London, Hong Kong, New York City
Flowers Gallery represents more than 50 international artists and artist’s estates, working with a wide range of media. Over the past five decades the gallery has presented over 900 exhibitions across its global locations, also supporting the production of artist’s publications and the presentation of works by gallery artists in art fairs, public galleries, museums and institutions around the world.
The gallery programme includes major annual summer survey shows and renowned recurring exhibitions such as Artist of the Day and Small is Beautiful, which have formed an important high-profile platform for many emerging and under-recognised contemporary artists.
The following artists are included in our presentation below:
Victoria Crowe, Winter Garden, 2012 Water based silkscreen, Edition of 40
Ishbel Myerscough (b. 1968) is recognised for her meticulously observed and strikingly honest self-portraits and depiction of family life. Myerscough combines a focused study of youth and coming-of-age with adult experiences of parenthood, desire and bereavement, evoking the rich and complex cycle of human experience. On view for the first time, Myerscough’s new monotypes were produced in 2021 by the artist in her London studio with oil-based etching ink laid on a tray, and drawn on the back. They reflect familial encounters embedded within the domestic realm, with particular focus on the heightened intimacy of lockdown during the pandemic.
Over several decades, George Blacklock’s (b. 1952) works have been concerned with a balance of figuration and abstraction, responding to the body in both their subject matter and their methods of construction. His paintings reflect a sensitive response to phenomena in the surrounding world, from atmosphere and colour to sound and music. Blacklock’s work responds to the traditional narrative structures of Western figurative art, sustaining what he has described as a conversational exchange with the ‘ancestral voices’ of art history. In this new series of small-scale monotypes made in his studio utilising a sheet of glass, Blacklock’s compositions and motifs relate to the poetic narrative of Dante’s Divine Comedy, made in the artist’s London studio during the 700th Anniversary year of the poet’s death.
Through her quiet and reflective work, Freya Payne (b 1968), champions simple form and pared-down beauty. Her work mines the content of everyday life - family relationships, the passage of time, and the elusive search for identity. Rich with poetry, the work celebrates the small shifts, tangents and doubts that mark our experience and understanding.
Freya Payne is a critically acclaimed printmaker. She prints in her Fife (Scotland) studio using an intaglio press. Etching is her technique of choice, often involving multiple plates and complex processes. The title of the pair of etchings comes from the Greek maxim which translates in "Come What May, We'll Face it With Courage". This call to arms "is a celebration of our common everyday courage to keep going, to breath, to begin again”.
The work of acclaimed Edinburgh-based artist Victoria Crowe (b. 1945) is often concerned with memory and association, timelessness and fragility, moving towards a metaphysical understanding of the nature of experience, as well as nature itself, real and transmuted. The three works on view display a profound quietude, characteristic of Crowe’s wider body of work. In these winterscapes, silhouettes of trees emerge delicately from the half-light, reflecting Crowe's own continuous, layered journey of discovery, at once muted and illuminated.
Over the course of his career, Sir Terry Frost (RA) (b. 1915- 2003), became one of Britain's most prominent abstract artists. The prints on view reflect his striking use of buoyant colour and bold geometric forms. His works are often evocative of recognisable figurative subjects, as seen for example in the screenprint Newlyn Blue Q, named after his transformative experiences of the light and movement in the fishing port in Cornwall, where he lived and worked towards the end his life, or the distinct arboreal composition of the monumentally-scaled monotype GT Day. Printmaking has occupied an important role in Terry Frost's practice, often informing and complementing his production of paintings and other media such as mobiles and constructions. Frost has worked on many outstanding printmaking projects with celebrated master printer Hugh Stoneman in his Cornwall.
Matthew Flowers, managing director of Flowers Gallery
29 7/8 x 33 1/8 inches
Water based silkscreen
Edition of 40
Large Tree Group, Winter
20 1/8 x 28 inches
Etching and screenprint
Edition of 250
Against the Light: Deeper Blue, Jewelled Evening
22 1/2 x 26 1/2 inches
11 3/4 x 8 1/2 inches
Signed on the verso
Installation detail of the exhibition Mind's Eye, 2021, featuring the monotype GT Day, 1999 by Terry Frost
8 1/2 x 11 3/4 inches
Signed on the verso
Installation of monotypes by George Blacklock, 2021
8 1/4 x 11 3/4 inches
Signed on the verso
11 3/4 x 8 1/4 inches
"I make monotypes to help gestate the pictorial possibilities discovered in my paintings. Although this suggests a secondary status, I really don’t see them as such. These monotypes give me the opportunity for improvisation and spontaneous decision making, along with a certain lack of overt control; these attributes of this particular process - taking prints from a sheet glass - free me up, and cut through a lot of pre-conceived assumptions." George Blacklock