One of the things that helps the drudgery of January more bearable is the annual London art Fair. Last year's was a bit dull but I am pleased to report that this year's was much better. They were giving out free gin and tonic and it was delicious. Anyway back to the art. There was much to like so this will be mainly a photo blog with the odd digression. It really was a good year. So this is the stuff I saw that I like, some of it anyway.
Above left Peter Seal's Hunky Dory (above left), black and white, like contrasted with the Sir Matthew Smith's Gladiolli in a Vase (above right) nice colours and particularly good glass effect. Sadly I don't have the tens of thousands of pounds necessary to acquire either of these. The same is the case for many of the pieces in this show. It runs from there all the way down to the hundreds of pounds.
Who doesn't like a sea-scape I like a sea scape and this frothy little number (above left) is by Ralph Fleck.
Melanie Comber's Bag End (above left) is much more interesting than it seems because it is all ridged. It is very tactile and there is an intense desire to stroke it. Lines in the sand you see.
Bronze, in this case Jonathan Clarke's Chit Chat (above right) is an abstract statue of well, two people chatting. I like it very much. If anyone reading this has a spare £2,800 they could buy it for me.
The London Art Fair is one of the few places where you can consistently see high quality post war British art such as Craige Aitchinson (above middle) and David Boomberg (above right). I have included with it this intriguing solitary house sitting in a snowy landscape by Thomas Lamb (above left) I like the fact it is on scruff looking paper.
Pottery and sculpture time now. I particularly like the birds on the oil jugs (above right - what is an oil jug?). Unfortunately with the exception of Jo Taylor's Celadon Series (above, bottom left) I failed to record who produced the others.
One of my favourite artists who makes a regular appearance at this show is Michele Mikesell (above left). One of my friends, who has great taste bought one of her pieces while we there, a small bird called John Smith. We were able to hear how she produces her work, which involves sanding back the oil and applying various chemicals to get this odd semi shiny feel. For me I prefer her people and face and Athena, the one pictured is I think my favourite.
At the other end of texture scale is Christine Drummonds Colour Buzz (above right).
I am rarely interested in photographs but I was very much drawn to Freddy Fabris' work (above) which using mechanics recreates Rembrandt's paintings. They are clever and amusing photographs and just goes to show what a master of composition Rembrandt was.
These were just some of the highlights. I could go on for a very long time. I will leave you with Paul Fry (below)
William John Mackenzie
I am an artist with a specialism in landscapes and still life. My contact details are here.