HYDRA PAINTER & THE ROTARY PAINTINGS OF 2020
18 DECEMBER 2020 - 18 FEBRUARY 2021
Text © 2020 James Capper. Courtesy of the Artist and Albion Barn
Albion Barn is delighted to present a second series of ROTARY PAINTINGS by JAMES CAPPER. During the summer, while under Covid-19 lockdown, JAMES CAPPER spent time introspectively working in his studio. The monotony of daily routine and the blurring of days coalesced into an idea for James to make the ROTARY PAINTINGS.
SOLD ROTARY PAINTINGS:
A total of 100 paintings were made, each dated with a strapline relating to an event during the coronavirus pandemic. We are immensily grateful to everyone who has already acquired these ROTARY PAINTINGS and supported the not-for-profit project with Covid Smart. After a successful launch, we are excited to present more works from this group.
As a resurgence of coronavirus cases sent the UK into a second lockdown, James found the extraodinary tumult of international news headlines to be even further at odds with his unvarying day-to-day existence. James's second series of ROTARY PAINTINGS is born of this unbalancing juxtaposition. Each painting stands as a record of the day it was made on. The incongruity of the perfectly circular and formal format, and the painting's titles, drawn from media headlines, seems absurd and humorous. 'THESE PILOTS THAT I MEET ARE ALL BETTER LOOKING THAN TOM CRUISE' and 'UNDER MY FATHER'S LEADERSHIP, WE WILL SEND MEN TO MARS' encapsulate this. Please scroll down to view the second series, now available for sale.
Accompanying the virtual release of James's latest ROTARY PAINTINGS, Albion Barn is excited to announce an exhibition of the works, planned for March 2021. The ROTARY PAINTINGS will be shown alongside IRIS, a new heliotropic sculpture, and HYDRA PAINTER, the prototype machine used in the paintings' creation. A catalogue raisonné with text by British art historian Richard Cork will mark the opening of this exhibition.
Watch how James Capper creates ROTARY PAINTINGS with HYDRA PAINTER, a prototype machine he made four years ago.
A delivery of colour in the form of industrial paint within its natural origins of its fluid state mixing, fusing and blending within the steady graded rotary movement of the machine has given me wonderful dreams, inspiration for the identity of sculptural objects and mobile sculptures of the future. In reflection influenced by the history of modern art and artists of the past such as Jasper Johns, Anthony Caro and David Smith's hand painted sculptures...
- James Capper
Available to buyPrices do not include framing. We have a framer and a standard frame in mind for these works and can organise this for you
In my opinion the formal circular image expresses life, time and strength in organic structure. The paintings capture the mechanical origins of movement in my sculpture although keep the nature of speed and time static in their creation, like cellular structures caught in colour images from the digital microscope. These works have a friendly formal presence in a domestic setting, yet they deal with a time that changed the world. Compared to my sculptural divisions that speculate and ask only for time to be accepted as contemporary sculpture...
- James Capper
James Capper (b. 1987, London) is a young British artist whose practice adopts the techniques, materials and complex problem-solving processes of innovation and engineering to develop the possibilities of sculpture. His work consists of three distinct but interrelated processes – drawing, making sculpture and the capacities and application of the sculpture in action understood and developed through testing, filming and subsequent demonstrations. Following his studies at Chelsea College of Art and the Royal College of Art, James Capper’s work has been widely exhibited around the world in museums and not for profit institutions, as well as gallery spaces in London, New York and across Europe. He was the youngest ever artist to be awarded the prestigious Jack Goldhill Prize for Sculpture from the Royal Academy of Arts, London. His work is the subject of critical debate and dialogue about positions in sculpture in the 21st Century and continues to challenge varied audiences everywhere it is shown.