||THROUGH THE COLOURS||
May 3 – May 12 / 2017 @ 11am to 5pm
“THE ART OF PYROGRAPHY” Carlo Proietto / Solo Show
“THE ART OF PYROGRAPHY” Carlo Proietto / Solo Show
“THE ART OF PYROGRAPHY”
CARLO GIUSEPPE PROIETTO
March 26th – Aprıl 7st, 2017
“CONTEMPORARY PAINTING ”
March 15th – 25th, 2017
AMELIA MARTHA MATERA
AMELIA MARTHA MATERA
TIMELESS GROUP SHOW 15-25 /FEB ||2017
ALICE SHEPPARD FIDLER
SERPIL MAVI USTUN
FREEDOM GROUP SHOW
SERPIL MAVI USTUN
HALIME YURDAGUL || SOLO SHOW ||
TERMS AND CONDITIONS
THE LONDON INERTNATIONAL ART COMPETITION 2017 aims to provide and promote exposure for artists who are looking to establish a profile on the London art scene. The Prize is aimed at artists working in one or more of the following media: drawing, printing, painting, photography, digital art and sculpture.
TERMS AND CONDITIONS
Entries are open until midnight on the May, 15th, 2017.
The competition is open to all ages.
Work submitted from artists working in all mediums, and international artists are welcome.
Entries should be in digital format. This image will be used in the selection process and may be used in any marketing.
Entry forms are available from our website
20 finalist artworks will be exhibited by HLS Gallery organisation in Stoke Newington in London
HLS Gallery will host an opening night to announce the overall winner of the Art prize (cash prize of £1.000)
Entry fee of £10 for each entry, up to 5 works is can be entered for each artist.
Fees will not be refunded if applicants are not chosen for the finalist exhibition.
There is an administration / entry fee of £10 for each artwork, which is non-refundable.
Artists may submit up to five artworks.
A commission of 30% (plus VAT on the commission) for any artworks sold durıng the exhibition during the show will be taken.
THE JUDGING PANEL
The judges will be looking for artists who demonstrate the very best in creative process and promotes craftsmanship and technique.
All works will be judged anonymously and there will be no segregation by country, genre or style, etc.
THE SELECTION PROCESS
The panel of judges will initially review all entries from the digital submission process.
KEY DATES FOR YOUR DIARY
January, 1st, 2017 – Submissions Open
May, 15th, 2017 – Deadline for online entries, by midnight
May, 21st, 2017 – Results of initial judging emailed to artists by this date
May, 27th, 2017 – Shortlisted artists submit works to HLS Gallery by this date
May, 30th, 2017 – Exhibition Opening and Prize Giving
May, 30th ,2017 – Exhibition in Stoke Newington in London
Unsold works to be collected by the artist at the last day of the Show.
Maximum size of any piece – 1.5m width/height.
LONDON INTERNATIONAL ART COMPETITION
May 30th – June 9th, 2017
Bray Ewing – Chris Horner – Dagnija Cerevicnika – Erhan Cihanoglu
Fatma Branquinho – Fernando Sales – Helen Lack – Joseph Nicholls
Luc Pellegroms – Luke Shaw Lawrance – Magdalena Nowak – Marcel Plavec
Merve Turan – Michelle Watson – Olympe El Shoura – Robert Abkorovits
Roberto Lalli – Rory Watson – Sal Jones – Stephen Calcutt- Valérie Ghattas
Horner believes that the excitement in the material is built from the motion of the subconscious mind. ‘Materials which have been used to their full potential are what interest me, as I like to restore and bring back to life a character from within the property of the surface. I find myself building a relationship with the particular surface I am working with. This must be an intense connection where new meanings and languages can be informed. I see this as a playful journey where collaboration between artist, material and process unfolds, for me this is also when you convert, transform and materialize a new beginning from what was seen previous. For me painting and sculpture go hand in hand, they feed off one another’.
“I paint portraits, landscapes, the still lifes and figurative compositions. I work in the oil and acrylic technique. If I paint a living being,( humans, animals, mythological creatures ) I have important to establish contact with him. Therefore I draw a lot of attention to the eyes. I want the viewer to also formed a contact with my paintings. When I worked , I have something to look. It can be a model that can be photo or drawing. I love the XIX and XX turn of the century art, the Symbolists, the Pre-Raphaelites, J.W. Waterhouse, L. Alma- Tadema, Franzvon Stuck and others. I believe that an artist all his life need to learn and grow. I am interested to participate in various projects, I like to specific themes and new technique.”
’My paintings aren’t in a hurry. Thus they’ve connections, affinities with spectators I think. I care about touching toold feelings, childhood memories or untold emotions which locked and forgotten in our hearts. I like to evoke these to spectators by a single glance or a single image in my paintings.’’
Lately, the concept and focus of interest in her work are human feelings, behaviors, and relationships. In this artwork, she represented characters not totally figurative but with the purpose of transmitting the feeling. Looking for inspiration in Picasso after analyzing several of hisworks, and this interpretation arose based on her own study on the feelings of melancholy andnostalgia characteristic of fado and the Portuguese people. Through the techniques of the trace, stain, layer overlap and chosen chromaticrange, sought help for the transmission of the concept.
“The heart burns out with its own fire, even if we wish to put it out, it keeps on burning taking itself to the light. The fire brings out the light, shows the bright. In my works my experience comes alive in abstract forms, keeps on accompanying me through my journey. In my painting, the black and the white are the two faces of the light, the strokes with warm colours call me to find my path, the infinite light, my existence, my self.”
Her work is full of Vibrant colours and lots of passion and energy which represent everyday life and the Earth and live in. Helen is an environmentalist who wishes to protect our oceans, trees and beautiful Planet. An artist of our time and future, both in creation and inspiration! Fragments is an emotional artworks which is based on how fragile our lives are, we can be broken at any time!
The artist’s works can be seen on www.helenlackart.com Facebbok and instagram:helenlackart
My selected work is an exploration of colour, process and technique along with a playful use of movement and composition. For several years my work has been aesthetically based on the simplification and subtraction of visual information in terms of detail. In the piece on display this concept has been pushed to the extent that each spot and block of paint have been layered more extensively, creating a no longer simple result. Actually the result has become more detailed and complex, especially due to the smaller scale of the piece on display in comparison to my previous 6x4ft paintings where each area of paint is much larger creating a simpler execution.
In this self portrait I became playful with movement, line was used in a way in which it is flowing downward throughout the canvas. This adds to the general mood of the painting along side the composition and positioning of the subject. I also liked the idea of generally adding softer pastel colours throughout which when juxtaposed with the use of movement and the positioning of the subject, creates more of a contradictory result. This use of colour was influential of artists such as Glenn Brown and Humphrey Ocean. I also find much of my inspiration from artists like Alex Katz, his idea of minimising the extent of information in his portraits gave my initial work it’s direction.
In my work I always try to catch the moment when you’re looking at something or someone for the first time and are wondering what exactly it is what you’re seeing at. Those seconds you need to ensure if a person or environment is friendly or not, sweet or dangerous, tempting or repulsive. Often the doubt remains. Is the ‘girl’ in this painting just a girl playing with a ball or methaphorically a portent of disaster?
LUKE SHAW LAWRANCE
Luke Shaw Lawrance studied art in American Overseas School of Rome and Chealsa Collage of Art intreprets his selected work as fallows: “My painting 2008 is about that year which changed my life so drastically. My best friend and father died and I met a girl who I fell in love with and still love today. I also quit drinking alcohol which was a big problem to me for many years. The pink cloud I’m standing on is a term from AA to describe the euphoric mood some alcoholics experience after quitting and living in the nightmare of active alcoholism. The building is my flat which was renovated while I was re housed and the butterfly in the sun is from a short story I wrote to the girl on the bed. The black cloud coming from the bottle describes to me the poison alcohol can be and that touched me ,my father and best friend
Drawing portraits is my passion and I am especially fascinated by people’s faces where every face tells a story with their powerful and emotional expression. I create a combination of classic portrait drawings with pastels and contemporary elements with a unique twist painted with ink and acrylic.For me drawing is an effective vehicle to open people’s eyes to help them notice issues that are generally avoided
Nowadays I am much more aware of the kind of colours people prefer and choose to wear”, he says. In addition to studying colour he has explored new techniques of paint application, particularly in large-scale paintings. He enjoys experimenting, while striving for harmony, and he examines the ways colours impact people rather than aspiring to create shocking compositions. The relationship between music, colour and emotion is the main driving force and inspiration for his art. Marcel P. collaborated with a number of architects and designers. He doesn’t regard his paintings merely as traditional interior design accessories and hopes instead to find a spiritual way of using colour to connect spaces, in which people spend their time working or relaxing
Merve Turan creates completely new attitudes in her works and invites you to share her dream world, contrary to systematic illusions. The artist tries to achieve the clear mind of a child,forgotten plurals and accuracy in her drawings. Turan is looking for an answer to ‘us’ among her new stories. In an age where stories come to an end, Turan inviting you to her to start dreaming freely again.
My work has always coveted a study of women’s bodies, their shape and colouration pertaining a certain amount of realism. Venturing more deeply into permanent scarring of the skin and the reasons behind it gave inspiration to my recent series of works. I have been researching the hormonal changes women face and the symptoms that prevail, especially focusing on the ‘climacteric’, ‘the change of life’ otherwise referred to as the menopause. The severity of the symptoms and the experiences most women encounter throughout this period vary from one to another as well as the duration. Written articles describe the intensive reactions various women have encountered and do their best to inform women of what to expect. I hope to show a collective response to my research, in creating a connection between the form and the raw canvas as its immersed in the aura of paint and diverse marks, thus trying to encapsulate the mood and figure in becoming one entity
OLYMPE EL SHOURA
This painting was born on November 14th, 2016, on the Supermoon Night. As I grow old, I feel closer to the Universe and our surroundings. Our Home, the Earth, is nothing but a pale blue dot lost in vastness. We are so small, meaningless, but as Human Beings, we need to understand what our role in this world is, something mixed up with chance and absurdity to which we can add our infinite need to understand and control everything. The creation of « I walked on the Moon » is a mix of intention, patience, meditation and letting go. Controlling every line of it was difficult, as the thick painting itself while drying made it’s own way. Maybe, once you cut the ropes, anything can happen, and maybe this is the exact moment when everything is really under control
Robert Abkorovits , a young creative artist whom style was influenced mostly by Van Gogh and Picasso but also by Nicolae Tonitza and Emil Nolde. He embraced a personal style, playing with colours and the way he prepares and treats the surfaces he is painting on. His vision is simple: art is his passion and whatever is done with passion expresses strong feelings. He paints to give a visual image to what is going on inside his mind and soul. His motto is : “Art is my passion and my family is my life
Painting is never end to itself but is filtered through experience, reiterating its physical attachment to a clear distance away from a purely mental process, in this direction each work is an anonymous and premigenous creation, even regenerative, distant from standardized forms. Very primitive, very conceptual, very abstract, very spacious; a magnetism of a graphical design that fascinates and pervades the formative journey of Roberto Lalli. “Artifex” of the subject and color, he leaves the path taken by his loved maestros: Tapies, Butti, Royko, Capogrossi.. as he himself listens to his “Roman” soul. A Roman of 7 generations who carries the genes of the Eternal City. His story can be traced back to a young age when he was always active and committed to the daily restoration of frescoes and sculptures. His enthusiastic attendance of craftmen’s workshops made him love the instruments of the arts and revealed to him the alchemy of colors. Today- soils, metals, pigments, woods, cartouches and fabrics have become narrative elements in the hands of the craftsman. For the artist his every opera is a wall; a wall that becomes imaginary where the master leaves the beholders the freedom to interpret his work according to their emotions.In this way, the spectator becomes a testimony of an evocative and cathartic journey. The canvas becomes the door that descends into the darkest and lightest part of his soul, a door that takes one back from a journey, sometimes rough sometimes celestial, in search of the origin.
Rory Watson’s practice involves using unconventional techniques as he aims to portray chaotically yet controlled images that question the similarities between figuration and abstraction. Intentional marks sit alongside accidental stains in paintings and drawings which challenge the viewers perception of form. His studio has become a laboratory where the process defines the final imagery.“ My practice currently involves working towards a visual language which challenges the perception of the audience in seeing figurative form emerging from within a seemingly random array of marks. My recent series explores the theory of ‘formlessness’ in conjunction with pareidolia to produce images which contrast absence and presence. ‘Unititled’ is left to the viewers discrepancy and imagination on where the limits of figuration and abstraction lie by omitting the facial features and leaving only the faint outline of a head and shoulders. The marks are made by a process which limits my control over the final outcome; pouring paint onto the canvas and tipping it to produce an image, and therefore my portrait can attempt to represent the absence of form.
I’m interested in developing ideas around fiction and reality and shifting contexts; the cross-over between painting, photography and film, how we interpret and relate to images as spectators and how they affect us. Recent work can be best described as a reinterpretation of the portraiture tradition with an emphasis on emotional conflict and expression. Fictional characters have been used to communicate a wider idea of human nature. I use captured moments rather than the traditional poses associated with portraiture, to this end working from photographs becomes a part of the process. I rarely do drawings in advance but use the paint to draw directly on the canvas then build up layers from washes to more gestural mark making, often combining brushwork with palette knife.” Sal Jones’emotionally charged paintings, portraying, primarily, fictional subjects, are an attempt to capture the action of expression out of context whilst transforming the stereotypical portrait. Sal Jones lives and works in Stoke Newington, London, producing figurative oil paintings. Using photographs of subjects and scenes derived from mass media sources, she explores the nature of, and our relationship with, representation; particularly with regard to human expression and communication.
Person with shopping bag observed through graffiti etched bus stop window. Stephen uses the graffiti etched bus stop windows as a lens on to the world beyond. Bus Stop 43 is part of the ongoing series Bus Stop. The metamorphosis of an every day view with the graffiti etched swirls, scratchesembedded in the bus stop window. Stephens unique form of street photography is a consequence of frequenting bus stops and shelters around the City of Birmingham. Graffiti can be great art, however for Stephen the etched, scrawled and scratched graffiti into the plexiglass windows of the bus stop feels like a violation. like a poke in the eye, or deteriorating vision through age or disease. Stephen has yet to see any of these etchings that looks great in their own right. The graffiti etched and scrawled in the bus stop windows seem to be expressions of frustration or anger. Occasionally there may be declarations of love or hate written into the plexiglass. However, unlike it’s cousin the more colourful graffiti that is emblazoned across the walls of buildings and is often seen as art, it is very mundane. Stephen feels a windows full potential as a clear barrier between yourself and the elements is compromised when the view beyond is obscured, distorted and blurred by the scratches.
The act of painting follows me since my childhood until a very special event in my life invites me to throw myself totally into painting. A passion long time buried but presented continuously by my work as a teacher of Plastic Art in France. My studies at the Fine Arts have taught me to preserve my passion of painting. I explored for many years the light and the shadow of a space and I chose a certain time to explore the abandoned spaces like a workshop, a factory or a house. The windows become the one that allows to explore the luminosity and to make appear a new living atmosphere. Oil painting is the technique that I prefer and allows silent spaces as if I wanted to stop the time, stop for a moment for what is old and abandoned. Giving a second life to spaces that are empty from all activities of human life or spaces of our lives that we see but often do not notice. These imagined abandoned spaces once so full of life are tenderly depicted with light, a subtle color palette and a cinematic perspective.I view each piece as being part of a single, ongoing work
Have a great artwork you think is worthy of a respectable prize? Why not take part in our competitions which only costs you £10 per artwork and can win a prize of up to £1000 – as well as a nice bottle of wine 😉
If you would like to learn more or apply to our competitions, simply complete the online application form, upload your files and then make your payment. We will review your artwork with our panel of highly qualified artists and reply to you in no time.
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- Invitation Cards / Posters
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