The aim of art is to represent not the outward appearance of things, but their inward significance. – Aristotle
Testifying the night through vision, relief and recognition. Exhibition review of “Luce: Jemma Appleby and Liz West” (read more)
Justin Hession: Caught on film. An interview with a deep event photographer on the nature of representation. (read more)
Nieto has a message for you [video] (read more)
Luciana Haill: Portrait waves on the canvas of consciousness. Interview regarding brainwave mapping as portraiture. (read more)
Oona Grimes: Hail the new Etruscan. A dialectic form of drawing. (read more)
Trebuchet talks, a contemporary art forum for the practising artist and curious collector. Book tickets and listen to the podcast here. (read more)
David Treloar: Gestural Portraits and Simple Joy. An interview about focus and intention. (read more)
Correcting nihilism through perspective, the painting of Mark Batty. (read more)
Barbara London, the curator who founded MoMA’s video programme, recounts the artists and events that defined video art over the last 50 years.
Massimiliano Pironti: Hyperreality. An Interview with 2019 BP Award Finalist. (read more)
Patrick Tresset: Robotic Portraits. Understanding the purpose of art by design, an interview. (read more)
Charlie schaffer: The Emotion of Experience. Interview with BP Portrait Award 2019 Winner (read more)
Markus Åkesson: Finding what is hidden. New Realism and Painting (read more)
Carl-Martin Sandvold: The big reveal. BP Award Nominee speaks to Trebuchet (read more)
Digital artist Dominic Harris brings art into a new dimension at the Halcyon gallery, London November 2019. (read more)
Roxana Halls: The Figure Strikes Back (read more)
The more you think about things the stranger they get; and more beautiful. (read more)
Cyril de Commarque is an artist concerned with human development, hubris and potential, sharing his thoughts here with Trebuchet in lieu of his show ‘Artificialis’ at Saatchi Gallery. (read more)
Modern Panic X will feature over 70 artists exploring the human psyche through pop surrealism, dark art, magic realism, and more. (read more)
Artificialis at the Saatchi Gallery takes as its starting point the Anthropocene era – the period when man first had an impact on Earth’s geology and ecosystems – then looks towards the future, meditating on the effect that technology and scientific advancement will have on humankind and the environment. (read more)
Mark Leckey is an influential multimedia artist, his show at the Tate Britain ‘O’ Magic Power of Bleakness’ explores memory, identity and the uncanny aspects of British landscape. (read more)
The most affecting film of 2019 has created debate and controversy, Trebuchet takes a closer look examining these and the underlying message at its core. (read more)
1-54 has established itself as a leading voice in the discussion on contemporary African art, bringing together a diverse set of perspectives from around the world. (read more)
The pursuit of truth should not lead us to totalitarian certainty and William Kentridge proposes that art practice is the key to holding illusion and insight in balance. (read more)
This essay looks at the work of James Rosenquist in terms of the pop art movement. Broadening its scope, we look at this artist’s work against that of Ed Kienholz and Joseph Cornell. (read more)
Reflecting on the expressionism of Van Gough and thinking about what it offers to the contemporary painter Natalie Andrews takes a critical view of the mad-messiah stereotype and reminds us whats really at stake. (read more)
Can Hal Foster laugh authenticity out of existence? Revisiting ‘The Expressive Fallacy’, a rights of passage for artists. (read more)
‘The Expressive Fallacy’ is an article from 1983 which still reverberates through the art world. (read more)
Love is in the Bin – Banksy. Sotheby’s claim it to be the first artwork created live during an auction. (read more)
Originally interviewed for Trebuchet’s Art and Crime issue, dealers Thomas Crown Art have created a fascinating technological solution for the ever increasing issue of forgery in the art market. (read more)
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