Pinch Zoom – Zandra Stratford
An exaggerated, minimalist detail of motifs; reflex curves, concrete and muted tones, subdued typography reduced to letterforms without context. This work contains almost as a reference the entire palette and trope of related pieces. It exudes a quiet confidence and authority, like the index of a book or an architectural blueprint, from which other pieces are derived.
Mirror Mirror – Gillian Hyland
The photographs are part of an ongoing project called ‘Words in Sight’, the narrative series is inspired by poetry written over the past decade. The pictures are a new perspective on past events, the composition of each image suggests a larger narrative within a single moment, with the emotional expression at it’s core.
Supernova – Richard Hoey
This piece finds its inspiration in the ‘pedra portuguesa’, a hand laid paving formed from hand cut limestone. Supernova is based on the idea of a mandala; a focal point for concentrating one’s mind. The subject reflected on here is impermanence, one of life’s great questions. ‘I took the design of a famous paving stone used in the city of Sao Paulo, which itself is in a phase of ‘disappearance,’ states Hoey.
Copper in Verdigris Orb IX – Mark Beattie
Copper in Verdigris Orb IX is created from one continuous copper pipe with no obvious beginning or end. Made for display either indoors or out, the centre of the piece which remain shiny, as it is both polished and lacquered.
Crowland – Chris Kenny
Crowland is a complex map ‘drawing’ made from collected map fragments which are mounted on pins and so appear to float together in a three-dimensional collage. It is an abstract composition where the elements are not abstracted from nature but derived from the world through the medium of cartography. The title is taken from one piece of map, a little township in Canada called Crowland – it also draws attention to the impression that black birds cover the land.
Proud to be sponsored by
LATEST EXHIBITION: Marilyn Stafford: Silent Echoes – Portraits from the Archives
19th – 27th October
10AM – 6PM TUESDAY TO MONDAY
This exhibition, curated by Nina Emett of FotoDocument and supported by Olympus, features Marilyn’s portraits which are some of her most iconic work, spanning a wide range of international household names across fashion, politics, art, film and literature. The exhibition also includes lesser known figures – but equally deserving of a place in history – including Francesca Serio, the first Italian person to bring the mafia to trial for killing her son or Algerian mother who fled to Tunisia during Algeria’s War of Independence featured in The Observer 50 years ago in 1958.
THE PERFECT VENUE FOR A RANGE OF EVENTS
After Nyne Gallery is centrally located in Portland Road, five minutes from Holland Park Underground Station (Central Line), well served by buses on Holland Park Avenue and surrounded by some of London’s finest restaurants and retailers. Located in one of London’s most exclusive neighbourhoods, the After Nyne Gallery is an elegant, stylish solution for your event needs.
After Nyne Gallery is proud to be collaborating with Lily Ackerman on Ackerman Studios x After Nyne Gallery, a bespoke art advisory service that connects emerging & established contemporary artists to some of the most innovative spaces across the UK – whether they be for businesses such as hotels, restaurants, retail outlets or residential/office spaces; or for distinctive private homes.
Building on over a decade of experience, Lily Ackerman works closely with spaces including 45 Park Lane (part of the The Dorchester Collection) as well as curating private spaces and working on bespoke commissions.
Capitalizing on her extensive relationships with artists and galleries, Lily is an expert at transforming the way people interact with art – making it a spectacular part of the everyday. She is a great advocate of both emerging and established artists and is continually looking to discover the most exciting new talent, as well as nurturing relationships with established figures with whom she already enjoys long-standing associations.
Here are Lily’s choices:
I am instinctively drawn to the bold, impactful shapes that make up Zandra Stratford’s works. Pinch, Zoom’s use of typography and colour palette make it one of my favourite pieces. The layering of contrasting tones, textures and shapes build up a visually rich landscape. It’s mesmerizing. Pinch, Zoom embodies the visual language Zandra uses in her Gorgeous Filth series. It’s the starting point, the base idea from which to trace her other works. I love that you can pick out references to this in her other pieces.
He Maketh and Selleth
Richard Hoey’s works struck me from the moment I saw them. I am deeply interested in the processes and questions he grapples with in his work. The crossing of cultures, the passage of time, decline, disparity and change. Hoey so cleverly brings these themes into play with his use of ‘pedra portuguesa’ (Portuguese stone) shapes, flocked wall paper and gold leaf. He Maketh and Selleth strikes me in particular for the simple use of shapes and textures. I love the fact that beneath this beautiful surface lies real depth and questioning. Literally under the pavement!
Gillian Hyland’s photography weaves a story around the viewer. Posing questions and drawing you into the detailed, set designed frames. Like snapshots of time, they leave you wanting more. Look Away is particularly mesmerizing. The use of lighting, the mist the dynamics between characters. I want to know more, the house, the car. Where are they and why? The ultra luxe quality of her works reminds me of a Tom Ford film, highly stylized with emotion so powerfully conveyed. I feel at the same time voyeuristic and also complicit in the scenes. I am engrossed in the moment. Frozen in time, like the characters in her images.
Chris Kenny was born in London and studied art history at the Courtauld Institute. He has been exhibiting since 1985 in Europe and America and is collected internationally.
Chris Kenny works with humble, found materials: bits of book, bits of map, bits of wood. He transforms them into fragile pertinent worlds to scrutinise and in some cases be scrutinised by. From a distance his text assemblages are variegated, geometric bas-reliefs suspended in shallow vitrines. As one approaches, the detail becomes clear: poetic phrases instructing, interrogating or educating the viewer, arrayed in tiny terraces. There is a taxonomy of fonts, paper textures and shades, a balance of poignant fragility and absurdist wit, a tension between the flimsiness of existence and the wish to comprehend.
Chris Kenny has works in the British Museum, the V & A, and the Museum of London; as well as in private collections in the UK, Europe & America.
Chris Kenny’s solo show ‘Twigs and Text’ is being held at After Nyne Gallery from 19 September – 6 October 2018. A special ‘conversation with the artist’ will be held at the Gallery at 7pm on Thursday, 4 October.
Are you interested in becoming an After Nyne artist?
We are a curated gallery, but always happy to review new work. Please be in touch!