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Jennifer Morrison’s 'Static Flow' is on display at One Creechurch Place until the 22nd of June.

For all enquiries, please contact info@jgmgallery.com.

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“Walking to her studio in London, Jennifer Morrison sends a voice-message. One can sense the brisk cold in her voice. There is “that dichotomy and pleasure in both hiding and revealing, which I think all artists grapple with”, she says. Then, “more personally”, that “it is a battle and something I like.” Hers, therefore, is an acutely intimate calibration of the known and unknowable, shape and shapelessness, the figure – square or bar – and its abstraction. When entering her studio, Morrison steps into “a very private place”, silent, solitary, even monastic. There, in her physical realm that is also her “dreamscape”, life’s snarled territory is navigated, thrust away, snagged, ordered, released, for doubtless, it is within this fraught “balance” that painter’s drama is best expressed and most keenly felt.”

- Ashraf Jamal (excerpt from catalogue text).

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Image: Jennifer Morrison, 'Karma', 2024, oil on canvas, 270cm x 270cm. Image courtesy of Studio Adamson.

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Love and gratitude to all who came to ‘Getting a Head’, with works by @jesserivers . It was great to switch on the gallery lights! We look forward to welcoming you back.

‘Across the works presented, material experiments chase the ideas that preoccupy Rivers’ painting practice. The germ and germination of ideas remains an elusive subject matter taking him up, around, into and over the head. One more attempt: a 90° panoramic mirror, glued to the top corner of the gallery, looks onto your crown and ears. It is not easy to see inside.’
– Excerpt from press release @jessiekrish

Beautiful documentation by @studio_adamson

Works in order of appearance:

1. ‘(A Head)’, 2024, oil paint, acrylic paint, silver ink, pencil on canvas, 81cm x 101cm

2. ‘Self-reflection, self-improvement, moving forward whilst looking backwards, looking backwards whilst moving forward, keeping the past/the present/the future in mind. Full circle. Looping around the sun, looping from point to point, day to day, week on week. I am here and then I am there’, 2024, panoramic mirror, acrylic, 40x40x33cm

3. ‘Console’, 2023, card, zinc wire, putty rubber, glue, silver ink, gold ink, pencil, 17cm x 18cm x 2cm

4. ‘Coins’, 2024, technical pencil and frog tape on newsprint, 36cm x 25cm

5. ‘I am here and then I am there’, 2024, metallic Fuji Crystal archive paper laser jet print, A5/ A4

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‘Getting A Head’ is now open 12-6 today and tomorrow @middlesexpresents

Massive massive thanks to everyone who joined us last night for the opening xx

📷 @studio_adamson

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Please join us on Wednesday 24 April, between 6:00pm and 8:00pm, for the Opening Reception of 'Looking In', an exhibition of works by Mafalda von Hessen.

To register your RSVP, please contact info@jgmgallery.com.

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"It is with great delight that I introduce the work of Mafalda von Hessen, a dear friend and consummate painter. We welcome Mafalda to JGM Gallery for her inaugural London exhibition, 'Looking In'.

I have loved watching these paintings come alive on my numerous visits to Mafalda's studio in Rome. In the curation of this exhibition, I felt so much of Mafalda's world reflected in her art practice. There is an openness and directness in this work - objects and forms move and rearrange themselves in her paintings, winking at each other from across the expanse of Mafalda's 'great indoors'.

Although a human presence is absent in most of these paintings, Mafalda's keen eye for the animate in the inanimate permeates the surface of each canvas. Perhaps this paint permits the disclosure of deeper dispositions and, in Mafalda's instance, an insatiable desire to question norms - compositional, psychological, or otherwise.

What are we really looking into when we view these paintings? Simple depictions of interiors, or metaphors for Mafalda's psyche, insight into a timeless observation - a realm where inanimate objects possess agency and an audacious curiosity.

These paintings are beautiful, magical, and honest. Mafalda strives to "... make the everyday poetic" and her London exhibition is testament to that end."

- Jennifer Guerrini Maraldi (excerpt from foreword to exhibition catalogue).

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Image: Mafalda von Hessen, (left) 'White Chairs & Packing Paper', 2022, oil on canvas, 166cm x 126cm, (middle) 'Rusty Garden Chair', 2021, oil on canvas, 100cm x 83cm, (right) 'Franz West Meets Tana', 2022, oil on canvas, 166cm x 126cm. Image courtesy of Studio Adamson.

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Final days to view 'Yoi'. The exhibition concludes this Saturday, the 13th of April.

For all enquiries, please contact info@jgmgallery.com.

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Image: Alison Puruntatameri, 'Winga II (Tidal Movement/Waves', ochre on linen, 120cm x 80cm. Image courtesy of Studio Adamson.

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“… the symbiotic relationship between people, land and sea offers unprecedented insight into climate concerns, as such imbuing Tiwi Art with an all the more significant sense of contemporaneousness. Just as we look to a classical past to explain the present, in the words of artist Pedro Wonaeamirri: “… the old and the new coming together is our story, from Parlingarri (Long Time Ago) to today, moving forward but always remembering.”

- Chloe Redston (excerpt from catalogue text).

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Image: (Left) Josephine Burak, ‘Milimika III’, 2023, ochre on canvas, 120cm x 80cm, (right) Alison Puruntatameri, ‘Winga III’, 2020, ochre on canvas, 120cm x 80cm. Image courtesy of Studio Adamson.

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For all enquiries, please contact info@jgmgallery.com.

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“Josephine Burak and Christine Puruntatameri, in their own ways, employ both geometrical patterns derived from body paintings, and traditional symbolic iconography, to evoke fundamental Tiwi cultural tenets - indicated by the titles of their artworks - and create dynamic contemporary abstractions which also resonate intimately with the Tiwi’s ancestral stories and songs. Are any of these connotations necessary for the appreciation of these artworks? The subjectivity of the artist who uses her own points of reference in her creative practice does not have to match with the viewer’s perspective or an appreciation of a specific cultural context that is associated with the artwork, but it is not exclusive. It also may bring the viewer to seek to discover other aspects of our humanity deeply embedded in the Tiwi cosmology - as complex as Greek, Latin or other world mythologies. All these are parts that play through our universal cultural kaleidoscope. They are all valid and important cultural building blocks of the world we live in, and should be appreciated as they are for what they are, and for their distinctive contributions to the contemporary art of today.”

- Guy Allain, in conversation with Chloe Redston.

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Image: Christine Puruntatameri, ‘Pwonga’, 2023, ochre on canvas, 180cm x 120cm. Image courtesy of Studio Adamson.

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For all enquiries, please contact info@jgmgallery.com.

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The 'Yoi' Private View (Wednesday, 28 February, between 6:00pm and 8:00pm) will coincide with the exhibition’s catalogue launch.

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This publication contains, amongst other contents, a foreword by Jennifer Guerrini Maraldi, a curatorial commentary by Chloe Redston, and an 'In Conversation' with Guy Allain (Manager of The Munupi Arts & Crafts Association).

Cover image: Josephine Burak, 'Milimika III' (detail), 2023, ochre on canvas, 120cm x 80cm. Image courtesy of Studio Adamson.

Editorial design by Julius Killerby.

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For all enquiries, or to register your RSVP for this event, please email info@jgmgallery.com.

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Please join us for the 'Yoi' Private View this coming Wednesday, 28 February, between 6:00pm and 8:00pm.

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“The works in 'Yoi' are each characterised and aligned by the expressive marks they employ. The mark-making of the Tiwi People exemplifies a process by which surface and mark interact in a dialectic exchange; the mark releases the generative power of the surface. The repetitive and geometric patterns of Lucinda Puruntatameri’s 'Pupuni Jilamara', for example, though at first glance appear asemic, hint at more than what is displayed through a sense of movement. The two-toned and simplified palette, when combined with the almost mechanical rhythm of marks, paradoxically uniform and yet fluid, create a sense of hypnosis that resonates with a higher spiritual plane. Manager of The Munupi Arts & Crafts Association, Guy Allain, argues that this effect urges the viewer “… to discover other aspects of our humanity deeply embedded in the Tiwi cosmology – those which are as complex as Greek, Latin or other world mythologies. All of these are parts that play through our universal cultural kaleidoscope.”

- Chloe Redston (excerpt from catalogue text).

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Image: (Left) Carol Puruntatameri, 'Yipali & Purrukupali II', 2023, (middle) Lucinda Puruntatameri, 'Pupuni Jilamara I', 2023, (right) Carol Puruntatameri, 'Yipali & Purrukupali I', 2023. Image courtesy of Studio Adamson.

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For all enquiries, or to register your RSVP, please contact info@jgmgallery.com.

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Thank you @robyn.graham for including my work 'Drip feed' in @warblingcollective 's show 'The Very Hours Pass Unnoticed' @greatorexstreet_e1
& to everyone who came during the week to see the show 🤍

📷: @studio_adamson

‐THE HOURS PASS UNNOTICED‐
13th-18th February 2024

Featuring:
Katherine Allen @klfallen
Kai Yan Cheung @jeskaiya
David Donald @davidhenriedonald
Ned Elliott @ned_elli0tt
Linda Hemmersbach @linda_hemmersbach
Isaac Jordan @isaacbjordan
Dougal Kirkland @dougalkirkland
Tzuhan Lin @tzuhanlin_
Sam Llewellyn-Jones @sam_ll_j
Seraphina Mutscheller @seraphinamutscheller
Samuel O'Donnell @samuel.odonnelll
Diana Orving @dianaorving
Mónica Rivas Velásquez @monicarivasvelasquez
Scherry Shi @drawingrobin
Lydia Stonehouse @lydia_stonehouse_
Fiona White @fionaxwhite
Harriet Florence Wilkinson @harrietflorencewilkinson

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Thank you to everyone who made it to The Very Hours Pass Unnoticed @warblingcollective at @greatorexstreet_e1 last week. I had a great pleasure meeting some of you and lovely talking to some of the inspiring and talented fellow artists in person. I hope you all enjoyed the show, as much as I did.

Great thanks to @robyn.graham who made such a beautiful and thoughtful curation, I’m absolutely honoured to be included as a part of the collective❤️

Exhibiting artists:
Katherine Allen @klfallen, Kai Yan Cheung @jeskaiyan, David Donald @davidhenriedonald, Ned Elliott @ned_elli0tt, Linda Hemmersbach @linda_hemmersbach, Isaac Jordan @isaacbjordan, Dougal Kirkland @dougalkirkland, Tzuhan Lin @tzuhanlin_, Sam Llewellyn-Jones @sam_ll_j, Seraphina Mutscheller @seraphinamutscheller, Samuel O'Donnell @samuel_odonnell, Diana Orving @dianaorving, Mónica Rivas Velásquez @monicarivasvelasquez, Scherry Shi @drawingrobin, Lydia Stonehouse @lydia_stonehouse_, Fiona White @fionaxwhite, Harriet Florence Wilkinson @harrietflorencewilkinson

📸credits: @studio_adamson @drawingrobin

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Last hour to see 𝙏𝙝𝙚 𝙑𝙚𝙧𝙮 𝙃𝙤𝙪𝙧𝙨 𝙋𝙖𝙨𝙨 𝙐𝙣𝙣𝙤𝙩𝙞𝙘𝙚𝙙, 12 - 3 pm (Sunday 18th February)

Untitled (MIT)
2022
Camphor log
9 x 7 x 7cm
#tzuhanlin @tzuhanlin_

Dm to enquire about
works in the show

@greatorexstreet_e1
10 Greatorex Street
London, E1 5NF

Photographs by
@studio_adamson

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