Malgorzata Bany and studio vit | Etage Projects, Copenhagen, 20 February – 24 April 2015

Etage Projects, Copenhagen

Most objects made by design have at their core an innate repeatability — this often depends on symmetry — regular, even shapes that can be extruded from a flat material or formed in a mould. The handmade, i.e. the irregular, is removed, diminished, or essentialised. Here, colour too is often subdued or graduated.

This joint installation draws from themes common to the field of design. Both collaborators utilise shapes ratified by a sense of ideal proportion, shapes that, like the perfect wholeness of a net diagram, can be equally manifested in two or three dimensions. Both restrict their use of colour to a careful minimum, often relying on the effect of that cast by light from a remote source, leaving mirrored hues, streaked highlights, and colours in shadow. Both reflect on the emotive content of the unquantifiable in the making of an object — inconsistencies of tone, the presence, movement, and shape-making properties of light, a given material’s catchlights and reflective potential.

It has been said of Gothic architecture that it is an architecture of emotion — that the science of geometry is second to an invocation of a spiritual essence within an imagined celestial interior. That geometry can hang in suspension within a diffused architecture, a space of emergent boundaries and dissolvable shadows, is a point of focus for both Bany and studio vit. Bany in particular, embraces fields of shape and space that share a close connection to Gothic buildings and their attendant environments of objects – altarpieces, quatrefoils, screens, lancet windows. Repeated circles with stucco pigments are arranged in a close tension, nestled and symmetrical, or running in parallel with extended bases and hard right-angle corners suggestive of digitized limestone. Often, her titles play on architectural terminology particular to medieval sites; an apse becomes a semi-circular space seen from directly overhead. This is paired with an equally pronounced interest in the role of the domestic arts, and her fan-like supports and calligraphic brushstrokes also draw strongly on the aesthetics of Japanese interior design. Pulling at such diverse conceptual strands, her collections of shapes evoke a purified language of abstract symbols.

Malgorzata bany

Studio vit take an approach to the geometry of shape and mass that pertains to classical Euclidean theory, the cone, cube, cylinder and sphere dominant juxtapositions in their output. Nevertheless, the aesthetic delicacy and balance of their products draws on the emotive properties of harmonious or imbalanced forms that break the strict ratios of classical proportion. When seen together, their Cone lights become a series of moveable combinations, each of the two forms they comprise interacting with its partner in a singular and divergent counterpoint. As with Bany’s painted surfaces, these combination objects rely on the defining properties of light. They are dense, silky, or rigid triangulations in daylight, emitters of spectral and explosive radiance when alight.

studio vit

With all these works, context is acutely variant. As proportion, light, and formal and spatial relationships are key elements of their production, so too are they defining of the works’ reception within a given space. As with objects of design, they deepen our relationship with a surrounding environment, but as works of a unique nature, they offer and develop repeated forms in un-repetitious and unrepeatable arrangements.


Publication – Ron Haselden | Papillon de la nuit – domobaal editions 2014

This summer sees the publication of On the construction of Papillon de la nuit, a collection of my notes and related photographs and stills concerning the creation and reception of Papillon de la nuit, a monumental sculptural installation in the Brittany countryside by Ron Haselden, one of Britain’s foremost site-specific sculptors. Limited to a run of 200 copies, the publication is available via the DOMOBAAL website.

book display

28 pages, 16 colour photographs, one of which is included as a full-bleed scored and folded A4 loose insert.

domobaal editions – 2014

ISBN 978 1 905957 53 8

Wonders of the Medieval World | Richard L. Feigen and Co., 34 East 69th Street, New York | 29 January – 17 March


Richard L. Feigen and Co., one of New York’s most influential, longest running, and prestigious commercial galleries, representing the likes of James Rosenquist and the estates of Joseph Cornell and Ray Johnson (for which no end of blogs could be penned), has collaborated with Sam Fogg, London’s leading gallery for Medieval Sculpture, Manuscripts, and Works of Art, on an exhibition of twenty two unique, remarkable, and important objects from the Medieval period. Do, if you are New York bound this Spring, visit the gallery, which is open 10am – 6pm Monday to Friday.

TREASURE – featured in Art In Print Jan/Feb 2014

Do pick up a copy of the January – February 2014 edition of Art in Print, which includes Adam Bridgland’s 2013 portfolio TREASURE in its Selected New Editions section.

Adam and I worked on this portfolio, which reuses and reworks reclaimed photographs and postcard imagery from across the twentieth century, for the artist’s solo exhibition at the Idea Store, Whitechapel, last summer, and it was soon after acquired by the department of Prints and Drawings at the British Museum, London.


Public Talk | Adam Bridgland – TREASURE | Monday 15 July

From 6-8pm on Monday 15 July Adam Bridgland, Sotiris Kyriacou (Curator, The Gallery @ Idea Store Whitechapel), and myself, hosted a public panel discussion on the occasion of Adam Bridgland’s solo exhibition TREASURE, which ran until 28 July.

Soho Sex, being painted by the public on Saturday 13 July
Soho Sex, being painted by the public on Saturday 13 July

On Friday 19 July, the second of two painting workshops took place, during which the public were invited to come and ‘colour-in’ the second of two large-scale monochrome wall paintings on display in the gallery space.

Treasure info:invite

Ulysses, l’autre mer, FRAC Bretagne, until 25 August 2013.

If you are passing through Brittany this summer, be sure to look up FRAC Bretagne’s series of new exhibitions organised to celebrate the organisation’s first 30 years. Ron Haselden’s vast Papillon de la Nuit in the grounds of the Manoir des Guerandes just outside of Plouër-sur-Rance coincides with the festivities, and will remain viewable into next year.



Exhibition – Adam Bridgland | TREASURE – Idea Store Gallery, Whitechapel, 28 June – 28 July 2013

Treasure 2

TREASURE is an ambitious new project from renowned London-based painter and printmaker Adam Bridgland, to be held from 28 June until 28 July 2013 at The Gallery @ Idea Store Whitechapel.

Two large wall paintings form the focus of the exhibition, each drawing on a rich array of imagery from old postcard scenes of London life across the twentieth century. At two workshops, to be held in July, the public will be invited to ‘colour-in’ these black and white murals like a paint-by-numbers kit on an enlarged scale, a process that will question the traditionally pristine and off-limits nature of the white-walled gallery space. In addition, a discussion between the artist, Sotiris Kyriacou (curator, The Gallery @ Idea Store Whitechapel), and Matthew Reeves (exhibition curator), will probe the role of public involvement in art projects and the wider context of art in the public realm (for more information visit A beautifully bound portfolio of ten A2 screenprints, from which the designs of the two wall paintings are taken, will be available to purchase in a limited edition of forty sets plus five artist’s proofs.

Bridgland’s practice has grown increasingly large-scale in recent years, pushing his crisp meticulousness and love of the designed emblem into interesting territory. Building on the success of a wall painting commissioned for The Courtauld Institute of Art in 2011, the manipulated and abstracted scenes included in TREASURE incorporate populist themes descriptive of a characteristically British sentimentalism. The Gallery @ Idea Store Whitechapel, with its unparalleled views over the East End skyscape, is a perfect home for the exhibition and one of the area’s busiest public spaces, attracting thousands of visitors each week.

About the artist

Adam Bridgland (b.1979, Leicester) lives and works in London. Since graduating from the Royal College of Art in 2006, he has utilised a diverse range of materials and working methods. From printed text and image to public commissions, from enamel plaques to neon and patinated iron, Bridgland’s practice pursues an incisive and witty exploration of distinctively British sentiments, through imagery imbued with a sense of collective nostalgia and emotive gravity. Vignettes of British back-packers’ holidays, old-fashioned bus tours and childhood seaside breaks that figure strongly in his visual repertoire are often tinged with the melancholic nature of memories, and a feeling of time having passed too quickly. Twinned with this however, is an upbeat celebration of themes distilled from children’s colouring books, paint-by-numbers kits, old public transport posters and kitsch postcards, which the artist often injects with the kaleidoscopic richness of carefully chosen and thickly applied colours. Through his distinctive brand of image-making, everyday or mundane subjects are treated with the importance and status of emblems. Bridgland works in diverse locations, from traditional gallery spaces to old lifeguards’ outposts and seaside resorts. His work is housed in numerous public and private collections, including the V&A, the British Museum, the BBC, Boeing Asia, HBOS, and University College London Hospital.

For further enquiries, please contact:

Matthew Reeves, Project Curator

+44 (0)7766 054 431