Paul Benney is an acclaimed British artist whose work is housed in public and private collections around the world. Most recently, Benney exhibited the large-scale installation ‘Speaking in Tongues’ at the 57th Venice Art Biennale. Having previously served as a judge for the Columbia Threadneedle Prize, who better to take us through their favourite artworks from this year’s exhibition, and Mall Galleries Buy Art | Buy Now?
A selection from Buy Art | Buy Now...
Yearsley’s nod to Rothko’s colour fields and the delicate but insistent horizontals of Diebenkorn, combined with the strong poetic resonance of an empty chair, renders this work incredibly compelling to its viewer.
Fleur Yearsley, Empty Chair
I am drawn to the references in Lock’s work, which has much in common with several artists I admire. The subtle but distinct allegiances to the graphic qualities of Patrick Caulfield and Hockney, and the faux surfaces of Richard Artschwager, have coalesced in such a way that Synthesiser remains original, with no sense of appropriation.
Kris Lock, Synthesiser
In Yellow Room, Halls offsets formal colour and compositional decisions with off-kilter, surrealistic scenarios to engage the viewer.
Roxana Halls, Yellow Room
Adela has created a strange corporeal hybrid, which registers as a powerful metaphor speaking to the causal and teleological sources of Human Agency, as well as giving us pause to consider the philosophical implications raised by the Shakespearean notion of 'this mortal coil'.
Renata Adela, Shafted
Patrick’s unpretentious and deceptively random compositions are curiously seductive. They imply narrative without imposing one; they suggest rather than explain.
Tim Patrick, Tiles
...and Paul's Picks from this year's Columbia Threadneedle Prize.
Ball is a master of compositional understatement and psychological insight, and in AC11, she continues to delight with her subdued palette and restricted tonal range.