir Peter Blake revisits his memories of British artist John Minton, his tutor at the Royal College of Art in 1953, reflecting on his influence on his own practice.

The exhibition ‘John Minton: A Centenary’ runs at Pallant House Gallery, Chichester, from 1 July – 1 October 2017.

This major exhibition marks the centenary of the birth of John Minton, a bohemian figure in London during the 1940s and 50s who counted Michael Ayrton, Lucian Freud and Keith Vaughan amongst his friends. The exhibition explores the artist’s achievements far beyond his reputation as a leading post-war illustrator and influential tutor.

Curated by Simon Martin, Director of Pallant House Gallery, and Frances Spalding, art historian and biographer of Minton.

‘John Minton: A Centenary’ is kindly sponsored by:
Irwin Mitchell
The Doric Charitable Trust
The John Coates Charitable Trust
The John Young Charitable Settlement
The John Minton Supporters’ Circle
Sanderson (Paint supplier)

Visit for more information.

Film by Jon Adams.



On February 8, Solaire Resort & Casino and Galerie Roberto, launched “Infinity +”, the solo art exhibition of “Visual Olympian” Joe Datuin. It showcases his latest geometric abstraction works featuring the infinity symbol, an imagery that signifies unending prosperity, positivity and abundance.

“Infinity +” is the result of combining all the artist’s influences and original creative invention. It is also his artistic response to a major influence – American pop visual artist Andy Warhol – who created a “Dollar Signs Series” of silk screen works. In the Dollar Signs, Warhol is quoted saying that “big-time art is big-time money” and, with his brutal truthfulness, bluntly printed the sign for money as the sign for art.” In this tradition, Joe uses the infinity sign, believing that art nowadays, is defined by many possibilities.

While his past exhibition pays homage to masters whom he looks up to, “Infinity +” showcases the amalgamation of his influences. In here, he distills the admirable qualities from the works of masters, like the simplicity of Mondrian’s lines, the childish playfulness of Miro’s compositions, and the vivacious burst of colors of Matisse’s collages – to create his own style. The series presents his signature “Fusion” technique which combines two dimensional art with stainless steel forms.

The exhibition is also two-part, and is composed of works from past shows, as well as new creations. The variety offers a polarity of the old and the new, and a visual hindsight of the artist’s stylistic progression through the years.

Part of the proceeds will be donated to fellow Filipinos who were victims of the military unrest in the province of Marawi in Mindanao.

Who is Joe Datuin?

JOE DATUIN (b. May 7, 1956, Pangasinan, Philippines) is a world renowned Filipino Visual Artist and Sculptor. He studied Fine Arts at the University of Santo Tomas (1977) and received an art residency from the Vermont Studio Center in Johnson, Vermont (2002). Among his notable recognitions are: Grand Prize in the International Olympic Committee Sport and Art Contest (Sculpture Category) during the Beijing Olympics (2008); the Ani ng Dangal Presidential Award for excellence in visual arts conferred by the National Commission for Culture and Arts (NCCA) (2009); and The Outstanding Filipino Award (TOFIL) by the Jaycees Senate (2011), among others.

Apart from prestigious local art establishments such as the NCCA (2008), CCP (2006), GSIS Museum (2004), National Museum (1992), UP Vargas Museum & UST Museum (2006) and the Ayala Museum (2000), he has shown his works abroad in venues like: Agora Gallery, New York, (2015); and in various Philippine embassies and consulates in Paris, New York, Vienna, Milan, Brussels, Berlin and Amsterdam during his America – Europa Art Exposition, a touring group exhibit that ran from 2001-2002.

Lastly, he has participated in a number of significant international art festivals such as: the Anima Mundi International Exhibition in Venice, Italy (2017); and the 10th and 11th Florence Biennale in Florence Italy (2015 and 2017).

For more information on the exhibition, contact Galerie Roberto at mobile (0998) 5955764 or email

Exhibit runs until March 31, 2018 at “The Gallery” at Solaire Resort and Casino. “The Gallery” is open at all times. For gallery assistance, visit Mondays to Sundays from 10AM – 10PM.





Sweet, Sweet Galaxy by Pip & Pop

Sweet, Sweet Galaxy by Pip & Pop

Smiths Row, The Market Cross, Cornhill, Bury St Edmunds, Suffolk IP33 1BT
Tel: +44 (0) 1284 762081

We are happy to welcome Australian artists Tanya Schultz, Nicole Andrijevic and John Kassab to Smiths Row in what is their first major British show. Schultz and Andrijevic have worked in collaboration since 2007 using the alias Pip & Pop and this is their second collaboration with sound artist Kassab.

Sweet sweet galaxy is a unique installation depicting an infinite psychedelic landscape. An amalgamation of numerous materials including coloured sugar, fine sand, cake decorations, origami, found objects, LED lights and sound, this colourful sensory kingdom will be constructed directly in the gallery space in early January.

The soundscape, created in collaboration with Melbourne-based John Kassab, adds another layer of immersion to the audience experience and sense of being transported to a faraway or imagined place. Whilst the soundscape adds to the narrative of the imagined landscape, interpreting the sounds with sugar has been central to Pip & Pop’s process when working with John.

The sugar used in this exhibition has been kindly donated by Silverspoon. As the sole producers of homegrown British sugar the company supports 1200 East Anglian beet farmers. According to Dan Gough of Silverspoon: "the sugar used in this exhibition was grown an average of 30 miles away from the gallery".

Posted by Karen Roe on 2011-02-19 12:44:31

Tagged: , Smiths Row , Art , Gallery , Exhibition , Pip & Pop , Sweet, Sweet Galaxy , Sweet , Galaxy , February , 2011 , Australian , Artists , Tanya Schultz , Nicole Andrijevic , John Kassab , Show , Unique , Psychedelic , Sugar , Coloured , Sand , Decorations , Origami , Paper , Objects , LED , Sensory , Kingdom , Space , Imagine , Magical , Silverspoon , British Sugar , East Anglian , Sugar Beet , Beet , Bury St Edmunds , Suffolk , England , UK , Great Britain , Karen Roe , Canon , 400D , Canon EOS 400D , Digital , Camera , Photography , DSLR , Photos , Image , Explore , Interesting , Inspiration , Geotagged

08-02-18 2 Shinkichi Tajiri

08-02-18 2 Shinkichi Tajiri

Het glazen Museum het Valkhof (Ben van Berkel) staat aan de rand van het Valkhofpark, waar ooit een Romeins legerkamp lag en waar later keizer Karel de Grote zijn burcht liet bouwen. Behalve een grote verzameling Romeinse archeologie heeft het museum een mooie collectie moderne kunst, met de nadruk op Nederlandse kunst van na 1960; in het bijzonder Pop Art.

galerieopweg reisde zondag af naar Nijmegen voor de opening van een schitterende tentoonstelling ‘Hortisculpturen’ van Ferdi (1927-1969).

‘wilde tijgerlelie die zij al
hier in haar zelfgemaakte lustwarande was’

dichtte Lucebert in 1969.

De fantastische, meer dan vijf meter lange, Damsel Dragonfly (1967) staat centraal in een ludieke, psychedelische tuin met sensuele en vleselijke planten, gemaakt uit gelast vlechtwerk, overtrokken met schuimplastic, kleurrijk kunstbont en exotische stoffen. Wel jammer is dat je in de -mooie- museale presentatie die heerlijke werken niet mag ‘betasten’, want daar nodigen ze openhartig toe uit.

Ferdi Jansen studeerde begin jaren ’50 in Parijs bij beeldhouwer Ossip Zadkine en bij haar latere echtgenoot Shinkichi Tajiri, en behoort met, Yayoi Kusama, Eva Hesse en Louise Bourgeois tot de emancipatoire generatie vrouwen die met hun werk in het mannenbolwerk van de kunsten wist door te dringen.

Giotta en Ryu Tajiri stelden een monumentaal overzichtsboek samen met bijdragen van Mirjam Westen, Dick Hillenius, Frank van der Schoor, en Sylvia Nicolas, waarbij in het foedraal opgenomen een facsimile van het herdenkingsboek dat Shinkichi Tajiri in 1970 op eigen persen in een oplage van 500 exemplaren drukte.

Posted by GALERIEopWEG on 2008-02-18 20:05:15

Tagged: , Ferdi , Damsel Dragonfly , Hortisculpturen , Museum het Valkhof , Nijmegen , Ben van Berkel , Ossip Zadkine , Shinkichi Tajiri , Niki de St.Phalle , Yayoi Kusama , Eva Hesse , Louise Bourgeois , Karel de Grote , Lucebert , GALERIEopWEG , art , kunst , galerie , weg , SWEET DREAMS / SLEEP TIGHT , 2008 , The Hague , The Netherlands , Nederland , travel , sculptuur , beeld , beelden , sculpture , skulptur , gallery , tentoonstelling , exhibition , expositie , exposition , Den Haag , exhibit , Sweet Dreams , Marcel Prins

Jennifer Mawby Studio Visit

Jennifer Mawby Studio Visit

I popped in on Jenn Mawby this week preppin "The Sun, The Moon & The Stars" show at Grace Gallery:…

Posted by Kris Krug on 2010-09-01 05:49:40

Tagged: , artist grace gallery , art , gallery , studio , art gallery , art studio , gastown , dtes , eastside , Vancouver , mawby , jenn mawby , jennifer mawby , grace , grace gallery , the sun the moon and the stars , painting , painter , artist , studio visit , paint , fine art

Kirk Hayes, “Covered Beast” (detail)

Kirk Hayes,

at the Horton Gallery

"On the surface, Hayes’ compositions appear to be collages of torn paper, corrugated cardboard, yellowing masking tape, or scraps of plywood, however these illusory scenes are created by the artist’s hand through a self-taught process of using oil paint to imitate collage.

Both formally and conceptually the works in this recent exhibition are some of the artist’s most complex pictures to date. As a clever and darkly humorous culmination of Mr. Hayes’ masterful process, they also offer a sly commentary on the studio practice intertwined with the emotional contours of the artist’s personal narrative.

Kirk Hayes is a find…Bearing titles like “Float for the Cynically Melancholy” and “Rule by Fear,” Mr. Hayes’s works are more than just feats of clever craftsmanship. With their flat areas of muted color, varied textures and rectilinear designs, they are handsome formalist compositions. And while intimating bittersweet, obliquely autobiographical narratives, they slyly comment on modern art’s love of the raw and the naïve. – Ken Johnson, "KIRK HAYES: Launched To Sink." The New York Times, October 23, 2008.

Hayes’ oil-on-signboard paintings present themselves as collages of torn paper and cardboard on plywood or metal supports, and the trompe l’oeil effects are so convincing that many viewers leave his exhibitions assuming that that is just what they have seen. The often humorous tableaux are populated by characters that obey the rules of modernist assemblage; we easily read their roughly "torn" components as arms, legs, bodies and heads. Hayes favors matte, dry colors, and he makes great use of pink, foamy green and gunmetal blue. Each false tattered edge, painted shadow, smudged scrap of paper and rusted piece of sheet metal is a visual delight. – Charles Dee Mitchell, Art in America, March 2000.

Hayes’ trompe-l’oeil is instead a droll mockery of artistic media. You may think you’re looking at the raw wood of his signboard surfaces, but Hayes has covered the real surface with smooth paper before deftly re-creating the same texture in oil paint…And from there, you can trust that nothing is as it seems — not the look of metal, of fluid, of anything. He’s not hiding the technique of painting, but highlighting the illusionary character of art itself and driving his angst-ridden points home by doing so. Hayes’ version of tromp l’oeil owes more to graphic design and pop art than to older aesthetics, in the end looking like collage and packing the extra wallop of emotional baggage. – Christina Rees, "Master of Illusion," The Dallas Observer, October 14, 1999. "

Posted by Medieval Karl on 2012-10-27 17:58:51

Tagged: , art , gallery