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Danielle Arnaud

Danielle Arnaud

Danielle Arnaud

The gallery was created in 1995. It encourages artists to develop their practice without the constraints of market or trends through a programme of curated exhibitions, solo shows and projects, both within the gallery and the public realm.


123 Kennington Road
London SE11 6SF UK
www.daniellearnaud.com

3D exhibitions

  • Danielle Arnaud

    In Touch

    20 Jul 2020 – 01 Sep 2020

    Sola Olulode, Alix Marie, Jane Hayes Greenwood, Patricia & Marie-France Martin, Mandy Franca, Paulette Phillips and Charlotte Edey Curated by Tess Charnley 'I took a last swig from my beer, overcome with the sensations of touch, of my fingers and palms smoothing along some untouched body in some imagined and silent sun-filled room.' - David Wojnarowicz, 'Close to the Knives: A Memoir of Disintegration' The past few months have brought touch to the forefront of our minds. The first sense to develop in infants, touch is integral to the way we relate, both to our surroundings and to each other. Skin-to-skin soothes us, as children and as adults. There is a signalling in touch - the momentary merging of our selves with an other, reminding us of our place within the world, of the collectivity of our existence. The pandemic has forced us to move inwards, fearing touch. In a virus-laden world, the possibility of contamination lives any(every)where. Choosing to touch brings risk, an exchange of cells weighted with responsibility. Many go months untouched, with the simplest gesture longed for - a hand on y'ours, the brush of a shoulder. 'In Touch, the third exhibition in the gallery’s virtual space, presents work of multiple processes: painting; drawing; batik; photography; video; lithography - tactility explored in the works’ subjects and their conception. Alix Marie’s photographs reveal the fleshiness of touch, her work 'Wax Photograph 14' (2014) an exemplification of the porousness of our skin, the edge-less nature of existence. Similarly, in Paulette Phillips’ video work 'Trace Elements' (2013), we see the merging of words: ‘When two things touch trace elements are exchanged’, a phrase that could not feel more pertinent at the moment. The text, cast in ice then captured on film, made as a eulogy for celluloid film. Hands, our vehicles of touch, appear particularly in Mandy Franca’s photo lithographs and Charlotte Edey’s drawings and tapestry. In Franca’s photo lithographs 'Untitled' (2019) we see hands, repeated; skin creased in a moment of gesture. In Charlotte Edey’s drawings 'Mine I' and 'Mine II' (2019) we see hands reaching, faces offered to an unknown receiver. Edey’s tapestry 'Freshwater' (2018) depicts a hand pointing towards a pool of water, the shape of which mimics another hand. The work is a mirage of touch. Patricia & Marie-France Martin’s video work 'Un et un à présent ça fait deux avant ça ne faisait qu’un' (2000) presents the frenzy of touch, skin on skin imitated in hosiery pulled over legs; the music bringing a swell of anxiety about what might become of these limbs, intertwined. In Jane Hayes Greenwood’s painting 'Virtual Reality' (2018) we see a coupling emerge; a woman painting a man before her in an envisioning of intimacy. Sola Olulode’s painting 'Entwined' (2020) shows bodies entangled in a moment of pleasure, their longing for touch satiated. 'In Touch' is an investigation of touch, positioned in a space that opposes tactility. The show considers touch as an anchor, our rootlessness in its lack.

  • Danielle Arnaud

    Tracing Submergence - Jan Hogan & Andreas Philippopoulos-Mihalopoulos ----------------------- Please turn sound on!

    12 Aug 2020 – 01 Jan 2021

    TRACING SUBMERGENCE 'Tracing Submergence', a collaboration between Andreas Philippopoulos-Mihalopoulos and Jan Hogan, is the latest in the gallery's series of virtual exhibitions. Video, photography and poetry intertwine to create one work, the story of which is told in stages. The six shorter videos, 'Tracing Submergence I - VI', created during lockdown, are experiments in the tensions between the solid and the liquid, the human and the non-human. These works are all around a minute long, enclosed within the resonant sound of a reaction unseen; metal upon metal perhaps, a gong-like noise not unlike the sealing of a meditation. Each work presents two screens, a Zoom call between continents - Philippopoulos-Mihalopoulos in London, UK, and Hogan in Hobart, Tasmania - a mirroring of actions transmuting their physical distance, the thickness of the screens between them. The disembodied hands draw on Japanese paper, partially submerged in water. Ink is pulled across the paper slowly, instinctively. It bleeds into the water, leaking its jet black into the water’s neutrality, creating smoky clouds reminiscent of a fire’s death. Elements in opposition. As closely as the hands might replicate one another, the ink blossoms at different rates; a simultaneity in gesture, an uncontrollable leaking nonetheless. Ink is drawn up the wrist, the boundary between the body and the water negated. Ink marked along vein lines, where our bodies’ own water rushes so consistently. The work becomes an extension of our internal and external existences, a parallel of the porosity between our skin and the outside world. The longer video work, 'Tracing Submergence', is an extension of these themes. In this work the hands appear in one screen but, in times when we are stretched apart, this feels like an illusion. Sticks for the ink are replaced by feather quills, submerged in the water this time. They form a spine for the paper here, a watery soundscape providing a regularity for these actions. Hands manipulate the paper, testing its malleability, the limits of the material. We see the paper’s sodden flatness become dry and sculptural; a wordless book bound and stitched, a gold leaf orb in its centre. The geological is introduced, traced by the water’s passage of black ink across white paper and the hands that have crumpled the material - creating a rock face, the poetics of terrain. This imprint of water’s movement, this geology of the intertwining of human and non-human, is captured in 'Tracing II - V', photographs of the paper layered. These photographs record a leaking of sorts, the pattern left by water submerging material while skin imprints upon it, testing the terrains that might be made. The work in 'Tracing Submergence' investigates the shapeshifting not only of our selves but the elements around us, a record of our attempts at permanence in a world of shifting uncertainties. Text by Tess Charnley Dr Jan Hogan is an artist and academic exploring the interweaving of nature and culture in material traces of artistic practice. Jan is Head of Art, School of Creative Arts and Media, University of Tasmania and is the coordinator of the UTAS Printmaking & Drawing Department. Her practice-led research explores the traces left in the land of past events intertwining deep geological time with historical events and the present moment. Jan exhibits regularly and her work is represented in Australian national and state collections. Andreas Philippopoulos-Mihalopoulos works with performance, photography and text, as well as sculpture and painting. He has performed at the 58th Venice Art Biennale 2019, the 16th Venice Architecture Biennale 2016, the Tate Modern, Inhotim Instituto de Arte Contemporânea Brazil, the Danish Royal Cast Collection, the Royal Music Academy of Sweden, and other institutions, and has shown his work at the London College of Communication, The Arebyte Gallery, the Palais de Tokyo etc. He is a fiction author, with his first book 'The Book of Water' published in Greek and to be published in English by ERIS press. He is also Professor of Law & Theory at the University of Westminster, and founder and Director of The Westminster Law & Theory Lab, as well as permanently affiliated to the University Institute of Architecture, Venice since 2009. His academic books include the monographs 'Absent Environments' (2007), and 'Spatial Justice: Body Lawscape Atmosphere' (2014). Website www.andreaspm.com

  • Danielle Arnaud

    Suky Best

    Suky Best is an artist based in London working with print, animation and installation. She has exhibited nationally and internationally, including at BALTIC, Gateshead and Pumphouse Gallery, London, and has had work screened at Tate Britain and Tate Modern. Her work was also included in Art Now Lightbox at Tate Britain. Rory Hamilton (b. 1967 Edinburgh). Having studied sculpture, and graphic design, Rory works across both the art and design worlds. After spending several years living and working in Denmark, he is now based in London. His current practice involves papercut images as well as virtual and augmented reality.

  • Danielle Arnaud

    Kathleen Herbert

    Kathleen Herbert uses the medium of performance and documentary to question and engage with the historical and contemporary functions of space. Often she finds an obscure historical footnote that she then explores to unlock a space’s unique atmosphere and identity. Her work draws on the conventions of documentary and film to build a series of narratives, often by redefining location and scale or through a layering of details. She creates a sense of intrigue, never quite exposing the full extent of the situation or story that she is telling. Through use of the uncanny, her work blurs boundaries between fact and fiction, myth and reality, investigating ideas around superstition, rituals and histories. Herbert draws out the apparent uninteresting or unspoken, redefining social, political, historic spatial narratives. Kathleen Herbert lives and works in Kent. She has received several major awards from the Arts Council England, and British Council. In 2005 Kathleen was nominated for the Becks Futures Award. Recently Kathleen's video and binaural sound piece was exhibited at The New York Public Library, as part of Anna Atkins Refracted: Contemporary Works. Kathleen has completed several major commissions from the Southbank Centre, London, Royal Opera House, Covent Garden and Firstsite Gallery Colchester. She has exhibited both nationally and internationally, including: Danielle Arnaud, London (2020), Fotografskia, Stockholm, (2017), Art in Motion, Musseums Wiltshire, UK (2017) A Light Shines in the Darkness, Film and Video Umbrella Tour, UK (2014-2015); Stable, MOBIA Museum of Biblical Art, New York (2014); Force of Nature: Picturing Ruskin’s Landscape, Millennium Museum, Sheffield, (2013); Restless Times, Norwich Castle Museum and Art Gallery, Norwich (2012); Firstsite, Colchester (2012); VOLTA NY, New York, (2010); Vita, Kuben, Umea, Sweden (2009); Hå gamle prestegard, Norway (2009); Sint Lukas Gallery, Brussels (2008); Auckland Triennial, Auckland (2004); Out of Site, Arnolfini, Bristol (2004), Time & Again, Crawford Gallery, Cork (2003); The Heimlich/Unheimlich, RMIT Gallery, Melbourne (2002); SCAPE, Art & Industry Bienniale, Christchurch (2002); The Silk Purse Procedure, Arnolfini & Spike Island, Bristol (2001). Kathleen’s practice has also been featured in various publications most recently in Art Forum International, where Zack Hatfield reviewing, Anna Atkins Refracted: Contemporary Works, described Everything Is Fleeing To Its Presence, as mesmerising and majestic. Kathleen has also been featured in Wall Street International, Time Out, The Sunday Times Culture Magazine, Artist Newletter, Art Monthly, The Guardian Guide and recently ‘Installation as Encounter’: Ernesto Neto, Do Ho Suh and Kathleen Herbert Considered’, in Rina Arya (ed), ‘Contemplations of the Spiritual in Contemporary Art’.

  • Danielle Arnaud

    Antonio Riello - Walkable Art

    WALKABLE ART ICONS FOR A RECYCLING AGE The Alter Modern Era is a Time for a fluid and chaotic visual grammar where the icons related to re-use are paramount: anywhere the most common and well known. Recycling is, in fact, the compulsory ethic Mantra of Late Modernity. The main goal of these new works by Antonio Riello is to be like a sort of conceptual map of this attitude and of its related fears, idiosyncrasies, hopes. A visual dictionary for a sustainable civilisation and its current kind of Anthropology. Actually the artist has not in mind only recycling, in general terms he deals with all the contemporary forms of amending, saving and repairing, as well as a survey of the (possible) incoming “Aesthetical Austerity". The icons (sometime familiar - sometime unknown) are used alone - big size - in some cases. In others they are combined creating specific patterns recalling certain oriental rugs. These icons are embedded in works made of recycled coconut fibre, the same stuff the humble doormats are usually made of. Something traditionally simple and with a lot of inner understatement. Something people are used to step on: "Walkable Art" indeed. Objects that, in default, are supposed to say "welcome!", even if today in many countries, alas, it is not so easy to hear this word (perhaps this stands as a symptom of the artist’s incurable optimism). The coconut fibre first is coupled and then carefully carved. When there is a frame it is made of recycled wood coming from scraped furniture and crates of various nature.

  • Danielle Arnaud

    Katie Deith

    Katie Deith trained at the Slade School of Fine Art, London. Her paintings depict fantasy landscapes in her obsessive, precise style confidently disturbed by vibrant abstract brushstrokes. "Just like the best writers of Sci-fi, and the best film directors, Katie Deith, in her aesthetically compelling paintings is able to successfully blur the boundaries between fact and fiction, reality and fantasy; the figuration in her dream-like landscapes is a convincing iteration of actual scenes, composed as a sort of fantasia on the theme of holiday destinations." — Roy Exley Link to download catalogue: www.daniellearnaud.com/publication/KatieDeith-art.pdf

  • Danielle Arnaud

    I AM ALIVE AND YOU ARE DEAD - Oona Grimes

    A parade of mismatched creatures follow an unstable virtual path down onto a stage. Unsure of how to behave or communicate they politely spatchcock themselves to the walls and wait… Oona Grimes is a born and bred London scribbler and draw-er—a devout flattist with a love of pattern and all things paper and bookish, from Japanese woodcuts and Windsor McKay to graphic signage and packaging; tartans stolen from a Lorenzetti blanket or cartoon detail thieved from Roman wall paintings. Links to download catalogue and references: www.daniellearnaud.com/publication/OonaGrimes-art.pdf Kingdom - Tony Grisoni www.daniellearnaud.com/artists/grimes/Kingdom.pdf Oona's Enchantment Lucy R www.daniellearnaud.com/artists/grimes/OonaEnchantment.pdf Portraits of Mothers www.daniellearnaud.com/artists/grimes/Portraits-Mothers.pdf

  • Danielle Arnaud

    25 Years

    06 Jul 2020 – 15 Sep 2020

    Dinu Li | Katie Deith | Suky Best | Finlay Taylor | Paul Ryan | Paulette Phillips | Neville Gabie | Dunhill and O'Brien | Elpida Hadzi-Vasileva | Freya Gabie | Helen Maurer | Richard McVetis | Nicholas Pace | Oona Grimes | Nicky Hodge | Antonio Riello | Katrin Hanusch | Annie Whiles | Katharine Fry | Marie-France & Patricia Martin | Fran Burden | Abraham Kritzman | Sophie Lascelles | David Bate | Kim L Pace | Marc Hulson | Nicky Coutts | Andreas Philippopoulos-Mihalopoulos and Jan Hogan | Rieko Akatsuka | Gerry Smith | Heather Ross | Kate Scrivener | Kathleen Herbert | Effie Paleologou | Louisa Fairclough | David Cotterrell '25 Years', our summer exhibition, was due to open mid-June to celebrate 25 years of the gallery. Over 40 artists were invited to reflect on the notion of time (scientific, philosophical, real or imagined) with site specific artworks to be installed in the Georgian space which has housed the gallery for the last 25 years. Then time stopped… the gallery closed; the artists were confined; some studios had to close; teaching had to be ‘performed’ online; some felt loneliness setting in; others had to multi-task. Many of the artists were left with no time or space to produce new work. A sabbatical for some, harshness for others, a challenging time for all. However, as with many of us in the art world, we decided to proceed virtually in a space more conform to traditional galleries than the very eccentric surroundings of a Georgian house. We kept the thematic, but all the proposed artworks had to be revisited, re-selected and we had to accept that some will simply not work in this new format. The works in the show explore time in its different manifestations, our different relationships with its concept. Neville Gabie's work 'Every day of my life until today 2nd May 2018' expresses how we try to capture time and make it our own. The rhythmic, repetitive markings of the drawing creating an illusion of time’s evenness, oxymoronic in its nature. In Helen Maurer’s film 'Two Trees Turning', time’s pendulum-like swing is evoked hypnotically, a rhythmic turning of trees creating a semblance of movement in stillness. Both Heather Ross and Elpida Hadzi-Vasileva explore the symbiotic relationship between nature and time; the passing of Time recorded in nature’s trace, erosion and decomposition. In Gerry Smith’s painting 'Kings X Clock Yellow', and Paul Ryan’s drawing 'Slowly Slowly', time is stopped still, reminiscent of W.H. Auden’s 'Funeral Blues'. Fran Burden's and Richard McVetis’ embroidery works 'Modern Dance' and 'Particles', respectively, slow down time in the labour of their making, whereas Katharine Fry’s new video work 'A deal with god', a response to her experience battling COVID-19 in hospital, tracks real time in breath. Fry uses this work to explore illness as an interruption to the lifespan, the portion of time, we are each given. In Paulette Phillips’ work 'Horizon', the artist explores our changing perceptions of time and movement and their interrelation through a sea lens. There is an irony in presenting an exhibition on Time in a space where time stands still, and space does not exist. Yet the pandemic has brought time to the forefront of people’s minds - the way we measure it; its elasticity; the way it drags and drips and pours away. Take your time and meander with your eyes. www.daniellearnaud.com

  • Danielle Arnaud

    Gerry Smith

    The paintings of Gerry Smith take their form by imposing a rigorous simplification onto "found" images. The subjects: cities, squares, soldiers or text, have to compete with the optical effects of being translated into a few colours. The choices of "where" and "how" to simplify allow for an unpredictable outcome. These paintings look to the computer screen with envy. Priority is always given to the "hum" of the surface, with each colour clinging to its part of the picture and not allowed to wander. - Michele Minne More works available: www.daniellearnaud.com/publication/GerrySmith-art.pdf

    latest works

    • Alix Marie

      Mammography 2, 2017
      30 x 20 cm (h x w)
      photograph printed on glass, 2017 (printed 2019) unique
      GBP 1500
    • Sola Olulode

      Heaven Is The Arms That Hold You Long Before You Go, 2019
      122 x 102 cm (h x w)
      Oil, wax, oil bar, charcoal, oil pastels, Pigment, ink on canvas (NFS)
    • Jane Hayes Greenwood

      The Awakening, 2018
      160 x 180 cm (h x w)
      Oil on canvas
      GBP 7300
    • Patricia & Marie-France Martin

      Un et un à présent ça fait deux avant ça ne faisait qu’un, 2000
      150 x 200 cm (h x w)
    • Charlotte Edey

      Mine II, 2019
      28 x 21 cm (h x w)
      Original graphite pencil drawing on handmade long fibred cotton rag paper. Framed in handmade Italian stained ash wood box frame with museum glass and floating mount (framed)
      GBP 850
    • Mandy Franca

      Untitled (portrait), 2019
      68.3 x 46.7 cm (h x w)
      Photo Lithography on Bread and Butter paper Ed 7
      GBP 300
    • Mandy Franca

      Untitled (landscape), 2019
      46.7 x 68.3 cm (h x w)
      Photo Lithography on Bread and Butter paper Ed 7
      GBP 300
    • Sola Olulode

      Entwinted, 2020
      152 x 122 cm (h x w)
      Ink, oil and wax on canvas (NFS)
    • Alix Marie

      Wax Photography 14, 2014
      84 x 59 cm (h x w)
      (printed 2019), c-type print mounted on dibond
      GBP 1750
    • Charlotte Edey

      Freshwater, 2020
      21 x 16 cm (h x w)
      Woven jacquard tapestry with hand embroidery (framed)
      GBP 1800
    • Alix Marie

      Cell Memory, 2017
      40 x 30 cm (h x w)
      (printed 2020), c-type print
      GBP 900
    • Alix Marie

      2 fists, 2017
      35 x 30 cm (h x w)
      (printed 2020), c-type print
      GBP 900
    • Jane Hayes Greenwood

      Virtual Reality, 2018
      180 x 160 cm (h x w)
      Oil on canvas (POA)
    • Charlotte Edey

      Mine 1, 2019
      28 x 21 cm (h x w)
      Original graphite pencil drawing on handmade long fibred cotton rag paper. Framed in handmade Italian stained ash wood box frame with museum glass and floating mount (framed)
      GBP 850
    • Louisa Fairclough

      3245c*, 2020
      15 x 30 cm (h x w)
      Voices as percussion - sounded at the end of out-breathes (please listen with headphones)
    • David Cotterrell

      Groupthink, 2019
      46 x 46 cm (h x w)
      giclée print on aluminium
    • Effie Paleologou

      Twenty-five Red Dots for D(anielle) A(rnaud), 2020
      42 x 58 cm (h x w)
      calligraphy pen and ink on paper
    • Sophie Lascelles

      Unfolding, 2020
      62.5 x 120 cm (h x w)
      Video 4m 25s
    • Jan Hogan and Andreas Philippopoulos-Mihalopoulos

      Tracing Distance, 2020
      72 x 128 cm (h x w)
      Multiple Zoom recordings iOs 1280x720 5m 33s
    • Paulette Phillips

      Horizon, 2020
      112.5 x 200 cm (h x w)
      video 1m 20s
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