Art The Hague | 2-6 October 2019 | Booth # 24
Daniel Mullen, 76-04, 150x140cm, Acrylic on canvas, 2019
In this body of work Annabel Emson (London, 1975) plays with painting as a way of exploring notions of childhood, body and trauma through the lens of reality and observation, both present and past.
She refers to painting not as inanimate object but as an animated part of herself, an extension of an ‘other’ into a kind of ‘eigenstate’. The created object becomes the silent observer of what it was created from, bearing witness to inner experience. Not the single sensory experience of a scene, a sound, a touch, a smell, a feeling but the amalgamation of the experience seen through the eyes of memory.
The observed becomes the witness looking back at the artist, mirroring the experience. A painted presence created to see itself being seen. Touching on the idea of do we really exist if no one sees us. The artist being witnessed by their own painting, as in ’Through me’; a mixture of sensation memory and feeling made physically present, made real through paint.
The concept of transformation is central to the work and the question of ‘does something behave differently if it is observed?’, plays into the notion that the artist can be transformed by being looked back at by their own paintings. Emson is inspired by how this concept plays out in quantum physics under Heisenberg’s uncertainty principle.
Through parenthood the artist has become increasingly interested in childhood and the body, trauma and memory and the fundamental process of being witnessed and mirrored. In painting she plays with the notions of who is the witness, her or the paintings, and what is it to exist only in the eyes of another (as in infancy) and how that develops into a kind of own state ‘eigenstate’ with maturity. And what happens if that development is ruptured through trauma, how does that interfere with traditional notions of time and space. Picasso’s notion that ‘everyone is an artist’ links to this idea that we are all born with our own ability to create our own witnesses to our experience.
Annabel Emson currently lives in London, she completed her BA at Chelsea College of Art and her MA at The Slade School of Art. She studied directly under Peter Doig, Chris Ofili and Bruce Mclean.
Her work is currently held in a number of public and private international collections and museums including the Saatchi Collection, Burger Collection, Sachs Collection, Gmurzynska collection, Schwarzenbach collection and de Fundatie Zwolle.
Marian Cramer Projects is pleased to present Femocracy – The Divine Feminine with Victoria Adam, Güler Ates, Lise Haller Baggesen, Annabel Emson and Michelle McKeown.
In ‘Democracy Begins Between Two’ (2000), Luce Irigaray (Belgium) invites us to rethink democracy and construct a new civil code invested with the genio femminile (the female spirit).
‘Until the relationship between man and woman has changed, the desire to dominate nature, not only cosmos and women’s nature but equally the nature of young people, of other races, and citizens of their countries, will remain unchanged.’(2000, Irigaray)
McKeown’s most recent rorschach works for Femocracy – The Divine Feminine seek to establish painting emphatically as an inter-subjective encounter, rupturing traditional representations of women in an attempt to forge new relations with man, woman, nature, world and other.
Güler Ates’ work comments on the Western notion of Orientalism and the effects of the cross-pollination of cultures on female identity and architecture. In her work she questions the relationship between the veil and the West, by setting the female veiled figure within a lush or historic European interior. Ates will be presenting new work made recently at Oude Kerk Amsterdam.
In the past years Lise Haller Baggesen has been working mainly on two bodies of work regarding Female Genius and Feminist Utopias, namely MOTHERNISM and HATORADE RETROGRADE.
MOTHERNISM (2013-) is a book and nomadic audio installation, aiming to stake out the “mother-shaped hole” in contemporary art discourse, at the intersection of Feminism, Sci-Fi and Disco. If the proverbial Mother is perhaps perceived as a persona non grata in the art world, because her nurturing nature is at odds with the hyperbolic ideal of the singular artistic genius, MOTHERNISM amplifies her presence, channeling her energy, complexity, and sublime creative potential in a series of intimate and critical reflections. The resulting collection of letters dedicated with love from one mother to her dear daughter, sister, mother, and reader—fuse biography, music, art, and history into an auto-theoretical testimony that recalls and redefines the future imperfect.
Since it’s inception MOTHERNISM has toured North America and Europe and also served as the “mother-ship” for the academic colloquium “Mapping the Maternal: Art, Ethics, and the Anthropocene” at the University of Alberta, earlier this year.
The book was co-published by Green Lantern Press & Poor Farm Press in 2014, and is available through SPD books:
HATORADE RETROGRADE (2016-) debuted at Chicago’s Threewalls/Rational Park in May 2016 and was received with an Art Forum Critics pick by Matt Morris. It features a selection of sartorial works set against a backdrop of revisionist “lipstick formalist” paintings to present a dystopian vision of the US anno 2033. In this glimmering post-capitalist burnout we must learn to make-do-and-mend, to repurpose art for art’s sake, and perhaps to forgive –but not forget– certain moments in the past when we were all hitting the Hatorade a little too hard. HATORADE RETROGRADE paints a bleak but hilarious picture of our shared predicament: on the intersectional battlefield we traverse there is no one-size-fits-all body armor, yet we cannot let our guards down post-feminism, until we arrive at post-gynophobia.
Annabel Emson will be showing paintings about the feminine in relation to Jung’s writings on the feminine and masculine, and work based on the writing of Gaston Bachelard and his reference to the feminine and water.
Finding something beyond politics, beyond opinion, beyond separation and judgement, a place where all is, and all is well is what excites Emson about painting. Matter just forming and transforming. This pure state is the ecstasy of the artist.
Victoria Adam has created new work for Amsterdam Art Weekend beyond politics beyond opinion. Adam makes sculptures intended to be experienced close-up and will present 3 small sculptures infused with herbal blends of both a real and cognitive variety. Each evokes a specific feeling from a combination of ingredients, smells and tactile familiarity.
Lise Haller Baggesen is based in Chicago and all other artists live and work in London
Open Thursday – Saturday 12-6 pm and by appointment
Until 10th February 2015
Marian Cramer is pleased to present the third solo show with new works by the British London based artist Annabel Emson.
This selection of paintings is inspired by the idea of light in history. Some of the works are tonal renditions of old master paintings selected for their specific qualities of light. They include works by Turner, Rubens and Constable. Other paintings were taken from memories of different types of light, for example Daylight or Orange Night in the Reeds. In this series of works Emson found that removing colour from paintings and limiting the palette to black and white helped emphasize the tonal qualities of light in her work.
Later different types of light were brought back into the work: peachy light and blue light as can be seen in the large paintings such as in Visiting the Spirit of Barnaby Jones. Although inspired by paintings from the past, each piece became its own and often developed individual imagery based on the present and her response to the painting during the process of making. This can be seen for example in the large charcoal landscape piece, Landscape Smoking.
The scale of the various works is based on the artist’s response to the process of making and owning. Looking at so many beautiful old master works Annabel Emson became aware of the desire to possess these pieces, to keep them, or parts of them that inspired her. The miniature paintings began from this desire to be able to carry a work of art in one’s bag or pocket, to keep it with you wherever you go. Emson chose the size and shape as they were similar to the postcards that one would buy of the old paintings that carried the sense of light she was trying to capture.
The large paintings became similarly interesting in that their scale enabled Emson to be in them while making them, surrounded visually by their experience.
Annabel Emson (b. 1975) studied at Chelsea College of Art and Design and completed her Masters in Fine Art at Slade College of Fine Art, London. Her work is currently held in a number of private international collections including the Saatchi Collection, Museum De Fundatie, Ger van Dam Collectie, Beth De Woody, Berger Collection, and the Gmurzynska Gallery Private Collection. She has exhibited in London (Kenny Schachter Projects and Ibid Projects), Los Angeles (Marine Contemporary), Switzerland (Gallery Gmurzynska), Mallorca (C’an Marques Museum), Spain (Castellon Museum), Venice (Print Museum).
RAW ART ROTTERDAM 2013
Marian Cramer Projects
6-10 February 2013, Rotterdam | www.rawartfair.com
Vion Pan (RAW China Expo)
By appointment until 31 January 2013
Location: Gabriel Metsustraat 2-6, Amsterdam
(On Museumplein opposite new entrance of Stedelijk Museum)
Marian Cramer Projects is proud to present the second solo show with new works by the British London based artist Annabel Emson.
This selection of paintings by Annabel Emson reflects her continued questioning of the bordering territories of abstraction and figuration. She is creating a language in paint to describe a non descript world made up of sensations, intuitions, memories and relationships with the world around her, as well as the world appearing on the canvas.
The pieces start as a hint of something, a certain light or tone; as the first strokes are laid down the beginning of a relationship is formed; one that will evolve into a dialogue where the painting is painting itself, and the painter responding as an extension of the brush.
Her work speaks in paint about a world other than this, where gravity is defied and space and flatness lie contradicting each other on the same picture plane. Areas, sometimes whole paintings, are concealed; veiled from vision. Suggestions of what is or wasr occurring murmur through the screens of paint.
These places are where the artist escapes to try and make sense of the environment she lives in, except here she can explore the landscape without the traditional scientific borders that entangle her in the concreteness of reality. Moving beyond the constraints of physics she seeks to free her work form the traditional laws and rules that prevent the unexplainable being seen. Constantly excited about giving a face to the unknown; an alchemist at heart she seeks to transform tinted oil and cotton into something beyond itself that reflects the miracle of imagination.
The titles, like the painted images, reflect a word or words that are an amalgamation of poetry and meaning. These words are the prose partners to the visual experience. They are not comprehensible through a dictionary, they just explain themselves and the painting in an ununderstood way.
Like life the works are just one woman’s way of making sense of the structures both internal and external, spiritual and sensual that envelope her in the human experience.
Annabel studied at Cheslea College of Art and Design and completed her Masters in Fine Art at the Slade. Her work is currently held in a number of private international collections including the Saatchi Collection, Beth De Woody, Berger Collection, and the Gmurzynska Gallery Private Collection. She has exhibited in London (Kenny Schachter Projects and Ibid Projects), Los Angeles (Marine Contemorary), Switzerland (Gallery Gmurzynska), Mallorca ( C’an Marques Museum), Spain (Castellon Museum), Venice (Print Museum).
The exhibition will be open during the
Amsterdam Art Weekend from November 30th until December 2nd 2012
Open: Wednesday – Sunday 1-5 pm
Paintings and works on paper
MARIAN CRAMER PROJECTS is proud to present an exhibition of new works by the British London based artist Annabel Emson. This is the artist’s first solo exhibition in the Netherlands.
Annabel Emson (b.1975, London, United Kingdom) received an MFA from The Slade School of Art in London and a BA from Cheslea College of Art & Design. Charles Saatchi recently acquired a series of her paintings and Emson’s work will be shown in the Upcoming Paint exhibition at the Saatchi Gallery in London. Emson lives and works in London.
Emson’s paintings are experimential performances on the relationship between the inner psychological terrain and the outside materialist world; through mark making and the language of paint she creates doorways into autobiographical landscapes that allow her to visually inhabit both worlds. Her paintings visualize bursts of energy and movement. The work addresses fundamental thoughts on communion and belonging; creating an intimate common bond with her viewer; they are still, silent open relationships through which she is dialoguing.
Sunday, 6 November, 2011, from 4-6 pm
7 September until 31 December, 2011
+31 (0)6 147 80 171
Marian Cramer Projects
1077 GM Amsterdam
T: +31 (0)6 147 80 171
NOTE TO THE EDITOR: Illustrations and more information can be requested on +31 6 147 80171 or at firstname.lastname@example.org
Marian Cramer Projects
1975 Born in London.
Lives and works in London
1994-1997 BA Fine Art Painting, Chelsea College of Art, London tutors Peter Doig, Chris Ofili
2004-2006 MFA Fine Art Painting, The Slade, UCL, tutors Bruce Mclean, Kate Bright
2007 DLA Piper Award Finalist
2007 Celeste Art Prize Finalist
2006 Castellon Museum Painting Prize Finalist
2006 Boundary Art Prize Finalist
Residencies & Teaching positions
2010 Residency, CCA Foundation, Andraitx, Mallorca
2009 Artist in Residence, PLASTIKI Recycling Project, San Francisco
2007 Lecturer/part time tutor Huddersfield University (BA Painting)
2006 Residency Scholarship Crete, Greece
2005 Residency Scholarship Venice School of Printing, Italy
2014 THE FUTURE PAST, Marian Cramer Projects Amsterdam
2012 GOLDEN EXIT, Marian Cramer Projects
2011 Paintings and works on paper, Marian Cramer Projects
2009 The Apartment Gallery, London (museum designers and artists)
2008 The Wyer Gallery, London
2007 HSBC Bank St. Moritz, Switzerland
2014 Eve Appeal Group show (Women Artists)
2013 2Q13 Women artists, Women Collectors (curated by Marcelle Joseph and Lydia Copertwait)
2011 Marine Contemporary, Los Angeles with Gereon Krebber
2011 Kenny Schachter Rove Projects, London with Gereon Krebber
2010 Carbon 12 Gallery, Dubai
2009 PLASTIKI PROJECT, PIER 31, San Francisco (sponsored by De Rothschilds)
2008 Kenny Schachter Rove, Hoxton Square, London
2007 C’an Marques Museum, Palma de Mallorca
2007 IBID Projects, London showing
2007 DLA Piper Art Award, London
2007 Gallery Gmurzynska, Switzerland
2006 Castellon Museum, Spain chosen by Barry Schwabsky
2004 Cologne Art Fair, Gallery Gymurznska, Germany
The Saatchi Gallery Collection, London
Musem de Fundatie, Zwolle, Holland
The Burger Collection, Switzerland
The Schwarzenbach collection, Switzerland
The Sachs Collection, Switzerland
Galerie Gmurzynska Collection, Switzerland
Beth De Woody Collection, New York
Chopinstraat 31, 1077 GM Amsterdam | T: +31 (0)6 147 80 171
email@example.com | www.mariancramer.com