Drawing Room Lisboa
Jorn Ebner, born 1966, Asger Jorn’s Flower Collection, 2014, pencil, marker, graphite, colour pencil, ink pens on Hahnemühle Bamboo paper, 42x30cm
Simon Le Ruez, Vacation #4, 2019, Cromático paper, adhesive, felt pen, silver and gold pen, micro beads, coloured netting on heavyweight paper, 42x30cm
Stephen Palmer, born 1967, Nothing is ours, 2020, carbon paper and transfer paper on paper, 30x22cm
14-30 October 2020
Vane is pleased to announce the gallery’s participation in the online section of the Drawing Room Lisboa art fair, 14-30 October 2020. We are showcasing the work of Jorn Ebner, Simon Le Ruez and Stephen Palmer. 40 International Galleries and 1,000 drawing and on paper artworks are now available online. Check out Vane on the brand new drawingroom.store section of the fair website, available for viewing from 8 October. This is the first initiative of its kind to specialise in contemporary drawing. Visit the platform to learn all about Drawing Room’s galleries, artists and all the exhibition and sales related useful info.
Jorn Ebner’s drawings emerged from his interests in the danse macabre (the mediaeval allegory on death), the writing of French poet Charles Baudelaire, Danish artist Asger Jorn, and the songs of John Lennon, whose murder had enormous impact on the artist as a teenager. The triptych, 8 12 1980, was intended to depict the murder from imagination: a totally distraught woman, a man collapsing from a fatal injury, a building towering over them both. The Spielmann drawings are taken from portrait photographs in a German Rolling Stone magazine special issue on Lennon. The ‘Spielmann’ was a mediaeval German travelling musician, and in images of the danse macabre, Death is often portrayed as a piper leading the dance. The Spielmann drawings are intended to create a contemporary dance of death, with the dead musician leading the way.
Simon Le Ruez’s drawings explore his interests in territory, transparency, fragility and transition, and which takes his fascination with making, colour and material combination to new and unexpected levels. Le Ruez’s work aligns itself with the multifaceted and fragmented themes of themes of abandonment, freedom, desire and redemption. Potent relationships are key to the experience of his work and whilst these may be explored through form, material and structure, a deeper, more complex introspection permanently resides.
Stephen Palmer’s drawings start with a model made from a sheet of A4 paper that has been defaced through a series of actions: first drawn on, then screwed up, ripped, and finally unfolded as if to make the paper good again. The labour-intensive process of rendering these objects in graphite onto another sheet of A4, is the antithesis of the process that goes into making the models. The intuitive nature of the original object is still there in the finished works reflecting an undoing of formal geometry and a celebration of negation as a positive, creative act.
Share this page