Clare WoodsHanging, Hollow and Holes
7 November 201417 January 2015
Clare Woods, ‘Hanging, Hollow and Holes’, Installation view, Buchmann Galerie, 2014
Clare Woods
Installation view
Buchmann Galerie
Clare Woods, ‘Hanging, Hollow and Holes’, Installation view, Buchmann Galerie, 2014
Clare Woods
Installation view
Buchmann Galerie
Clare Woods, ‘Hanging, Hollow and Holes’, Installation view, Buchmann Galerie, 2014
Clare Woods
Installation view
Buchmann Galerie
Clare Woods, ‘Hanging, Hollow and Holes’, Installation view, Buchmann Galerie, 2014
Clare Woods
Installation view
Buchmann Galerie
Clare Woods, ‘Splendors & Miseries’, 2014
Clare Woods
Splendors & Miseries, 2014
oil on aluminium
150 x 200 cm
59 x 79 in
Clare Woods, ‘The Wrong Box’, 2014
Clare Woods
The Wrong Box, 2014
oil on aluminium
100 x 99 cm
39 x 39 in
Clare Woods, ‘The Repeater’, 2014
Clare Woods
The Repeater, 2014
oil on aluminium
254 x 168 cm
100 x 66 in
Clare Woods, ‘Daytime Despair’, 2014
Clare Woods
Daytime Despair, 2014
oil on aluminium
150 x 200 cm
59 x 79 in
Clare Woods, ‘The Jug’, 2014
Clare Woods
The Jug, 2014
oil on aluminium
150 x 100 cm
59 x 39 in
Clare Woods, ‘Hollow and Holes’, 2014
Clare Woods
Hollow and Holes, 2014
oil on aluminium
168 x 254 cm
66 x 100 in

Clare Woods
Hanging, Hollow and Holes

7 Nov 201417 Jan 2015
Buchmann Galerie
Press release

The Buchmann Galerie is pleased to announce the fourth solo exhibition of works by the English painter Clare Woods (GB, *1972).


In the new group of works, Woods, who became well known through her large landscapes (up to 2,5 x 10,5 meters), exhibits three different genres that mutually overlap: portrait, landscape, and still life.


The point of departure for these works is black-and-white photographic source material from books or newspapers, or the artist’s own photographs. Clare Woods is just as interested in the photographic reportage of Don McCullin as in photos of sculptures by Eduardo Paolozzi, such as Shattered Head of 1956, which can be found in the Tate Collection. The sculpture formed the basis for the painting The Repeater.


Like Georg Baselitz, for whom the inversion of the motif creates a distance from reality, with her colourless source material Clare Woods places a filter between reality — the landscape, the portrayed person, the still life — and the painting. Within this creative latitude, suddenly any colour and painterly expression is possible. All decisions are on account of the painting and are released from the constraints of a specific representation of reality. On an emotional level as well Woods also recodes the motifs through unusual coloration.


“I can project any colour onto the image as I have not experienced it first hand,” said Woods in an interview in October of 2014.


The reference to figurative works of sculpture is a conceptual method used by Woods to achieve a kind of doubled abstraction. The reality transformed in the sculpture is refracted a second time in the painting process. The works of Edouard Paolozzi and Henry Moore in particular, but also those of Louise Bourgeois and William Tucker have attracted Woods’ interest.


Clare Woods’ works have been shown in solo exhibitions at The Hepworth Wakefield, in the Southampton City Art Gallery, and Chisenhale Gallery in London, among others. Her works can be found in the Margulies Collection, Miami, in the National Collection of Wales, in the Arken Museum of Modern Art, Copenhagen, and in the Albright Knox Art Gallery, Buffalo, among others. An exhibition in the Oriel Davies Gallery in Newtown (Wales) can be visited until November 5, 2014


Please contact the gallery should you require any further information about the artist or require images of the works.


Die Buchmann Galerie freut sich, die vierte Einzelausstellung der englischen Malerin Clare Woods (GB, *1972) anzukündigen.


Bekannt geworden mit bis zu 2,5 x 10,5 Meter großen Landschaftsbildern, zeigt Clare Woods in der neuen Werkgruppe drei unterschiedliche Genres, die sich gegenseitig überlagern: Portrait, Landschaft und Stillleben. 


Ausgangspunkt für die Arbeiten sind schwarz weiße Bildvorlagen: Fotos aus Büchern und Zeitungen oder eigene Aufnahmen. Fotografien von Reportagen von Don McCullin interessieren Clare Woods genauso wie Aufnahmen der Skulpturen von Eduardo Paolozzi, etwa von Shattered Head aus 1956, die sich in der Sammlung der Tate befindet. Die Skulptur ist die Vorlage für das Gemälde The Repeater.


Wie Georg Baselitz mit der Umkehrung des Motivs eine Distanz zur Realität schafft, legt Clare Woods mit ihren farblosen Vorlagen einen Filter zwischen die Realität, die Landschaft, die porträtierte Person oder das Stillleben und die Malerei. In diesem kreativen Freiraum wird plötzlich jede Farbe und jeder malerische Ausdruck möglich. Alle Entscheidungen sind allein der Malerei geschuldet und sind losgelöst vom Zwang einer bestimmten Darstellung von Realität. Auch auf emotionaler Ebene kodiert Woods durch ungewohnte Farbsetzungen die Motive neu. 


Clare Woods: „I can project any colour onto the image as I have not experienced it first hand.“ (in einem Gespräch Oktober 2014) 


Der Bezug zu figurativen Werken der Bildhauerei ist für Clare Woods ein konzeptioneller Griff, um eine Art doppelte Abstraktion zu erreichen. Die in der Bildhauerei transformierte Realität wird ein zweites Mal in der Malerei gebrochen. Vor allem Werke von Edouard Paolozzi und Henry Moore, aber auch von Louise Bourgeois oder William Tucker fanden das Interesse von Clare Woods.   


Die Arbeiten von Clare Woods waren unter anderem in Einzelausstellungen in The Hepworth Wakefield, in der Southampton City Art Gallery oder der Chisenhale Gallery London zu sehen. Ihre Arbeiten finden sich unter anderem in der Margulies Collection, Miami, in der National Collection of Wales, im Arken Museum of Modern Art, Kopenhagen oder in der Albright-Knox Art Gallery, Buffalo. Eine Ausstellung in der Oriel Davies Gallery Newtown (Wales) ist noch bis zum bis 5. November 2014 zu sehen. 


Für weitere Informationen zur Künstlerin und für Bildmaterial der ausgestellten Werke können Sie sich gerne jederzeit mit der Galerie in Verbindung setzen.

Clare Woods

Born 1972, lives and works in London.


1997 - 99 MA, Goldsmith’s College, London
1991 - 94 BA, Bath College of Art, Bath

Solo Exhibitions

Simon Lee Gallery, London
Simon Lee Gallery, New York
Martin Asbæk Gallery, Copenhagen
Simon Lee Gallery, Hong Kong
Mead Gallery, Warwick Arts Center, Coventry, UK
Dundee Contemporary Arts
Oriel y Parc, The Grove, St Davids, UK
Oriel Plas Glyn y Weddw, Llanbedrog, UK
Martin Asbæk Gallery, Copenhagen
Buchmann Galerie Berlin
Oriel Davies Gallery, Newtown, UK
Rebecca Camhi Gallery, Athens, GR
Martin Asbaek Gallery, Copenhagen
New Art Centre, Wiltshire (with Eva Rothschild)
Buchmann Galerie, Berlin
Permanent Art Commission for London 2012 Olympic Park, London
Southampton City Art Gallery, Southampton
Stuart Shave/Modern Art, London
Permanent Art Commission for Hampstead Heath Train Station, London
The Hepworth Wakefield, Wakefield
Buchmann Box, Berlin
La Galeria De Arte Pilar Parra, Madrid
Buchmann Galerie, Berlin
Galerie Akinci, Amsterdam
Stuart Shave/Modern Art, London
The New Art Centre Salisbury, England
Jiri Svetska Gallery, Prague
Karyn Lovegrove Gallery, Los Angeles
Rebecca Camhi Gallery, Athens
Galeria de Arte, Madrid
The Chisenhale Gallery, London
Karyn Lovegrove Gallery, Los Angeles
Modern Art, London
Leslie and Browne, New York
Modern Art, London
Habitat, Kings Road, London
Southampton City Art Gallery, Southampton

Group Exhibitions

Print Project Space New Editions, Alan Cristea Gallery, London
Starry Nights, Arken Museum of Modern Art, DK
Destroyed By Shadows, Cornerstone Gallery, Liverpool Hope University, Liverpool
History in the Making, Alan Cristea Gallery, London
Summer in the City 12th edition, Martin Asbæk Gallery, Copenhagen
Against Landscape, GSA - The Glasgow School of Art
31 Woman, Breese | Little, London
Against Landscape, Coniston Institute, Coniston, UK
New Beginnings, Alan Cristea Gallery, London
Zeichnung, Buchmann Galerie
Ingo Meller, Daniel Sturgis & Clare Woods - Natural States, The Pier Arts Centre, Stromness, Orkney
Clare Woods and Des Hughes: The Sleepers, Pallant House Gallery, Chichester, UK
The Romantic Thread in British Art, Southampton City Art Gallery, Southampton
Blow Up - Painting, Photography and Reality, Parafin, London
Summer in the City, Martin Asbæk Gallery, Copenhagen, DK
The Brask Collection, Munkeruphus, Dronningmölle, DK
DISPLAYS – Three Women Painters: Phoebe Unwin, Clare Woods and Lynette Yiadom-Boakye, Contemporary Art Society, London
Under the Greenwood , St. Barbe Museum, Lymington, UK
Contested Ground, Leeds Art Gallery, Leeds, UK
Summer in the City, Martin Asbaek Gallery, Copenhagen
Creating The New Century, Contemporary Art from the Dicke Collection, The Dayton Art Institute, Ohio, USA
Obras Destacadas y Últimas Adquisiciones, CCA Andratx
Re: Public towards an art for the public realm, Chelsea Futurespace, London
East Wing Nine presents EXHIBITIONISM: The Art of Display, Courtauld Institute of Art, London
Palm Paintings, Buchmann Galerie Berlin
Topographies, Albright-Knox Art Gallery, Buffalo, NY
Art Foundation Mallorca, Centro Cultural Andratx
Buchmann Galerie, Berlin
Impact! Works from the VISUALodour collection, Fundació Vall Palou, Lleida
The Dark Monarch: Magic and Modernity in British Art, Tate St. Ives, Cornwall, GB
M25 Around London, cur. by Barry Schwabsky, London
 Fringes of Abstraction, Galerie Akinci, Amsterdam
Galerie Koraalberg, Antwerp
Esencias 11, Fundacion Municipal de Cultura, Vallaloid
Wood for the Trees and the Falling Leaves, Gimpel Fils Gallery, London

John Moores 24, Walker Art Gallery, Liverpool
Extreme Abstraction, Albright Knox Art Gallery, NY
Chambres à Part, Sezz Hotel, Paris. Curator: Laurence Dreyfus
New British Painting, John Hansard Painting, Southampton
Stay Positive, Marella Arte Contemporanea, Milan
Painting Identities, Pilar Parra & Romero, Galeria de Arte, Madrid
Forest, Wolverhampton Art Gallery, Touring Show
The Walls Have Eyes, Modern Art, London
Forever Young, Sommer Contemporary Art, Tel Aviv
Painting as a Foreign Language, Centro Britanica Brasilliero, Sao Paulo
Group Painting Show, Cohan, Leslie and Browne, New York
Group Show, (curated by Pauline Karpidas & Sadie Coles), 
The Hydra Workshop, Hydra
Beck’s Futures, ICA London (travelling)
Tailsliding, curated by Stephen Hepworth, British Council Touring Show
Beyond, Dundee Contemporary Arts, Dundee
British Council Touring Show
London Underground, Sungkok Art Museum, Seoul
Wooden Heart, Avco, London
British Art 2 (Painting), Diehl Vorderwuelbecke, Berlin
What Collectors Are Collecting, Exit Art, New York
And if there were no stories, Stephen Friedman Gallery, London
Paintings, Studio Massimo De Carlo, Milan
Idle Wild, Approach Gallery, London
Glass Border, Danielle Arnaud, London
Nature/Culture, Gimpel Files / Hales Gallery, London
British Council, Touring Print Exhibition
Cluster Bomb, Morrison Judd, London
Printemps, Deutsch-Britische Freundschaft
Underworld, Australian Council Studios, London
Habitat Print Project, Habitat (England, France, Germany)
Fritz & Betty, Exmouth Market, London
Die Yuppie Scum, Karsten Schubert, London
Gothic, Lost in Space, London
White Trash, Lost in Space, London
Transmission Report, Curtain Road, London

Selected Collections

Albright-Knox Art Gallery, Buffalo
Dakis Joannou Collection Foundation, Athens
The Ophiuchus Collection, Geneva
British Council, London
Honart Museum, Tehran 
Colección VAC (Valencia Arte Contemporáneo), Valencia
Arken Museum of Modern Art, Denmark
Arts Council Collection, London

Clare Woods


Reality Dimmed (Mead Gallery, Warwick Arts Center, UK), (exh. cat.)


Victim of Geography (Dundee Contemporary Arts, Dundee, UK) 


The Romantic Thread in British Art (Southampton City Art Gallery, Southampton, UK) 

A. Marr, J.Higgie, M.Bracewell, R. Daniels, S. Martin, Clare Woods Strange Meetings, Art Books Publishing, London, UK 


Imagining A University, Fifty Years of The University of Warwick Art Collection (Warwick University, Warwick, England) 


A Tree A Rock A Cloud, Clare Woods (The National Collection Of Wales,Oriel Davies, Wales)

Brask Collection at Munkeruphus (Munkeruphus Art Museum, Gilleleje, Denmark)

Under the Greenwood, Picturing the British Tree from Constable to Kurt Jackson (St Barbe Museum and Art Gallery and Southampton City Art Gallery, Lymington, UK) 


Bracewell, Michael & Stephens, Chris: The Unquiet Head, Hepworth Wakefield, exhibition catalogue.
Hastings, Sheena: A larger landscape...and a epic sense of place, Yorkshire Post Interview, 21.11.11 p.3
Farkas, Rebecca: The Unquiet Head, A-N Magazine Review, p.34
Osborne, Sarah: Spirits of the Landscape, A story for children inspired by the paintings of Clare Woods.
Clare Woods on Graham Sutherland’s Black Landscape (1939-1940), Tate Etc, Issue 23, Autumn


Nash, Paul: The Elements, exhibition catalogue, Dulwich Picture Gallery, London, essay by Simon Grant (illustrated in colour, p. 41)


The Dark Monarch, Magic and Modernity in British Art, Tate St Ives exhibition catalogue Bracewell, Michael.

Something Supernatural, This Way Comes, Tate etc., Autumn, pp.62-67 Dillion, Brian. Disc World, Guardian Review, 24 October, p.18


Superstratum, exhibition catalogue, Koraalbery Gallery, Antwerp, Belguim Hussey, Lauren. Interview: For Display Purposes, October, p.13
Geldard, Rebecca. Clare Woods, Modern Painters, November, p.100

2007 Colección VAC (Valencia Arte Contemporáneo), Catalogue of works, Valencia
2006 New Art from London, Chris Townsend, Thames and Hudson  
ESENCIAS 11, exhibition catalogue, Coleccion Ernesto Verntos, Arte 
Deaf Man’s House, text by  CONTACT _Con7C72C3456 \c \s \l Barry Schwabsky, Koenig Books, London
Review. Wright, Karen. Modern Painters, February 2006
Review. Neo 2, February, 2006
Chisenhale Gallery, London (
2005 Extreame Abstraction, Albright-Knox Art Gallery, (
Make 2', Ken Shuttleworth  
Herbert, Martin. Feature. Ambient Landscapes, Tate etc, Summer 2005
2004 Monument to Now, Deste Foundation of Contemporary Art, (
Printed Project, letters from five continents, Saskia Bos & Rob      
Forst, Wolverhampton Art Gallery, (
Failed Back, Modern Art 
Stay Positive, Marella Arte Cantemporanea, (
New British Painting, John Hansard Gallery, (  
Herbert, Martin. Review. In: Time Out, London, March 17-24, pg 47
2003 40 Views of and Icon, Comme des Garcons
2002 Painting as a Foreign Language, Edificio Cultura Inglesa (
Hill, Joe. Review. ‘New York: Cohan, Leslie & Browne’, 
in: Contemporary, December 2002
Smith, Roberta. “Review Clare Woods”, in: The New York Times, Oct. 25, pg 37
2001 The Hydra Workshop, Hydra Greece, ( 
Tail Sliding, The British Council, ( 
London Underground, Sungkok Art Museum, Korea, ( 
Beck’s Futures, ICA, London, ( 
Bolton, Will, “Clare Woods”, What’s On, January 2001 
McFarland, Dale, Review, in: Frieze, issue 58
Ratnam, Niru. Review. “Painting is Dead, Long Live Painting”, The Face, April
“Masters at Work”, Review. In: I-D Magazine - The Aesthetic Issue,
2000 British Art Paintings II, exhibition catalogue, Diehl 
Vorderwuelbecke, Berlin 
The Art Newspaper, Review. no 108, November
Review. ‘Art, Clare Woods’, in: Evening Standard, 26th October
Allfree, Claire. Review. ‘Art, Clare Woods’, in: Metro Life, Metro, October 27th
Gleadell, Colin. Review. ‘The Power of Paint’, in: Telegraph
 Magazine, p.37, September 16
Review. ‘And if There Were No Stories’, in: Evening Standard, March 8th
Review. ‘Cluster Bomb at Morrison Judd’, in: Flash Art, Jan/Feb
Mead Gallery, Warwick Arts Center Coventry, 2018
Dundee Contemporary Arts, 2017