Jason MartinPolychrome Futures
20 November 202030 January 2021
Jason Martin, ‘Polychrome Futures’, Installation view, Buchmann Galerie, 2020
Jason Martin
Polychrome Futures
Installation view
Buchmann Galerie
2020
Jason Martin, ‘Polychrome Futures’, Installation view, Buchmann Galerie, 2020
Jason Martin
Polychrome Futures
Installation view
Buchmann Galerie
2020
Jason Martin, ‘Untitled (Caribbean blue / Zinc green deep)’, 2020
Jason Martin
Untitled (Caribbean blue / Zinc green deep), 2020
Oil on aluminium
150 (h) x 150 x 10 cm
59 (h) x 59 x 4 in
Jason Martin, ‘Untitled (Brilliant pink / Mixed white)’, 2020
Jason Martin
Untitled (Brilliant pink / Mixed white), 2020
Oil on aluminium
242 (h) x 200 x 15 cm
95¼ (h) x 78¾ x 6 in
Jason Martin, ‘Untitled (Brilliant pink / Mixed white) (detail)’, 2020
Jason Martin
Untitled (Brilliant pink / Mixed white) (detail), 2020
Oil on aluminium
242 (h) x 200 x 15 cm
95¼ (h) x 78¾ x 6 in
Jason Martin, ‘Polychrome Futures’, Installation view, Buchmann Galerie, 2020
Jason Martin
Polychrome Futures
Installation view
Buchmann Galerie
2020
Jason Martin, ‘Polychrome Futures’, Installation view, Buchmann Galerie, 2020
Jason Martin
Polychrome Futures
Installation view
Buchmann Galerie
2020
Jason Martin, ‘Untitled (Caribbean blue / Heliogen green)’, 2020
Jason Martin
Untitled (Caribbean blue / Heliogen green), 2020
Oil on aluminium
200 (h) x 256 x 15 cm
78¾ (h) x 100¾ x 6 in
Jason Martin, ‘Untitled (Caribbean blue / Heliogen green) (detail)’, 2020
Jason Martin
Untitled (Caribbean blue / Heliogen green) (detail), 2020
Oil on aluminium
200 (h) x 256 x 15 cm
78¾ (h) x 100¾ x 6 in

Since February 2020, Jason Martin has dedicated himself to working on the preparation and development of this new series of paintings. This group of works marks an important shift in the artist’s practice: He returns to the paintbrush, but for the first time uses a versatile colour palette in different hues and tones to create paintings of immense depth and space. Looking at the polychrome paintings one journeys into something that begins on the surface, but which then pulls you in deeper and deeper, opening into an unfathomable space beyond. One reaches a surprising, almost figurative reality inside the painting, much like looking into a blazing fire, swirling water or ice. The lateral movement of the brushwork supports the multi-layered play of colours in the more translucent paintings, while others retain an opaqueness.
Jason Martin, ‘Untitled (Brilliant pink / Ideal rose)’, 2020
Jason Martin
Untitled (Brilliant pink / Ideal rose), 2020
Oil on aluminium
200 (h) x 256 x 15 cm
78¾ (h) x 100¾ x 6 in
Jason Martin, ‘Untitled (Brilliant pink / Ideal rose) (detail)’, 2020
Jason Martin
Untitled (Brilliant pink / Ideal rose) (detail), 2020
Oil on aluminium
200 (h) x 256 x 15 cm
78¾ (h) x 100¾ x 6 in
Jason Martin, ‘Untitled (Turquoise blue deep / Caribbean blue)’, 2020
Jason Martin
Untitled (Turquoise blue deep / Caribbean blue), 2020
Oil on aluminium
150 (h) x 150 x 10 cm
59 (h) x 59 x 4 in
Jason Martin, ‘Polychrome Futures’, Installation view, Buchmann Galerie, 2020
Jason Martin
Polychrome Futures
Installation view
Buchmann Galerie
2020
Jason Martin, ‘Untitled (Old Holland gold lake / Permanent yellow light / Scarlet lake extra)’, 2020
Jason Martin
Untitled (Old Holland gold lake / Permanent yellow light / Scarlet lake extra), 2020
Oil on aluminium
200 (h) x 256 x 15 cm
78¾ (h) x 100¾ x 6 in
Jason Martin, ‘Untitled (Old Holland gold lake / Permanent yellow light / Scarlet lake extra) (detail)’, 2020
Jason Martin
Untitled (Old Holland gold lake / Permanent yellow light / Scarlet lake extra) (detail), 2020
Oil on aluminium
200 (h) x 256 x 15 cm
78¾ (h) x 100¾ x 6 in

Jason Martin
Polychrome Futures

20 Nov 202030 Jan 2021
Buchmann Galerie
Press release

The Buchmann Galerie is delighted to present a solo exhibition of new paintings by Jason Martin (b. 1970, UK).

 

Since February 2020, Jason Martin has dedicated himself to working on the preparation and development of this new series of paintings. This group of works marks an important shift in the artist’s practice: He returns to the paintbrush, but for the first time uses a versatile colour palette in different hues and tones to create paintings of immense depth and space.

 

Looking at the polychrome paintings one journeys into something that begins on the surface, but which then pulls you in deeper and deeper, opening into an unfathomable space beyond. One reaches a surprising, almost figurative reality inside the painting, much like looking into a blazing fire, swirling water or ice. The lateral movement of the brushwork supports the multi-layered play of colours in the more translucent paintings, while others retain an opaqueness.

 

In these paintings, Jason Martin decisively pushes the boundaries further. He expresses his view on the new works in a personal note:

 

“My new works realised throughout this exceptional 2020 will be my only solo exhibition this year with all works completed since February.

Some fundamental essentials in my practice prior to 2013 have now been revisited after a seven-year hiatus, the year I abandoned working with a brush.

Of course, a brush can have many identities and as a working tool can be shaped to meet specific ends especially when exploring the potential of an arm-led reach that expands typical perceived norms tracing scale and the relationship to the body.

My brushes often attempt a furthering of an extended linear striation or as I consider - The meta stroke.

 

A flow of gestural possibility that furthers pre-conceived and more familiar explorations in painterly gesture that in particular leave testimony to the extended reach of the body. Beginning with cubism the arm-led gesture signalled movement from the elbow. From here, albeit roughly forty years later, arm-led gestural abstraction transformed the story of the self-referential brush mark.

Post war American painting and the Mono-ha movement of South Korea and Japan each brought their own versions of later high Modernism. From the wrist to the elbow to the shoulder the investment of the body and the meta traces recorded through space and time have left this passage of painting’s history almost empty. 

This distilled vision has roots in the early modernist enquiry in how painting’s subject and narrative has been replaced by not WHAT to paint but HOW to paint. Breaking away from perspectival illusory space as would a topographical painter if depicting views of nature, I have continued to challenge where an imaginary space couples with an unmediated sensory stimulation.

 

I have always sought inventive ways to adapt and appropriate a singular gestural language that at times has been described as a mono language. New ways of looking, new ways to perceive space.

At the time I stopped using fibrous brushes my ambition had been to refrain from less playful and whimsical rhythms for a greater and more rigorous exploratory practice. 

 

Painting has its surprises and if successful awakens mysterious new thresholds.”

 

Works by Jason Martin are represented in many important private and public collections, including in the Hirshhorn Museum and Sculpture Garden, Washington, DC, the Sprengel Museum, Hanover, the Schaufler Foundation Schauwerk Sindelfingen, and the Thyssen-Bornemisza Art Contemporary in Vienna.

 

Feel free to contact the gallery for any further information about the artist or images of the works.

Pressemitteilung

Die Buchmann Galerie freut sich, eine Ausstellung mit neuen Bildern von Jason Martin ( GB, *1970) zu präsentieren.

 

Seit Februar 2020 hat er sich der intensiven Vorbereitung und Entwicklung dieser Werkgruppe gewidmet, die in seiner künstlerischen Praxis eine bedeutende Veränderung markiert: Martin kehrt zum Pinsel zurück und verwendet dabei jedoch erstmals eine Farbpalette mit vielen unterschiedlichen Schattierungen und Nuancen, um Bilder von ungeheurer Tiefe und Räumlichkeit zu schaffen.

 

Die neuen polychromen Arbeiten zu betrachten gleicht einer Reise, die an der Oberfläche beginnt, uns dann jedoch immer tiefer in ein unbestimmtes Etwas hineinzieht, das in einen unergründlichen Raum mündet. Wir dringen in eine überraschende, fast gegenständliche Wirklichkeit im Bildinneren vor, so als blickten wir in ein loderndes Feuer, auf wirbelndes Wasser oder ins Eis. Die seitliche Bewegung des Pinselgestus unterstützt die vielschichtige Farbigkeit der eher transluzenten Bilder, während andere ihre Opazität bewahren.

 

Entschieden erweitert Jason Martin mit diesen Bildern seine Malerei und schreibt dazu:

 

„Mit allen seit Februar fertiggestellten Werken wird diese Einzelausstellung meiner neuen Arbeiten im Ausnahmejahr 2020 meine einzige sein. Einige wesentliche Elemente meines Schaffens vor 2013 – damals gab ich das Arbeiten mit dem Pinsel auf – wurden jetzt, nach siebenjähriger Unterbrechung, wieder aufgegriffen.

Natürlich kann ein Pinsel viele Identitäten besitzen und als Arbeitswerkzeug so geformt sein, dass er bestimmte Zwecke erfüllt – besonders, wenn er das Potenzial einer vom Arm vorgegebenen Reichweite auslotet, die üblicherweise wahrgenommenen Regeln erweitert und sowohl die Maßstäblichkeit als auch das Verhältnis zum Körper nachzeichnet. Meine Pinsel versuchen oft, eine ausgedehnte lineare Streifenbildung zu fördern – ich nenne das den Metastrich (meta stroke). 

 

Ein Strom gestischer Möglichkeiten treibt vorgefasste und eher vertraute Erkundungen der malerischen Geste weiter voran, die dann vor allem von der größeren Reichweite des Körpers zeugen. Beginnend mit dem Kubismus, signalisierte die vom Arm gesteuerte Geste Bewegung aus dem Ellenbogen. Von hier aus, wenn auch rund vierzig Jahre später, veränderte die armgesteuerte gestische Abstraktion die Geschichte der selbstreferenziellen Pinselspur. Die amerikanische Nachkriegsmalerei und die Mono-ha-Bewegung in Südkorea und Japan steuerten ihre jeweils eigene Version der späteren Hochmoderne bei. Der Einsatz des Körpers vom Handgelenk über den Ellenbogen bis zur Schulter und die durch Raum und Zeit aufgezeichneten Metaspuren haben diese Passage der Malereigeschichte nahezu leer hinterlassen.  Diese konzentrierte Vision wurzelt in der frühmodernen Ergründung der Frage, wie Gegenstand und Erzählung der Malerei von der Entscheidung abgelöst wurden, WIE man malt, nicht, WAS man malt. Indem ich mich vom perspektivischen Scheinraum löse, wie es ein Landschaftsmaler täte, der Naturansichten malt, hinterfrage ich auch weiterhin, wo sich ein imaginärer Raum mit einem unvermittelten Sinnesreiz verbindet.

 

Ich strebe von jeher nach originellen Wegen, mir eine singuläre gestische Sprache, die bisweilen als Monosprache bezeichnet wird, anzueignen und diese anzuwenden. Neue Wege des Sehens, neue Wege der Raumwahrnehmung – darum geht es mir. Als ich aufhörte, faserige Pinsel zu benutzen, hatte ich mir vorgenommen, weniger spielerische und launische Rhythmen zugunsten einer umfassenderen und rigoroser forschenden Praxis aufzugeben.

Malerei hat ihre Überraschungen und weckt, wenn sie erfolgreich ist, geheimnisvolle neue Grenzbereiche.“

 

Mit seinen Arbeiten ist Jason Martin in vielen bedeutenden privaten und öffentlichen Sammlungen vertreten, darunter im Hirshhorn Museum and Sculpture Garden in Washington, D. C., im Sprengel Museum Hannover, Schaufler Foundation Schauwerk Sindelfingen und im Thyssen-Bornemisza Art Contemporary in Wien.

 

Für weitere Informationen über den Künstler oder Abbildungen seiner Werke können Sie gerne jederzeit die Galerie kontaktieren.

Jason Martin

Born 1970 in Jersey, Channel Islands, UK. Lives and works in London and Melides, Portugal.

Education

1990–93 BA (Hons), Goldsmiths, London, UK

1989–90 Foundation Diploma, Chelsea School of Art, London, UK

Grants and Awards

2000 ‘Premio del Golfo’, Biennale Europea di Arti Visive, La Spezia, Italy

1999 Prizewinner, John Moores 21, Walker Art Gallery, Liverpool, UK

Solo Exhibitions

2020
Buchmann Galerie, Berlin
2019
Galerie Forsblom, Helsinki
Lisson Gallery, London
STPI Gallery, Singapore
Galeria Mário Sequeira, Centro Cultural de São Lorenço, Almancil, PT
2018
Buchmann Galerie, Berlin
Galerie Thaddaeus Ropac, Paris, France
Patrick De Brock Gallery, Knokke-Zoute, Belgium
Lisson Gallery, New York, NY, USA
2017
Mimmo Scognamiglio Artecontemporeanea, Milan, Italy
Schauwerk Sindelfingen, Sindelfingen, Germany
2016
L.A. Louver, Los Angeles, CA, USA
Lisson Gallery, London, UK
Museum gegenstandsfreier Kunst, Otterndorf, Germany
Pavilhão 31, Centro Hospitalar Psiquiátrico de Lisboa, Júlio de Matos, Lisboa, Portugal
Pelaires Centre Cultural Contemporani, Palma de Mallorca,Spain
2014
Galerie Thaddaeus Ropac, Paris, France
2013
LA Louver, Los Angeles, USA
Lisson Gallery, Milan, Italy
Patrick De Brock Gallery, Knokke, Belgium
Pearl Lam Galleries, Hong Kong, China
Sala Gaspar, Barcelona, Spain
2012
Galerie Forsblom, Helsinki, Finland
Galerie Thaddaeus Ropac, Salzburg, Austria
Lisson Gallery, London, UK
2011
Galeria Javier Lopez-Mario Sequeira, Madrid, Spain
LA Louver, Los Angeles, CA, USA
Wetterling Gallery, Stockholm, Sweden
2010
Galerie Thaddaeus Ropac, Salzburg, Austria
Mimmo Scognamiglio Arte Contemporanea, Milan, Italy
Pelaires Centre Cultural Contemporani, Palma de Mallorca,Spain
The Fine Art Society, London, UK
2009
Espace Jean Legendre, Compigne, France
Peggy Guggenheim Collection, Venice, Italy
Wetterling Gallery, Stockholm, Sweden
2008
Centro Brasileiro Britanico, Sao Paulo, Brazil
Centro de Arte Contemporáneo de Malaga, Malaga, Spain
Es Baluard Museu d'Art Modern i Contemporani de Palma, Palma, Majorca, Spain
LA Louver, Los Angeles, CA, USA
2007
Galerie Thaddaeus Ropac, Salzburg, Austria
Kunstverein Kreis Guetersloh, Guetersloh, Germany
Mimmo Scognamiglio Arte Contemporanea, Naples, Italy
Mönchehaus Museum, Goslar, Germany
2006
Galeria Mario Sequeira, Braga, Portugal
Galerie Thaddaeus Ropac, Paris, France
2005
Centro de Arte Contemporáneo de Malaga, Malaga, Spain
2004
Galerie Thaddaeus Ropac, Paris, France
LA Louver, Los Angeles, CA, USA
Lisson Gallery, London, UK
2003
Galerie Thaddaeus Ropac, Paris, France
Patrick De Brock Gallery, Knokke-Heist, Belgium
2002
Galerie Thaddaeus Ropac, Salzburg, Austria
2000
Claudia Gian Ferrari Arte Contemporaneo, Milan, Italy
LA Louver, Los Angeles, CA, USA
1999
Lisson Gallery, London, UK
1998
Robert Miller Gallery, New York, NY, USA
Städtische Galerie Nordhorn, Nordhorn, Germany
1997
Kohji Ogura Gallery, Nagoya, Japan
Lisson Gallery, London, UK
1996
Lisson Gallery, London, UK

Group Exhibitions

2020
Pop-up Exhibition: Pulpable Moments, STPI Gallery, Singapore
45 at 45, L.A. Louver, Los Angeles
Love Stories, Schauwerk Sindelfingen, DE
Turning the Axis of the World, STPI Gallery, Singapore
Group show, Patrick De Brock Gallery, Knokke-Zoute, BE
Group show, Lisson Gallery, Shanghai
2019
Group Show, L.A. Louver, Los Angeles, USA
2018
London Shadow. La rivoluzione inglese da Gilbert & George a Damien Hirst, Gallerie d’Italia, Palazzo Zevallos Stigliano, Naples, IT
Twentyfourseven, Wetterling Gallery, Stockholm
La necesidad de lo infinito, Obras monocromas en la Collección olorVISUAL, CICUS - Centro de Iniciativas Culturales de la Universidad de Sevilla, Sevilla, Spain
It Comes in Waves, Galerie Thaddaeus Ropac, Paris, France
Evolver, L.A. Louver, Los Angeles, CA, USA
De Calder à Koons, Bijoux D'Artistes Exhibition, Musée des Arts Décoratifs, Paris, France
Wohin das Auge reicht - As Far as the Eye Can See, Museum Würth, Künzelsau, Germany
2017
la mère la mer, McEvoy Foundation for the Arts, San Francisco
Dark deep darkness and splendor, Galerist, Istanbul, Turkey
Abstract Painting Now!, Kunsthalle Krems, Krems, Austria
The Centre Cannot Hold, Near East, Istanbul, Turkey
Mais ou sont les neiges d’antan?, Patrick de Brock Gallery, Knokke-Zoute, Belgium
Materialised Condition, Pearl Lam Galleries, Singapore
Modulaciones, Pintura: 1898 – 2016, Sinaloa Art Museum, Sinaloa, Mexico
2016
Paper in Profile, Mixografia and Taller de Gráfica Mexicana, Georgia, Museum of Art, Athens, GA, USA
Continuum, VIGO, London, UK
2015
The Monochrome Symphony, Artipelag, Gustavsberg, Sweden
Black: An Idea of light, Cortesi Gallery, Lugano, Switzerland
Collecció Permanent, Es Baluard Museu d’Art Modern I Contemporani de Palma, Palma de Mallorca, Spain
Touch, Espoo Museum of Modern Art, Espoo, Finland
Collaborations, Lisson Gallery & STPI Gallery, Singapore Tyler Print, Institute, Singapore
20 Anni e poi, Mimmo Scognamiglio Arte Contemporani de Palma, Palma de Mallorca, Spain
Collaborations: Prints from Mixografia, Palos Verdes Art Center, Palos Verdes, CA, USA
PEACEMINUSONE: Beyond the Stage, Seoul Museum of Art, Seoul, Korea
Precious – from Picasso to Jeff Koons, Jewellery by Artists, Vitraria Glass + A Museum, Venice, Italy
2014
La quarta edizione di Bocconi art gallery, Bocconi Art Gallery-BAG, Milan, Italy
Eurasia, A View on painting, Galerie Thaddaeus Ropac, Pantin, France
Metaphysical, Mimmo Scognamiglio Arte Contemporanea, Milan, Italy
Paper, SMAC Gallery, Cape Town, South Africa
2013
Moving: Norman Foster on Art’,, Carré dʼArt, Nîmes, France
Great Men Die Twice, Casa da Cultura, Comporta, Portugal
Nostalgic for the Future, Centro Brasileiro-Britanico, Sao Paulo, Brazil
Out Of The Blue, Cortesi Contemporary, Lugano, Switzerland
Nostalgic for the Future, Lisson Gallery, London, UK
Glasstress: White Light/White Heat, Palazzo Cavalli Franchetti, collateral event of the 55th Venice Biennale, Venice, Italy
The Nature of Abstraction, Peter Blake Gallery, Los Angeles, CA, USA
Song of Myself, Unosunove Arte Contemporanea, Rome, Italy
2012
Together We Connect, Anima Gallery, Doha, Qatar
Le Monde comme volonte et comme papier peint, Le Consortium, Dijon, France
Cara Domani: Opere dall collezione Ernesto Esposito, Museo d’Arte, Moderna di Bologna, Bologna, Italy
Set, Pelaires Centre Cultural Contemporani, Palma de Mallorca, Spain
The Materiality of Paint, The Fine Art Society, London, UK
Ululation, Vigo Gallery, London, UK
2011
Sixty Years of British Art, Bernard Jacobson Gallery, New York, NY, USA
2010
No Lipstick, Bernard Jacobson Gallery, London, UK
It must be abstract, Galleria Cardi, Milan, Italy
Cream, Kiasma Museum of Contemporary Art, Helsinki, Finland
3 x 3, LA Louver Gallery, Los Angles, CA, USA
Inaugural exhibition, Museo d'Arte Contemporanea di Roma, Rome, Italy
Arte Contemporanea per il Tempio di Zeus, Tempio della Concordia e Villa Aurea, Agrigento, Italy
Tondo, The Fine Art The Fine Art Society, London, UK
The Schaufler Foundation, Sindelfingen, Germany
2009
Paisajes Cruzados, Es Baluard Museu d'Art Modern i Contemporani de Palma, Palma de Majorca, Spain
Artifici Contemporanei e Difformità Barocche, Museo d’Arte Contemporanea Sannio, Benevento, Italy
In-Finitum, Museo Fortuny, Fondazione Musei Civici di Venezia, Venice, Italy
2008
Black and White, Galleri Kaare Berntsen, Oslo, Norway
AURUM l’or dans l'art contemporain, Kunsthaus Centre d’Art, Centre PasquArt, Biel, Switzerland
Las Vegas Collects Contemporary, Las Vegas Art Museum, Las Vegas, USA
2007
ARTfutures, Bloomberg Space, London, UK
Beyond Sensation, Jersey Museum, Channel Islands, UK
Painting in the Noughties, Letterkenny Arts Centre, Co. Donegal, Ireland
Whiteout, The Fine Art Society, London, UK
2006
Inaugural opening of new wing, Denver Art Museum, Denver, CO, USA
Seven Rooms Seven Artists, LA Louver Gallery, Los Angeles, CA, USA
Until it makes sense, Seventeen, London, UK; Galerie Thaddaeus Ropac, Paris, France
Monochromed, The Fine Art Society, London, UK
The Art of White, The Lowry, Salford, UK
2005
Extreme Abstraction, Albright-Knox Art Gallery, Buffalo, NY, USA
Skyshout – Painting after Painting, Auditorio de Galicia, Santiago de Compostela, Spain
‘Visioni’ 20 artisti a Sant’Agostino, Chiesa di Sant’Agostino, Bergamo, Italy
14th Rome Quadriennale, Galleria Nazionale d’Arte Moderna, Rome, Italy
2004
L’Ultima Cena (The Last Supper), Castel dell’Ovo, Naples, Italy
Painting as Process, Earl Lu Gallery, La Salle College of the Arts, Singapore
Monochrome, Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain
2003
The Galleries Show, Royal Academy of Arts, London, UK
2002
Colour White, De La Warr Pavilion, Bexhill-on-Sea, UK
2001
British Abstract Painting 2001, Flowers, London, UK
A Shot in the Head, Lisson Gallery, London, UK
Blue, The New Art Gallery Walsall, Walsall, UK
Wetterling Gallery, Stockholm, Sweden
2000
La peinture des Martin, Musée d’Art Moderne de la Ville de Paris, Paris, France
Century of Innocence: The Story of the White Monochrome, Rooseum Centre for Contemporary Art, Malmö, Sweden
The Gulf Prize: European Biennial of the Visual Arts, La Spezia, Italy
1999
Sensation: Young British Artists from the Saatchi Collection, Brooklyn Museum of Art, New York City, USA
Pictures for Pleasure (Twelve Artists Twelve Rooms), Galerie Thaddaeus Ropac, Salzburg, Austria
A Line in Painting, Gallery Fine, London, UK
Post-Hypnotic, Illinois State University, University Galleries, Normal, IL, USA; The McKinney Avenue Contemporary, Dallas, TX, USA; The Contemporary Arts Center, Cincinnati, OH, USA (2000); The Atlanta College of Art Gallery, Atlanta, GA, USA (2000); The Chicago Cultural Center, Chicago, IL, USA (2000); SECCA, Winston-Salem, NC, USA (2001); The Tweed Museum, University of Minnesota Duluth, MN, USA (2001); Philharmonic Center for the Arts, Naples, FL, USA (2001)
Painting Language, LA Louver, Los Angeles, CA, USA
John Moores 21, Liverpool Biennial of Contemporary Art, Walker Art Gallery, Liverpool, UK
Abstrakt, Max Gandoff Library, Salzburg, Austria
Postmark: An Abstract Effect, Site Santa Fe, Santa Fe, NM, USA
Angesichts, Städtische Galerie Nordhorn, Nordhorn, Germany
Together: Artists in Support for the Homeless, The Passage House, London, UK
1998
The Erotic Sublime, Galerie Thaddaeus Ropac, Salzburg, Austria
Small Works, Green on Red Gallery, Dublin, Ireland
NatWest Art Prize 1998, Lothbury Gallery, London, UK
Short Stories, One in the Other, London, UK
Tension, Robert Miller Gallery, New York, NY, USA
1997
In Time, Galerie Le Sous-Sol, Paris, France
Sensation: Young British Artists from the Saatchi Collection’,, Royal Academy of Art, London, UK; Hamburger Bahnhof, Berlin, Germany
Finish, Spacex Gallery, Exeter, UK
1996
Jerwood Painting Prize, Lethaby Galleries, Central Saint Martins, London, UK
About Vision: New British Painting in the 1990s, Museum of Modern Art, Oxford, UK; The Fruitmarket Gallery, Edinburgh, UK; Christchurch Mansion, Ipswich, UK; Laing Art Gallery, Newcastle, UK
1995
Five Contemporary British Painters, Galerij S65, Aalst, Belgium
Postscript, Lisson Gallery, London, UK
Real Art: A New Modernism – British Reflexive Painters in the 1990s, Southampton City Art Gallery, Southampton, UK; Stedelijk Museum, Amsterdam, Netherlands; Leeds City Art Gallery, Leeds, UK
From Here, Waddington Galleries and Karsten Schubert Gallery, London, UK

Selected Collections

Albright Knox Gallery, Buffalo, NY, USA

Birmingham Museum and Art Gallery, Birmingham, UK

Centro de Arte Contemporáneo de Malaga, Malaga, Spain

Collection Group e Lhoist, Brussels, Belgium

Denver Art Museum, Denver, CO, USA

Deutsche Bank Collection, UK

Es Baluard Museum, Palma de Mallorca, Spain

Fonds National d’Art Contemporain, Paris, France

Government Art Collection, UK

Jersey Museum, Jersey, Channel Islands, UK

Hirshhorn Museum and Sculpture Garden, Washington, DC, USA

Institut Valencià d'Art Modern, Valencia, Spain

Museum of Contemporary Art, Salzburg, Austria

Kunsthalle Weishaupt, Ulm, Germany

Museo de Bellas Artes de Asturias, Oviedo, Spain

Museum of Contemporary Art, Salzburg, Austria

Museum of Modern Art, La Spezia, Italy

NatWest Art Collection, UK

Sammlung Essl, Klosterneuberg, Austria

Saastamoinen Foundation, EMMA Museum, Espoo, Finland

Sara Hilden Art Museum, Tampere, Finland

Sprengel Museum, Hannover, Germany

Städtische Galerie Nordhorn, Germany

The Schaufler Foundation, Sindelfingen, Germany

Thyssen-Bornemisza Art Contemporary, Vienna, Austria

Wurth Collection, Kunzelsau, Germany