Hatched Art Blog

Hatched Art Blog is the voice of several writers and art journalists associated with Hatched Gallery, a pop-up art gallery based in London.

Emotion and Art

The TATE put out a question/statement today.

“A work of art which did not begin in emotion is not art” - Paul Cezanne. Do you agree?

This is a question I believe takes more than just a flippant answer of I agree or disagree. Emotion is always. You are always feeling something good or bad. Emotion is unavoidable, everything ever done comes from emotion, which makes the question above a moot point. 

When I start to create a painting, there is always an emotion. The trick is to be able to work through all your emotions. They might effect my colour choice, the strokes, the composition, but they are always there and they are always changing. 

I don’t believe in the “artist turmoil”. Yes. This is a strong and valid emotion, one that shouldn’t be avoided or ignored, but to rely on it so completely in order to make great works of arts is a fool’s errand. Creating art because something bad happens to you is art therapy.
There needs to be an idea behind your artwork. Maybe it can come from an emotion you had about one subject or another, but what happens when that emotion is gone? If you don’t have knowledge, a process, an idea, then you have only the instantaneous reaction. While this reaction has it purpose it should not be the only thing driving your work. 
I don’t think the answer is a simple as yes I agree, while in some ways I do. I also want to add that is not the only thing that should be starting the work of art. There needs to be intelligence and passion, so that no matter what mood you wake up in, you can still work towards your creation goals. So I am one upping Cezanne. Presumptuous I know, but “ A work of art which did not begin with purpose and passion is not art.” Blair Lamar
Posted 259 weeks ago
Posted 266 weeks ago

Juyoung Lee at Southwark Studios 4 Sept - 7 Sept 2013

This evening I found myself at the private view of conceptual artist Juyoung Lee at Southwark Studios Gallery, SE1.  I did not know what to expect, but I left the gallery space full of thoughts and ideas.  

I like how conceptual art has less boundaries, that you can literally invite someone into your art, to experience it from all angles and stimulate all senses. Juyoung Lee’s work certainly gave me a unique experience..

The installation that really grabbed my attention was inspired by a small stem full of grapes.  32 grapes to be exact.  My eye was at first drawn to the bare stem that was resting on small pins attached to the wall within photographs of each of the grapes.  I was intrigued by the hand drawn pencil lines and annotations around the stem that made it look DNA-like.

Aware that there was an element of sound to the installation, I then reached for the nearby wireless headphones, without really knowing what to expect.  Then whilst listening to the calming, melodic riffs in my ears I began my quest to work out what the music had to do with grapes!!

I then realised that Juyoung Lee had successfully given these grapes a musical voice!

Speaking to the artist only made me enjoy her work more.  There are two equally interesting installations at this show and I thoroughly recommend keeping an eye on this artist as she continues with this project.

Patch, Hatched Gallery


Posted 298 weeks ago

Journey East to South... Now North


I’m not an art critic, but I studied art history in college. I am not part of the art scene, but I like to visit from time to time.

When I do visit all too often I walk away disappointed and especially with contemporary art. Art is subjective, yes. And I don’t mean to sound like an a-hole, but it is my view that so much of what makes contemporary art interesting is lost in translation. Even with didactic information handy, it’s rare that I will see contemporary art that immediately resonates with me. And let’s face it; you have the blessing of audience-attention for about a minute or two. At that point you've either captured them or lost them forever. For me at least (and I think a lot of people), experiencing art is a lot like flirting and I know almost immediately if I’m going to sleep with you or not. 

A few weeks ago I fell into lust at a contemporary art show, and yes I knew almost instantly. Journey from East to South was about to get lucky! The artist collective, Beddow’N’Battini collaborated with Hatched Gallery to birth the show which showcased Beddow’N’Battini’s, 100-Word Pilgrimage. An exciting young group of writers, musicians, painters, illustrators and animators, are enthusiastically unified in their shared perception of what it’s really like as a local Londoner. It’s vibrant, interactive and nourishing on many levels.

Who says that technology separates people?

Using the app, Aurasma and an IPad, the show went from being on-the-wall to off-the-wall and all at once I was a kid again. Hold up your choice of technology and presto! The graphic image in front of you turns to an audible novel of animation where graphic artist, writer and animator align to tell a tale about London, across London and in this case, from east to south. 

The illustrations are beautiful, the stories are unique and from start to finish I was thoroughly entertained - never bored. I also got it right away. Having said that and to be fair there wasn't a lot to get per se as the concept is pretty straight forward. But to that point, there is absolutely nothing wrong with that, because like I said earlier, so often the good stuff gets lost in the ultra-abstract. Then where are you?

And I don’t buy it when an artist claims that they ‘want the audience to gleam their own meaning from a piece’. Of course that works sometimes, but the truth of the matter is that so much of contemporary art is beyond recognition without some help to the average viewer - and what a waste. 100-Word Pilgrimage does not waste time or fatigue the audience. Beddow’N’Battini puts it out there and with just enough opacity to embrace a viewer.

See for yourself at the next installment of the show, Journey North. It’s good stuff.


Posted 306 weeks ago
Posted 315 weeks ago

A Glimpse into Surface, an Exhibtion

A Glimpse into Surface, an Exhibition

Where I’m from, corporations and contemporary art don’t usually mix. London however, does a decent job at exhibiting original and contemporary art works within her commercial spaces. The pairing makes sense after all: art is to commerce as fire is to wood – so to speak.  

Chelsea Futurspace marries art and commerce quite intentionally. Collaborating with Chelsea College of Art and Design, Futurecity arts consultancy and the property developer  St James Urban Living, part of the Berkeley group, Chelsea Futurspace boasts exhibiting space for the alumni and staff of Chelsea College of Art and Design, set within St James’ Grosvenor Waterside development at Chelsea Bridge.

Surface, the latest exhibition from Chelsea Futurspace examines the notion and treatment of surface across a variety of approaches to the visual. Artists: Brian Chalkley, Edward Cotterill, Vanessa Hodgkinson, Charlotte Jonerheim, Sanghyun Kim, Kangwook Lee, Mohammad Namazi and Emma Neuberg, do their best at fostering this idea to the surface.

The gallery itself is bright and welcoming and the refreshing accoutrements were presented beautifully and in abundance. What goes better with art than wine? A steady stream will do me just fine, thank you! But I digress…

Temporary walls scattered about, holding a space for the art as the art held space for the viewer. And what of this art? Surface aims to present a curation that employs the viewer to remember the provisional labour that goes into creating a work of art, but never to forget the inherent meaning of the literal object left at the surface when the work is done. A strong concept, no doubt, but I can’t be sure that the show culminates in abundance.

The variety of visual stimulation is praiseworthy however, as I was certainly not bored. And there is a clear dusting of consciousness sprinkled around the entire exhibit - even if some pieces shown brighter than others. For instance:

Sanghyun Kim’s, Butterfly Effect (2009) is a handsome depiction of measured chaos, fused onto paper with burning incense. Very cool.


Sanghyun Kim, Butterfly Effect, 2009, Burning incense on Korean paper, 108cm x 75cm

Mohammad Namazi’s digital series of three abstract images are visually engaging as well. On a 2D surface, Namazi’s Newton (2009), for example, seems to represent a ball of fury. A black hole of sorts and perhaps a representation of bits and pieces from the past, hanging around in the present.


Exhibition View

Emma Neuberg’s textile designs were rich and juicy. Two mounted triptychs of affixed fabric had me perplexed at first. Did the artist design these knits? Or did she just unjustly hang panels of arbitrary fabric? Certainly they must be original, I thought. They were!  Thanks to the lovely Surface didactic-guide accompanying the exhibit, I was set straight.


Exhibition view


Emma Neuberg, Rose, 2012, Mounted triptych in silk, polyester and wood,
117cm x 66cm

Now here’s one that threw my guest and I threw a loop. Brian Chalkley’s collage pieces are quotably, part of a process of realisation and organisation, according to the didactic-guide. Magazine tear sheets of fashion models, of course lead me to surmise of yet another interpretation on the female narrative – as if there’s only one. Truth-be-told what bothered me the most is the craftsmanship of the work - it being lethargic at best. Ill-fitting frames, crooked mounting and lackadaisical finishing left me too distracted to focus on the surfaces behind the art itself. Perhaps this is the intent, I thought after a while. But it was too late.


Brian Chalkley, If you’re gonna be on TV and in films, people are gonna look at you in the street, 2012, Collage, 28cm x 20cm
Go take a look at Surface, and see for yourself, what lies beneath it - if anything.

Surface runs from 13th February – 14th April 2013
Visit Chelsea Futurespace for more information.

All images courtesy of Chelsea Futurespace


Posted 324 weeks ago