Hugo Dalton

Victoria & Albert Museum Lightdrawings

2012-02-22T18:36:00.000Z

http://www.vam.ac.uk/content/articles/f/friday-late-bright-young-things/

MOTHER NATURE DANCE

2012-02-22T18:26:00.000Z

Crisis Warehouse

Willow Walk

Bermondsey

15^th Feb 2012

Dear Attendee,

Welcome to the Crisis Warehouse for the performance of Marquez&Zangs’ Unfashion. The work will take place at 7:15 in the main space, it is a flowing work so please feel free to walk around at any moment… beforehand please explore the various rooms and dancers within.

The work you will see examines the concept of failure within live performance. Marquez&Zangs are opening up cracks in the veneer of performance. It is the fluctuating balance between intention and reality. The models will find themselves failing and being forced to fail, to fall in the unknown.

Think of me as the choreographer of the planet. I like to erase, change, and add things during your little cameos. Like the performance it’s a knowing charade, it fades and becomes another set of shackles for you to maneuver and pose within. I am ‘kettling’ them… I am kettling you.

Mine always,

M.N. xxx

KALLIPHILIA at Vegas Gallery

2012-01-30T12:28:00.000Z

Selection of drawings made during the creation of the Alice in Wonderland at the Royal Opera House, Covent Garden.

http://www.vegasgallery.co.uk/

Private view Thursday 2 February

MOTHER NATURE BDSM at CRISIS

2012-01-24T09:36:00.001Z

http://maps.google.com/maps?client=safari&rls=en&q=se1+5sf&oe=UTF-8&um=1&ie=UTF-8&hq=&hnear=0x487603427fdf824f:0xb6701c9ba36b8ac2,London+SE1+5SF,+UK&ei=ZY0mT8mkCMXB8QOar_CoBw&sa=X&oi=geocode_result&ct=title&resnum=2&ved=0CDQQ8gEwAQ

http://www.bowarts.org/

FAS ECHOES SHOW

2012-01-24T09:03:00.003Z

ECHOES
New Year Group Show

10 January - 4 February 2012

'Echoes' presents a curator's pick of outstanding work available by the core artists of the Contemporary Department. Each of these works plays on the notion of an echo or a trace, be it visually or notionally. The exhibition includes work by Dan Coombs, Hugo Dalton, Graham Rich and Katie Pratt.

http://www.faslondon.com/fine_art_society_contemporary/exhibitions.html

COURTAULD EXHIBITION

2012-01-24T08:56:00.002Z

EAST WING X COLLECTION

MATERIAL MATTERS

The East Wing exhibition was launched two years later by Joshua Compston, a student who went on to become a brilliant and maverick curator, and died of an accidental drugs overdose in 1996 aged 25. His first Courtauld exhibition – billed as the first contemporary art show in the space since the Royal Academy's summer show was housed there in the 19th century – included Gary Hume, Gilbert and George, Langland and Bell.

The exhibition is planned, organised and fund raised by students at the Courtauld who have this year attracted 55 artists including Damien Hirst, Thomas Allen, Hugo Dalton, and Georgia Russell.

http://www.courtauld.ac.uk/east_wing/

Kahlo Review

2011-11-11T19:48:00.000Z

http://www.fadwebsite.com/2011/11/08/frida-kahol-drawings-for-dr-farill-post-box-gallery/

Polemically Small Show

2011-11-11T19:16:00.003Z

Curated by Zavier Ellis, Edward Lucie-Smith, Max Presneill & Simon Rumley

Private View
Thursday November 17th 6.30pm–8.30pm

Exhibition Dates
Friday November 18th – Saturday December 17th 2011

Gallery Hours
Wednesday–Saturday 11am–6pm
or by appointment

Address
336 Old St, 2nd Floor, London, EC1V 9DR

Contact
+44 (0)20 7739 4055
direct@charliesmithlondon.com
www.charliesmithlondon.com

Touring from Torrance Art Museum in California, this exhibition is based on the idea that small, today, is often much better than big. Featuring over 80 British or British based artists who all work on paper and none bigger than A3 in size, it invites viewers to engage with art intimately.

The exhibition in Torrance was almost certainly the largest display, in terms both of the number of artists, and also in terms of stylistic variety, of new British and British-based art ever seen in California. This exhibition reflects the do it yourself attitude of the curators, standing against bureaucracy and top down institutionalism, and demonstrates how young artists and committed curators can mount major events in difficult times.

Knowing how strong this show was the curator's considered it amiss not to present it in London. Despite the significantly reduced physical space from Torrance Art Museum to CHARLIE SMITH london, the curators look forward to mounting a huge show of small work in an intimate location, re-emphasising the fact that big is not always better than small.

All work is available for sale. For enquires & images please contact the gallery atdirect@charliesmithlondon.com.

EDITOR’S NOTES:

THE FUTURE CAN WAIT was launched in 2007 by Zavier Ellis and Simon Rumley. Conceived to provide a platform for emerging artists of the highest standard, The Future Can Wait has taken place each year during London’s Frieze week in industrial or historical locations of note. To date the project has focused on London based or educated artists working in all mediums including Gordon Cheung, Oliver Clegg, Adam Dix, Alexander Hoda, Sam Jackson, Monica Ursina Jäger, Jasper Joffe, Francesca Lowe, Alastair Mackie, Gavin Nolan, John Stark and Stella Vine and has led to gallery shows in Berlin, Los Angeles, Naples and Rome. The Future Can Wait is privately funded and as a museum scale curated exhibition provides an important and independent alternative to the art fair routine. In 2011 The Future Can Wait was presented in collaboration with the Saatchi Gallery to formThe Saatchi Gallery and Channel 4’s NEW SENSATIONS and THE FUTURE CAN WAIT.
www.thefuturecanwait.com

Zavier Ellis is the Director of CHARLIE SMITH london. He is also co-founder of the museum scale show for emerging artists The Future Can Wait and has curated exhibitions internationally including in Berlin, Helsinki, Klaipeda, Los Angeles, Naples, Rome and London. Known as an acute talent spotter he has identified and exhibited a number of important young artists straight from art college including David Blandy, Tessa Farmer, Sam Jackson, Monica Ursina Jäger, Annie Kevans, Nika Neelova and Douglas White. Zavier is also a practicing artist and has most recently exhibited at Paul Stolper Gallery in London and Museum der Moderne in Salzburg.
www.zavierellis.com

Edward Lucie-Smith is an internationally known art critic and historian who is also a curator, a published poet, an anthologist and a practicing photographer. He has published more than one hundred books in all, chiefly but not exclusively about contemporary art. Edward is generally regarded as the most prolific and the most widely published writer on art in the UK. A number of his art books, among them Movements in Art since 1945; Visual Arts of the 20th Century; A Dictionary of Art Termsand Art Today are used as standard texts throughout the world.

Max Presneill is a Los Angeles based artist and curator, originally from London, UK. He was the Founder and former Director of the artists initiative space Raid Projects and Director of the Mark Moore Gallery, Santa Monica from 2005-2008. Currently he is Head Curator for Torrance Art Museum as well as Director of ARTRA Curatorial, an independent curatorial projects management team. He has extensive experience internationally as a curator having organized exhibitions for museums, institutions and galleries in the US and UK, Australia, Japan, Mexico, the Netherlands, Turkey and more. Max is known as an international talent spotter and an authority on emerging art in Los Angeles. He is also part of the international movement of curators concerned with overseeing museums becoming more artist-centric. As an artist Max has shown throughout the world including Amsterdam, Istanbul, London, New York, Sydney and Tokyo and is represented by Durden & Ray, Los Angeles, and the Garboushian Gallery, Beverly Hills.
www.torranceartmuseum.com | www.artrala.org | www.raidprojects.wordpress.com

Simon Rumley founded the auspicious New London Kicks in 2005. An annual exhibition sponsored by The Armory Show, New London Kicks promoted British contemporary and emerging artists in New York in collaboration with Soho House NY and Wooster Projects. As well as showing breaking talent such as Tessa Farmer, Gordon Cheung and Stella Vine, Rumley was first to exhibit Katy Moran's work in New York before she was signed by Stuart Shave/Modern Art and Andrea Rosen. More recently Simon has co-founded The Future Can Wait and co-curated shows globally. Simon has also produced, written and directed six feature films including Strong Language, The Truth Game and Club Le Monde & The Living and The Dead. His most recent film, Red White & Blue, was released in the USA by IFC films and in the UK via Trinity X in September 2011.
www.simonrumley.com

Tresco Drawing Residency

2011-11-07T16:51:00.001Z

The island of Tresco is probably the most beautiful island in the UK. Its custodians the Dorrien-Smith family have a long standing commitment to supporting the Arts as well as a very fine collection on Modern British paintings. As part of this support they have made available one of their cottages to spend 2 weeks drawing the wonderful Abbey Gardens.

http://www.tresco.co.uk/

The Courtauld Institute of Art, Somerset House

2011-10-27T12:11:00.000+01:00

Pavement Drawing

2011-10-12T12:42:00.003+01:00

To celebrate the opening of this new gallery I made a work using the dimensions of the street pavement as a framework for the letters V I G O

http://vigogallery.com/

Working with Christopher Wheeldon

2011-09-28T16:51:00.001+01:00

Celebrated for his experimental reworkings of classical ballet, choreographer Christopher Wheeldon talks us through an innovative new dance piece, Morphoses, in which dancers create a 'movement sculpture' illuminated by the light projections of artist Hugo Dalton.

Lindsay Poulton and Michael Tait
www.guardian.co.uk
Wednesday 11 November 2009

The Future Can Wait

2011-09-28T16:38:00.001+01:00

The Saatchi Gallery and Channel 4’s New Sensations and THE FUTURE CAN WAIT

Dalton’s artistic vocabulary is derived from precise drawings made from life. He refers to these starting points as ‘thought patterns’. The artist fuses together different drawings to create works that act as abstract diagrams of our contemporary predicament. He has been selected to show new Lightdrawings at The Future Can Wait.

www.thefuturecanwait.com

The Fine Art Society Flag

2011-09-28T16:29:00.001+01:00

THE FINE ART SOCIETY
To be unveiled 6th October 2011

Launching in conjunction with exhibition curated by Turner Prize winner Jeremy Deller including new works by Chris Ofili and Peter Doig

Making a bold statement, the new Gold Standard Flag symbolizes the battlefield of commercialism often veiled with a projected support of environmentalism

“The Gold Standard Flag is a visual representation of the fight to acquire material trophies. Bond Street is one battlefield in a global campaign... I wanted to create a banner for this epic conflict." Hugo Dalton

The large banner hanging outside The Fine Art Society has been a constant presence in New Bond Street for the past 120 years. To coincide with a variety of new developments, including a new FAS Contemporary director, new website and major new show, The Fine Art Society is pleased to present a specially commissioned banner designed by FAS Contemporary artist Hugo Dalton which will be unveiled on the 6th October 2011.

Bond Street is synonymous with luxury goods and all things expensive. The Gold Standard Flag embodies the scramble to acquire worldly goods that this desire for luxury creates. Fabricated out of golden cloth, it appears to have been ripped off at the bottom, hanging blooded and torn from battle - but on closer inspection the rips are in fact an elegant line drawing, typical of Dalton, depicting leaves from a bull rush plant.

Hugo’s idea came from a visit to the Guard’s Chapel in Westminster where there is a majestic display of battle standards that line the Nave. These standards are taken from various different campaigns and each bears the wear and tear of their history. The Gold Standard Flag is a memorial version of such flags designed to reflect the commercial warfare of Bond Street and The Fine Art Society’s renewed entry into the fray with the progress of FAS Contemporary whilst emphasizing its long history of over 130 years of connoisseurship.

Book Cover for Derwent London

2011-09-28T16:18:00.001+01:00

The Derwent Book, The River and the Railway celebrates 25 years and gives a complete overview and history of the company. Create in collaboration with graphic designers Cartlidge Levene.

www.derwentlondon.com

www.cartlidgelevene.co.uk

Liberty of London Wallpainting

2011-09-28T16:17:00.001+01:00

New creative talent has always been captured and nurtured throughout Liberty’s trading history. Promoting innovative and fresh aesthetics is central to Liberty’s ethos blending the modern and antique in a unique environment.

The most recent inauguration of this artistic vision is the specially commissioned mural by artist Hugo Dalton, which joins the Lower ground floor to the First floor of the Eastern Staircase. It is a visual focal point within one of the stores main entrances from the onset communicating Liberty’s history as not just a store but a rich artistic emporium.

Hugo Dalton’s unique commission celebrates the urban existence of Liberty itself. Thin black lines of an ancient vine combine with the wooden features that are prominent throughout the Tudor House. Electrical wires form patterns against a backdrop of neon orchids from which industrial elements protrude. Raining down over delicate petal forms and clean lines of industrial machinery, Swarovski crystals twinkle lending an ethereal quality to the mural and quirkily the silhouettes of two London tourists repeat throughout the interlinked industrial and natural forms.

Dalton’s Liberty mural allows the viewer to be transported beyond the immediate confines of the space. The concurrence of industrial and natural elements anchor the mural in reality but the manipulation of line, colour and detailing create an ethereal and dramatic visual story.

Museum show in Lithuania

2011-09-28T16:06:00.001+01:00

The drawings that form the Torture Garden wallpainting are a direct reaction to the ‘Fachwerk Hall’ at Klaipeda’s main art museum. Representing the first site specific work to be commissioned by an institution in Lithuania the work explores the complex captive relationship mankind has with the environment.

Fachwerk is a German term for Framework, which refers to the timber construction of the room. Dalton’s work investigates the relationship between the physical and the representational. The oak framework in the Hall is a brutally constructed room; it is has been hacked out of the belly of Mother Nature.

The wall drawing features branches suspended using bondage equipment such as hand-cuffs and harnesses. The construction was created in Dalton’s studio and is a direct visualisation of the way in which the environment has become fetishised. The artist’s work is a dialogue with the arts and crafts movement and can be seen to emulate the decorative work of Morris and Co..

Photos courtesy Oleg Tolstoy

RHS Chelsea Flower Show commssion

2011-09-28T15:50:00.001+01:00

The Royal Horticultural Society (RHS) in partnership with Andipa Contemporary announce the commissioning of artist Hugo Dalton to create an exclusive work for the 2011 RHS Chelsea Flower Show.

The 20 metre by four metre canvas entitled ‘Constructed Nature’ comprises drawings Dalton sketched in The Chelsea Physic Garden and the National Army Museum. The hand painted canvas, to be completed on site the week before the show will be displayed at the end of Eastern Avenue and create a stunning feature for those entering from Royal Hospital Road. The concept behind Dalton’s canvas is to make a work that plays on the juxtaposition between the constructed nature of the flower show and the perceived permanence of the show gardens. When the show is over, a print of the work will be available to buy through Andipa Contemporary with a portion of proceeds to be donated to the RHS.

Claire Mander of Andipa Contemporary comments, ‘I am delighted that Hugo Dalton, a highly accomplished artist, much of whose work explores the delicacy, systems and strength of the flower and its relationship to the constructed world, has found a perfect match in this commission with an institution he has long admired.”

Alex Denman, Chelsea Show Manager says “Every year we strive to add new content to RHS Chelsea and push boundaries to enhance the visitor experience. This beautiful artwork is in the perfect setting for the world’s best gardening event and we are delighted to be working with such a talented young artist. ”

Solo Show at the Today Art Museum, Beijing

2011-09-28T15:23:00.005+01:00

A Rebellion Towards Elegance

“Art has always, in all cultures, had a link with the theatre, and, still more so, with the making of magic – with the process of transporting the spectator into a different realm. This is particularly the case with Hugo Dalton’s work. He is a maker of projections, but his artistic range extends well beyond this single technique. Recently, in London, he collaborated with Christopher Wheeldon’s international dance company Morphoses. Several reviewers pointed out that Dalton’s scenic projections represented a revival of the eclectic, experimental spirit of the Ballets Russes, as this existed in the 1920s, after Diaghilev’s severance from Russia.

One of the striking things about the Ballets Russes, in this second phase of their existence, was the lightness of touch of the designers, and a general sense of unforced elegance that still remained true to the experimental spirit of Modernism. This quality is also typical of Hugo Dalton’s work, and, fascinatingly, it meshes with something that lies at the very heart of the Chinese sensibility.

As commentators on Chinese culture have always been at pains to note, it is the image of nature rather than the image of man that lies at the core of the Chinese visual arts, and which also informs Chinese poetry. The worship of the natural is linked to what is sophisticated, and often highly artificial.

The element that Dalton adds to this is his mastery of technological means, though the directness and simplicity with which he obtains his effects is also very much part of his art. He sees no need to complicate when simple things – a simple as the touch of the Chinese brush – will do what is required. What one has here is something radical that is not afraid to have, and even to stress, a relationship with tradition. A rebellion towards elegance is something that I personally find sympathetic.”

Edward Lucie-Smith