Catalogue - Hormazd Narielwalla

Transcription

Hormazd Narielwalla
THE ARTIST REVITALISING BESPOKE
SAVILE ROW, ANTIQUE AND CONTEMPORARY
TAILORING PATTERNS AS UNIQUE
PAPER COLLAGES.
Catalogue 2016
Hormazd Narielwalla (1979) is a London-based artist who works in collage.
Narielwalla uses found materials; bespoke Savile Row tailoring patterns, and their
antiquarian
and
contemporary
trade
counterparts,
to
create
artworks
exploring the body in abstract form. Narielwalla’s work is a meditation on the human
condition. His new series of works Lost Gardens, an exploration of the notions of culture and
migration,
is
commissioned
and
currently
exhibited
by
Southbank
Centre. His work was shown at V&A Museum London Shop and he has won
the 2014 Saatchi Art Showdown Prize - The Body Electric at Saatchi Gallery.
In September 2016 Narielwalla won the Paupers Press Prize at the International
Print Biennial in Newcastle, UK, resulting in a new commission to be shown at the
Royal Academy of Arts London in April 2017.
Since Narielwalla’s first Solo Show,
Study on Anansi, was sponsored and exhibited by Sir Paul Smith in 2009, he has
developed a permanent presence and critical acclaim in the academic and
commercial art world alike. His work has been commissioned by Crafts Council for the national
touring exhibit Block Party (2011) and Collect 13 at the Saatchi Gallery (2013). He
exhibits regularly in London, and has shown work in Melbourne, Stockholm and Athens
as well as at Scope Art Fair in New York (2010) and the India Art Fair, New Delhi (2014).
Other
collaborations
and
associations
include
Centre
of
Possible
Studies
-
Serpentine Gallery; Beams Tokyo; Artbelow; Jigsaw; Tiger of Sweden; Hyatt Regency
London – The Churchill and CHART gallery. Narielwalla’s work is held in public and
private collections worldwide, including the British Library; the National Art Library, INIVA;
Fashion Institute of Technology, New York; and Parsons School of Art & Design, New York.
Narielwalla holds a PhD from University of Arts, London, and is the author of a
biography of Master Tailor Michael Skinner, The Savile Row Cutter (Benefactum, 2011). His
practice began in the workrooms of the tailoring firm Dege & Skinner in London’s Savile
Row, with an artist’s book, Dead Man’s Patterns (2008), which reflects on the bespoke suit
patterns of deceased customers. Narielwalla has worked with patterns from many sources,
including 1970s luxury lingerie (Lady Gardens), antique magazine inserts (Le Petit Echo de
la Mode), uniforms from the British Raj (Love Gardens for COLLECT 13), and a 1920s tailoring
manual (Hungarian Peacocks, 2013). These artworks propose a new interpretation of tailoring
patterns as interesting abstracted drawings of the human form. Freed from function they are
drawings ahead of their time, anthropomorphic in origin and beautifully abstract in isolation.
Winner of the Paupers Press Prize
at the International Print Biennale, Newcastle, 2016
resulting in a new commission to be unveiled at the
Royal Academy, London in April 2017.
Winner of The BodyElectric Saatchi Art Showdown Prize 2014. Judge Raffi Kalenderian:
“I love the colours and composition of Hormazd Narielwalla’s piece. The scale of
the work is perfect. When I read about his process of making collages and finding
radical abstraction within antique tailoring patterns, sourced from a Parisian fashion
magazine, I thought: ‘This is an artist after my own heart.’”
Tailoring patterns are a means to an end. These technical mathematical drafts have
been developed since the late 1500s, drawn on various kinds of paper, and used
to create structured clothing. They carry with them the outline of the garment, and
also a representation of the body. Every artwork or series begins with a response to
the patterns as the fundamental focus bringing to light their qualities as shapes in
themselves. The role of the ‘body’ has played a recurring theme in artworks since
Dead Man’s Patterns (2008) an artist’s book inspired by the bespoke suit patterns of a
deceased customer, cut by the eminent Savile Row tailors Dege & Skinner. The tailors
would ceremoniously shred the patterns of former clients, since there is no value in
the parchment without the body. The photographic sequence depicting the making
of the garment is charged and ghost-like within the context of the title Dead Man’s
Patterns; where the patterns make the absent figure tangible’. Each section of the
book suggests different physical states of the ‘man’ with a sense of formal preparation
for burial. The physical man is never there; the book’s pages gesture towards intimacy
even though they are merely paper.
In my most recent works (2013-2014) the female form is shattered into precise
overlapping facets, flattened not as multiple views of a subject but as the object itself
made from single pattern sheets. These compositions recall the Cubists, who strove to
paint pictures that compressed the sensation of all faces of an object simultaneously
into one image. Art historian Arnason in History of Modern Art (1988) explains that
‘the cubists like Picasso and Braque broke ancient system’s fixed, unitary, hierarchical
focus into democratically multiple perspectives, they created a mixed or composite
image, presented as if viewed from many different angles at once’. In this context it is
significant to position patterns as relevant 2D flat representations of 3D bodies. Like the
Cubists, tailors analyse bodies and produce drafted mathematical patterns that can
be viewed as the entirety of the body. Tailoring patterns are artefacts in themselves:
they present every facet of a garment, and inevitably the body along with it, on a
single sheet of paper. These patterns seduce me, not to cut and detach, but to leave
intact and explore the multiple aspects and angles of the body by filling in the planes.
In the process this becomes a realization of the Cubist philosophy. The history of these
radical original pattern abstractions from fashion magazines (1897–1983) and the
history of pattern cutting (1580 onwards) predate the Cubist movement.
My work propose a new interpretation of tailoring patterns as interesting abstracted
drawings of the human form which have an inherent aesthetic quality that can be
used innovatively to develop a contemporary art practice. Freed from function they
are drawings ahead of their time, anthropomorphic in origin and beautifully abstract
in isolation.
CV
Education
2003-2006: The University of Wales, Newport, BA (hons) Fashion Design
2006-2007: The University of Westminster, London MA Fashion Design & Enterprise
2009-2014: University of the Arts London, PhD in Fine Art
Awards
Sept 2009: Awarded the first International Rectors Scholarship to read on a PhD at
University of Arts London
July 2007: Awarded 2 Erach Roshan Sadri Foundation grants for part tuition and
research.
June 2014: Winner of the Saatchi Art The Body Electric Showdown art prize.
Aug 2016: Winner of the Paupers Press Prize at the International Print Biennale,
Newcastle.
Publications
May 2008: Dead Man’s Patterns, artist’s book
July 2011: The Savile Row Cutter, published by Benefactum Publishers
Aug 2014: Hungarian Peacocks, artist’s book
Art Fairs
March 2010: Scope Art Fair, Lincoln Centre, New York curated by Diane Pernet
(ashadedviewonfashion.com)
May 2012: The Other Art Fair, London
May: Project Space, COLLECT 13, Crafts Council, England, Saatchi Gallery
Jan 2014: Solo show, India Art Fair 2014 represented by Birla Academy
of Art and Culture
Solo Shows
Oct 2009: A Study On Anansi, solo show, Paul Smith Gallery, London
Oct 2010: Hat-Parade, Bernstock Speirs, London
April 2011: Fairy-God, Fashion-Mother, 4Fashionshake III, Athens
Nov 2011: Fairy-God, Fashion-Mother, Modern Pantry, London
Jan 2012: Dead Man’s Patterns Memento Mori, Sheridan&Co, London.
April 2012: Showcase, Harvey Nichols, Knightsbridge, London
Dec 2012: Lady Gardens, Long White Cloud, London
Feb 2013: Love Nest, Margaret Street Gallery, London
Mar 2015: Saatchi Art, Timothy Everest Atelier, London
Sep 2015: Haute Collage, Art18/21, Norwich
Oct 2015: Showcase, Fashion Museum, Bath
June 2016: Body Architecture, Foundry Gallery with Saatchi Art, London
July 2016: Lost Gardens, Southbank Centre, London
Select Group Shows
April 2010: Drawing Out, Royal Melbourne Institute of Technology, Australia
April 2010: Art Below, Old Street Tube station, London
April 2011: Drawing and the body, KG52 Gallery, Stockholm, Sweden
Sept 2011: Block Party, Crafts Council, England.
Feb 2012: Imprint, Centre of Possible Studies, Serpentine Gallery, London
July 2012: Summer Salon, Islington Arts Factory, London
June 2013: Pap(I)er Fashion, Galerie Stihl, Waiblingen, Germany produced by
ATOPOS cvc in association with Barbican, London
April 2013: UNIT 3, Degreeart, London
Nov 2013: Connect, A-Side B-Side gallery, London
Feb 2014: Glue, CHART Gallery, London
April 2014: Spring Fever, Saatchi Suite, Hyatt Regency London – The Churchill
May 2014: Between the Lines, Degreeart, London
August 2016: International Print Biennale, Newcastle
Collections
National Art Library Special Collections
Rare British Modern Collection at the British Library
Stuarts Hall Library of Artist Books, Iniva collection
Courtauld Institute of Art collection
Fashion Institute of technology collection of artist books, New York
Central Saint Martin’s collection of artist books
London College of Fashion, Special Collections
Special Collections Kingston University, London
Bath Spa University, University of Wales, Newport
Edinburgh college of Art Special Collections
University of Winchester Special Collection of Artist Books
Manchester Metropolitan University
Somerset College, Arts & technology
Liverpool John Moores University Special Collections, Fashion Institute of Technology, New York
Special Collections, Parsons School, Art & Design, New York
Special Collections, University of Minnesota
Luxure Magazine, 2013
Press Coverage Selection
Guardian, 2016
Robert Elms Show, BBC London 2013
Femina Magazine, India 2014
South Africa Art Times, 2014
Drapers Magazine, London 2014
Channel 4, London 2013
Lost Gardens, Solo Show at the Southbank Centre
Lost Gardens
New work, Solo Show, Southbank Centre, London
14 July to 21 October 2016
A new series of work by emerging artist Hormazd Narielwalla will be unveiled at
Southbank Centre in London on 14 July. Lost Gardens, a specially commissioned body
of 12 artworks will be installed on the upper level facing the iconic river front. Creating
a contemplative promenade experience, the works are set to trigger reGlections
ranging from personal experiences of loss to the current political destruction of
community and culture.
Lost Gardens describes a visual journey that takes for its starting point the artist’s
memories of the rose garden in Pune, India, an idyllic spot he would visit with his mother
to choose their own roses, and watch the gardener cut and trim them. The garden
represented a place of solace, contemplation, and unity between humans and
nature. It was then sold and the rose beds built over during the economic expansion.
Taking the cue from these personal observations, the artworks on show invite the
spectator onto a journey into an intricate maze of layers of meaning. For each of the 12
works multiple readings become possible, depending on the visitor’s own experiences
and personal history. In the artist’s collages, carefully crafted from tailoring patterns,
geometrical shapes arise out of found historical material and create visual stories and
socio-political commentary through subtle editing and arranging.
To the political eye, in Narielwalla’s work an emotion of loss meets the human
longing for structure, but encounters instead the brutal mechanism of market guided
gentriOication and urban destruction. The garden becomes a metaphor for an
endangered refuge, a cultural shelter created through careful communal cultivation
and at constant risk to political recklessness. Putting a multicultural approach and
historical roots side by side at the heart of his practice, Lost Gardens becomes the
artist’s reminder of the fragility of the precious garden of beauty that is human culture.
Catalogue Artworks 2016
Lost Gardens No.1-No.12, 2016
L: 66 x W: 44 cm (each)
paper collage on antique French sewing patterns (late 1960s)
Sold (framed)
L: 66 x W: 44 cm (each)
Sold as a set (framed)
L: 66 x W: 44 cm (each)
£18,500 (framed)
Lost Gardens No.16, 2016
L: 55.5 x W: 39 cm
paper collage on original French sewing pattern
£1400 (unframed)
L: 55.5 x W: 39 cm
£1400 (unframed)
L: 55.5 x W: 39 cm
£1400 (unframed)
L: 55.5 x W: 39 cm
£1400 (unframed)
L: 55.5 x W: 39 cm
£1400 (unframed)
L: 55.5 x W: 39 cm
£1400 (unframed)
L: 55.5 x W: 39 cm
£1400 (unframed)
L: 55.5 x W: 39 cm
£1400 (unframed)
L: 55.5 x W: 39 cm
£1400 (unframed)
L: 55.5 x W: 39 cm
£1400 (unframed)
L: 55.5 x W: 39 cm
£1400 (unframed)
L: 55.5 x W: 39 cm
£1400 (unframed)
Pink City, 2016
L: 66 x W: 44 cm (each)
12 paper collages on antique French sewing patterns (late 1960s)
£18500 (framed)
Flying Over Aspen, 2016
L: 130 x W: 225 cm
paper collage on 10 antique French sewing patterns
Sold (framed)
Black Rose Garden, 2016
L: 130 x W: 225 cm
Sold (framed)
Stairway To Heaven, 2016
L: 130 x W: 180 cm
Sold (framed)
God Save The Queen, 2016
L: 102 x W: 144 cm
Edition:3
36 hand made relief prints in letterpress oil based ink on original bespoke
tailoring patterns with gold paint stencil on off white 300 gsm paper
£4050 (framed)
Garden of My Dreams, 2016
L: 58 x W: 80 cm
paper collage on antique French sewing pattern (late 1800s)
£6000 (unframed)
Goddess of Fertility 2016
L: 73 x W: 55.5 cm
£4500 (unframed)
Seated Woman No.2, 2016
L: 126 x W: 93 cm
£6700 (framed)
Walking Woman No.2, 2016
L: 178 x W: 78 cm
paper collage on two original French sewing patterns
£10,000 (framed)
God Save The Queen - Black, 2016
L: 180 x W: 280 cm
Edition:3
£12500 (framed) £9950 (unframed)
God Save The Queen - Red, 2016
L: 180 x W: 280 cm
Edition:3
God Save The Queen - Royal Blue, 2016
L: 180 x W: 280 cm
Edition:3
Dreaming of Sonia, 2016
L: 86 x W: 108 cm
paper collage on original antique (1915) French sewing pattern
£7500 (framed)
Flight, 2015
L: 113 x W: 113 cm
3D collage of original lingerie sewing paper patterns (c1970)
£12,000 (framed)
Reflections in a Water Garden, 2015
L: 126 x W: 95.5 cm
paper collage on two original French sewing pattern
£5950 (framed)
Midnight in Paris, 2015
L: 96 x W: 66.5 cm
collage on original French sewing patterns (c1960)
£4600 (framed)
Negative Space, 2015
L: 61 x W: 139 cm
Edition: 15
woodcut relief print in 22k caplain (70% paladium-30% gold),
gold and silver leaf on paper
£3000 (framed), £2400 (unframed)
Elephant Parade No.4, 2015
L: 52.5 x W: 40 cm
cut-out collage on woodcut print
£1250 (framed)
L: 53.5 x W: 41.5 cm
cut-out collage on woodcut print
£1250 (framed)
My Elegant Persona, 2015
L: 52 x W: 37.6 cm
cut-out collage on antique doily
£1600 (framed)
Paisely Paper Cut, 2015
L: 52 x W: 40 cm
cut-out collage on original French sewing pattern
£2100 (framed)
Last Man Standing, 2014
L: 89 x W: 69 cm
collage on original bespoke Savile Row tailoring patterns
£3200 (framed)
Pretty Pastel, 2015
L: 72 x W: 58 cm
collage on original French tailoring pattern (c1950)
£2300 (framed)
Colour Paper Cuts, 2015
L: 94 x W: 98 cm
collage on original French tailoring pattern (c1950)
£4900 (framed)
L: 94 x W: 72 cm
paper with woodcut block print collage on original French sewing pattern
£2250 (framed)
A Liitle Bird Called Circle, 2015
L: 33.5 x W: 42.5 cm
cut-out collage on hand made traditional woodcut print
£950 (framed)
Le Petit Echo de la Mode No.27, 2013
L: 98 x W: 86 cm
paper collage on antique French tailoring pattern
£2400 (framed)
L: 96 x W: 76.5 cm
paper collage on antique French sewing pattern
£2400 (framed)
L: 96 x W: 76.5 cm
paper collage on antique French sewing pattern
£2400 (framed)
A Lover in Blue, 2015
L: 78 x W: 102 cm
collage on original sewing paper pattern (c1960)
£3100 (framed)
Carnival, 2015
L: 74 x W: 75 cm
collage on original French sewing pattern (c1940)
£3100 (framed)
L: 74 x W: 63 cm
collage on original French sewing tailoring pattern (c1950)
£2300 (framed)
Manas, 2013
L: 58.5 x W: 46 cm
paper collage on original bespoke Savile Row tailoring pattern
£900 (framed)
The Rose Garden No.2, 2015
L: 32.3 x W: 41 cm
cut-out collage on original grid knitting pattern
£750 (framed)
The Rose Garden No.2, 2015
L: 35.5 x W: 26.3 cm
£750 (framed)
Reclining Figure, 2014
L: 30.5 x W: 40.6 cm
£920 (framed)
Flower Study, 2014
L: 39 x W: 32 cm
remnant bespoke tailoring patterns and
paper collage on original embroidery pattern
£900 (framed)
Paper Cuts No.1 and No.2, 2015
L: 41 x W: 32 cm
cut out collage on knitting patterns
£900 (each, framed), £1650 (pair)
The Triangular Effect, 2015
L: 36.5 x W: 40 cm
paper, inkjet print and knitting pattern collage on original bespoke Savile Row pattern
£900 (framed)
Homage to Matisse, 2014
L: 32.5 x W: 23.5 cm
£780 (framed)
299, 2015
L: 62 x W: 87.5 cm
paper collage on original French sewing pattern (c1950)
£2150 (unframed)
L: 78 x W: 54 cm
£1400 (unframed)
L: 54 x W: 38.5 cm
£1150 (unframed)
L: 54 x W: 38.5 cm
paper collage on original French sewing pattern(c1950)
£1150 (unframed)
L: 62 x W: 66 cm
£1400 (unframed)
L: 58.4 x W: 41.9 cm
paper collage on original French tailoring pattern (c1950)
£1095 (unframed)
L: 75 x W: 54 cm
£1440 (unframed)
L: 54.5 x W:87 cm
collage on original French sewing tailoring pattern (c1950)
£1440 (unframed)
L: 58 x W: 43 cm
£1440 (unframed)
L: 56 x W: 78 cm
£1440 (unframed)
L: 78 x W: 56 cm
£1440 (unframed)
Royal Robe, 2015
L: 59.5 x W: 46 cm
paper collage on original bespoke tailoring pattern
£750 (framed)
Pretty Boys No.12, 2015
L: 58.5 x W: 46 cm
paper collage on board
£750 (framed)
Victory Dance, 2015
L: 58 x W: 75 cm
£1200 (framed)
A Tale of Two Boys 2015
L: 33 x W: 37.5 cm
£550 (framed)
Rocky No.6, No.8 and No.11, 2013
L: 51 x W: 39.6 cm
paper lingerie sewing pattern collage
£650 (each, framed), £1800 (triptych)
Oscar Hodgepodge Series, 2013
L: 44 x W: 31.5 cm
£440 (each, framed), £1600 (series)
Various Works, 2015
L: 38.2 x W: 29.6 cm
£440 (each, framed)
Soldier in Pink Bows, 2015
L: 49 x W: 39 cm
paper collage on bespoke Savile Row tailoring patterns
£490 (framed)
Strap Pull On, 2015
L: 49 x W: 39 cm
£490 (framed)
Fairy God Fashion Mother No.3, 2013
L: 87 x W: 67 cm
£1300 (framed)
Fairy God Fashion Mother No.20, 2013
L: 87 x W: 67 cm
£1300 (framed)
Colonel Casanova, 2015
L: 42.3 x W: 106 cm
Three collage illustrations on original bespoke Savile Row tailoring pattern
£1200 (framed)
Frida with Wings, 2016
L: 39 x W: 29 cm
£460 (framed)
Gaga Lutea from the Lady Gardens series, 2013
H: 58.5 x W: 46 cm
Lingerie tailoring patterns paper collage on board
£750 (framed)
Erythronium Dens Canis from the Lady Gardens series, 2013
H: 58.5 x W: 46 cm
£750 (framed)
Gentiana Clusii from the Lady Gardens series, 2013
H: 58.5 x W: 46 cm
£750 (framed)
Genista Sericea from the Lady Gardens series, 2013
H: 30.5 x W: 43.2 cm
£750 (framed)
Hedera Helix from the Lady Gardens series, 2013
H: 30.5 x W: 43.2 cm
£750 (framed)
www.narielwalla.com
hormazd@narielwalla.com
+44 (0) 7786 011530
29 Whitechapel Road,
London E1 1DU
Twitter @Narielwalla
Facebook @Narielwalla
© 2015, narielwalla.com, designed by simpleandfunctional

Catalogue - Hormazd Narielwalla

Transcription

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