jason-martin-vertigo-vertigo-2006-2281.jpg

Jason Martin, ‘Vertigo’, 2006
Jason Martin
Vertigo, 2006
oil on aluminium
220 x 500 cm / 86½ x 196¾ in

jason-martin-vertigo-2018-2308.jpg

Jason Martin, ‘Vertigo’, Installation view, Buchmann Galerie, 2018
Jason Martin
Installation view
Buchmann Galerie
2018

jason-martin-vertigo-tondo-2018-2309.jpg

Jason Martin, ‘Tondo’, Installation view, Buchmann Galerie, 2018
Jason Martin
Tondo
Installation view
Buchmann Galerie
2018
bronze
130 (h) x 130 x 13 cm / 51¼ (h) x 51¼ x 5 in

jason-martin-vertigo-2018-2311.jpg

Jason Martin, ‘Vertigo’, Installation view, Buchmann Galerie, 2018
Jason Martin
Installation view
Buchmann Galerie
2018

jason-martin-vertigo-untitled-2018-2280.jpg

Jason Martin, ‘Untitled’, 2018
Jason Martin
Untitled, 2018
Mixed media on plexi (Quinacridone Red/ Fluorescent Pink)
90 x 50 cm / 35½ x 19¾ in

jason-martin-vertigo-2018-2307.jpg

Jason Martin, ‘Vertigo’, Installation view, Buchmann Galerie, 2018
Jason Martin
Installation view
Buchmann Galerie
2018

jason-martin-vertigo-2018-2306.jpg

Jason Martin, ‘Vertigo’, Installation view, Buchmann Galerie, 2018
Jason Martin
Installation view
Buchmann Galerie
2018

jason-martin-vertigo-ruhollah-2014-2310.jpg

Jason Martin, ‘Ruhollah’, 2014
Jason Martin
Ruhollah, 2014
oil on aluminium
200 x 230 cm / 78¾ x 90½ in

jason-martin-vertigo-2018-2312.jpg

Jason Martin, ‘Vertigo’, Installation view, Buchmann Galerie, 2018
Jason Martin
Installation view
Buchmann Galerie
2018

jason-martin-vertigo-chaco-2012-2284.jpg

Jason Martin, ‘Chaco’, 2012
Jason Martin
Chaco, 2012
oil on aluminium
66 x 56 cm / 26 x 22 in

jason-martin-vertigo-untitled-ii-2018-2289.jpg

Jason Martin, ‘Untitled II’, 2018
Jason Martin
Untitled II, 2018
mixed media and gold leaf on aluminium
76 x 57 cm / 30 x 22½ in

jason-martin-vertigo-untitled-2018-2287.jpg

Jason Martin, ‘If I wasn't there, it didn't happen’, 2018
Jason Martin
If I wasn't there, it didn't happen, 2018
mixed media on aluminium (Ultramarine blue)
206 (h) x 172 x 22 cm / 81 (h) x 67¾ x 8¾ in

jason-martin-vertigo-fairouz-2014-2282.jpg

Jason Martin, ‘Fairouz’, 2014
Jason Martin
Fairouz, 2014
mixed media on linen
184 x 154 cm / 72½ x 60¾ in

jason-martin-vertigo-fairouz-2014-2285.jpg

Jason Martin, ‘Fairouz’, 2014
Jason Martin
Fairouz, 2014
mixed media on linen
184 x 154 cm / 72½ x 60¾ in

tony-cragg-vertigo-untitled-vine-black-2016-2279.jpg

Jason Martin, ‘Untitled (Vine Black)’, 2016
Jason Martin
Untitled (Vine Black), 2016
oil on aluminium
200 x 200 cm / 78¾ x 78¾ in

jason-martin-vertigo-tondo-2018-2283.jpg

Jason Martin, ‘Tondo’, 2018
Jason Martin
Tondo, 2018
bronze
130 (h) x 130 x 13 cm / 51¼ (h) x 51¼ x 5 in

jason-martin-vertigo-untitled-2018-2290.jpg

Jason Martin, ‘untitled’, 2018
Jason Martin
untitled, 2018
bronze
65 (h) x 65 x 10 cm / 25½ (h) x 25½ x 4 in

Jason Martin

Vertigo

28 Sep3 Nov 2018

Buchmann Galerie

Press release

For his first solo exhibition at Buchmann Galerie, Jason Martin (*1970 Jersey, Channel Islands, UK) presents a group of new works facing the monumental painting Vertigo.

 

Jason Martin is a painter whose work oscillates along the thin line between painting and sculpture, which the artist has repeatedly fathomed and differentiated finely in various work groups of recent years. 

 

Jason Martin became known to a wider public with his monochrome paintings such as the work Vertigo, which lends its title to the exhibition. Painted in the cinemascopic format 2.2 x 5 metres, Vertigois one of the painter’s largest pieces. Smooth, gleaming monochrome oil paint, combed onto an aluminium ground in thin layers and gentle waves, traces the painter’s expressive gesture and creates an impression of mobility reminiscent of drapery, landscapes or geological formations. Like a curtain or a veil, the optical impression is located between the viewer and the extremely tense tactile quality of the picture surface. This dialectic of movement and stillness, which is so characteristic of painting, permeates all of Jason Martin’s work. The light models the brushwork, making it appear almost sculptural. 

 

The move from the flat surface into the third dimension with its resulting optical and tactile stimuli is clarified rather differently in the reliefs. In Untitled (Quinacridone Red/ Fluorescent Pink), 2018, by contrast to Vertigo or Ruholla, it is not the light reflex that generates the spatial impression; rather, the paste-like application of the paint itself becomes three-dimensional. The rough red colour pigments of the picture surface absorb all the light. The materiality of the paint is also addressed: Vertigo andRuholla are identifiable as oil paintings, but in the case of Untitled (Quinacridone Red/ Fluorescent Pink), 2018 the powdery surface permits no unambiguous definition of material, meaning that the colour itself becomes a carrier of meaning.

 

Complex methods of applying paint serve the artist as a means by which to ruminate on the question of illusion and the rhetoric of paint application. Painting is also a performative act for Jason Martin, and the crossing of the boundary from painting into sculpture is a possible way of subjecting the genre of painting to fresh evaluation.

 

For the first time, the artist’s diverse work to date is supplemented by works made from cast bronze and nickel silver. The painterly gesture, the brush stroke, the trace of his hand in the paint, are accentuated in these reliefs and subjected to the ultimate test. In Tondo, 2018 the sweep of the scraper, the fleeting traces of the hand in the body of paint are fixed by the fluid metal and surrendered to a possible eternity. First the paint and then the metal become transitory materials, changing their aggregate state between liquid and solid.

 

These works open up a broad field of association, from the ecstasies of the Baroque to the earth’s volcanic eruptions. Already in antiquity, tondi highlighted the dignity and distance of what was depicted, so generating concentration. 

 

In an interview with Luca Massimo Barbero, Jason Martin spoke of a cryogenic stillness, an aspect of freezing, which characterizes the relief works. One could transfer this frozen quality to the blind spot of modernism: to the fact that only through an analytical reduction of means can the illusion and the play with meaning begin.

 

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

 

Pressemitteilung

In seiner ersten Einzelausstellung in der Buchmann Galerie stellt Jason Martin (*1970 Jersey, Channel Islands, UK) eine Gruppe neuer Arbeiten dem monumentalen Gemälde Vertigo gegenüber.

 

Jason Martin ist ein Maler, dessen Arbeit zwischen Malerei und Skulptur oszilliert. In verschiedenen Werkgruppen hat der Künstler diesen schmalen Grat in den letzten Jahren immer wieder ausgelotet und fein abgegrenzt. 

 

Einer breiteren Öffentlichkeit bekannt geworden ist Jason Martin mit seinen monochromen Bildern, wie der Arbeit Vertigo, die der Ausstellung den Titel gibt. Im Cinemascope-Format von 2,2 x 5 Metern gemalt, zählt Vertigo zu den grössten Bildern des Malers. Seidenglänzende monochrome Ölfarbe, in dünnen Schichten und sanften Wellen auf den Aluminiumgrund gekämmt, zeichnet die Geste des Malers nach und erzeugt einen Eindruck von Bewegtheit, der an Faltenwürfe, an Landschaften oder geologische Formationen erinnert. Wie ein Vorhang oder ein Schleier sitzt der optische Eindruck zwischen dem Betrachter und der äußerst gespannten Taktilität der Oberfläche des Bildes. Diese die Malerei so kennzeichnende Dialektik des Bewegten und Unbewegten durchzieht das gesamte Werk von Jason Martin. Das Licht modelliert den Pinselstrich und lässt ihn beinahe skulptural erscheinen. 

 

Der Wechsel von der Fläche in die dritte Dimension und die daraus resultierenden optischen und taktilen Reize wird auf eine andere Weise in den Reliefs deutlich. Bei Untitled (Quinacridone Red/ Fluorescent Pink), 2018, erzeugt im Unterschied zu Vertigo oder Ruholla nicht der Lichtreflex den räumlichen Eindruck, sondern die pastose Malerei selber wird zum Raum. Die rohen roten Farbpigmente der Bildoberfläche absorbieren sämtliches Licht. Auch die Materialität der Farbe ist angesprochen: Vertigo und Ruholla sind als Ölgemälde zu identifizieren, bei Untitled (Quinacridone Red/ Fluorescent Pink) hingegen lässt die pudrige Oberfläche keine eindeutige Materialbestimmung zu, womit die Farbe selber, das Rot, zum Bedeutungsträger wird.

 

Die komplexen Methoden des Farbauftrags dienen dem Künstler dazu, über die Frage nach Illusion und der Rhetorik des Farbauftrags nachzudenken. Malerei ist für Jason Martin auch ein performativer Akt, und die Grenzüberschreitung von Malerei in die Skulptur hinein eine Möglichkeit, das Genre Malerei einer Evaluation zu unterziehen.

 

Zu dem vielseitigen Werk des Künstlers kommen erstmals Arbeiten aus gegossener Bronze und Neusilber hinzu. Die Geste des Malers, der Pinselstrich, die Spur der Hand in der Farbe, wird in diesen Reliefs überhöht und einer endgültigen Prüfung unterzogen. In Tondo, 2018 wird der Schwung des Rakels, die flüchtigen Spuren der Hand im Körper der Farbe durch das flüssige Metall fixiert und einer möglichen Ewigkeit übergeben. Erst die Farbe, dann das Metall, werden transitorisches Material und wechseln ihren Aggregatzustand zwischen flüssig und fest.

 

Diese Arbeiten eröffnen ein weites Feld der Assoziationen, von den Ekstasen des Barock hin zu den vulkanischen Eruptionen der Erde. Tondi haben schon in der Antike die Würde und Distanziertheit des Dargestellten hervorgehoben und damit Konzentration geschaffen. 

 

Jason Martin spricht in einem Interview mit Luca Massimo Barbero von einer cryogenic stillness, einem Moment des Gefrierens, das die Reliefarbeiten auszeichnet. Man könnte diese Gefrorenheit übertragen auf den blinden Fleck der Moderne: darauf, dass mit der analytischen Reduktion der Mittel erst die Täuschung und das Spiel der Bedeutung beginnt.

 

Arbeiten von Jason Martin sind in zahlreichen wichtigen privaten und öffentlichen Sammlungen vertreten, u.a. im Hirshhorn Museum and Sculpture Garden, Washington, DC, USA, dem Sprengel Museum, Hannover, der Schaufler Collection in Sindelfingen oder der Thyssen-Bornemisza Art Contemporary in Wien.

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

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

2018
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
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