Tristan Hoare is delighted to present Impressions, Sydney Albertini’s first solo exhibition in London, showcasing large scale oil paintings on Kraft and Fabriano paper from two of Albertini’s recent series — Movements and Botanicals.
Colourful and abstract, Albertini’s Movement paintings are full of energy and dynamism. The series was born out of a desire to bring to the foreground what was traditionally considered a background or accessory by artists — drapery. Albertini strips away all elements of representational painting and focuses her attention on what was usually seen as pure embellishment, turning fabrics into the subjects of her works. Here, the decorative features are given centre stage. The colours and patterns interact independently, allowing Albertini to demonstrate her skill of depicting texture and movement. None of the artworks strive to depict a real fabric; instead, they are visual impressions ingrained in the artist’s mind.
The Botanicals series invite a more contemplative approach. Here Albertini presents fantastical landscapes inspired by her travels and the complete immersion in the natural surroundings she encounters. Entirely imaginary and intentionally omitting ground and sky, these multi-panelled works envelop the viewer and are an attempt by Albertini to capture the mysteries and beauty of nature. Albertini’s love of the natural world is evident in her sensitive treatment of her compositions, each individual element carefully layered to create narratives of space based on the tight relationship between shape, colour and movement.
Albertini’s large scale artworks are the result of her ceaseless drive and energy. Acting as a ‘diary,’ each work responds to Albertini’s energy and follows her body and movements; the large scale is a necessity, allowing her to follow the movement of her limbs and paint sweeping lines onto the canvas. The scale not only allows the artist to envelop herself in the folds and forests of her works, but to also successfully relay this feeling to the viewer, who is encouraged to move from panel to panel in a physical and emotional exploration of her ‘mind landscapes.’
Albertini begins her compositions by drawing with charcoal directly onto paper, a direct and instinctual approach which allows for complete freedom of both mind and hand. From start to finish, Albertini carries out her drawings over the course of a single week of intense work, until her artistic conversation is complete and her energy is depleted.
Albertini uses colours as other artists would use objects or symbols to denote various characteristics or attributes of their subjects. Not shying away from any shade or hue, Albertini views colours as identity markers and uses their historical symbolism to imbue her various combinations with new meanings, resulting in abstract emotional portraits. From the inception of a work, despite the lack of formal preparation, the colour palette is predetermined, as is the number of panels, which are pre-cut and prepared in advance. The use of brown Kraft paper as a base for her paintings allows Albertini to use colours and create combinations which she feels would be lost on a white background.
Impressions will bring a dose of vitality and colour to Fitzroy Square this Autumn, inviting London audiences to explore Sydney Albertini’s painting for the first time. Coinciding with Albertini’s first exhibition in London will be the artist’s first exhibition in Paris, organised by beauty brand Sisley and opening on 21st November at Sisley’s Le Trois Cinq Friedland, 3 avenue de Friedland, Paris 8. Both exhibitions will continue until Friday 16th December.
Colourful and abstract, Albertini’s Movement paintings are full of energy and dynamism. The series was born out of a desire to bring to the foreground what was traditionally considered a background or accessory by artists — drapery. Albertini strips away all elements of representational painting and focuses her attention on what was usually seen as pure embellishment, turning fabrics into the subjects of her works. Here, the decorative features are given centre stage. The colours and patterns interact independently, allowing Albertini to demonstrate her skill of depicting texture and movement. None of the artworks strive to depict a real fabric; instead, they are visual impressions ingrained in the artist’s mind.
The Botanicals series invite a more contemplative approach. Here Albertini presents fantastical landscapes inspired by her travels and the complete immersion in the natural surroundings she encounters. Entirely imaginary and intentionally omitting ground and sky, these multi-panelled works envelop the viewer and are an attempt by Albertini to capture the mysteries and beauty of nature. Albertini’s love of the natural world is evident in her sensitive treatment of her compositions, each individual element carefully layered to create narratives of space based on the tight relationship between shape, colour and movement.
Albertini’s large scale artworks are the result of her ceaseless drive and energy. Acting as a ‘diary,’ each work responds to Albertini’s energy and follows her body and movements; the large scale is a necessity, allowing her to follow the movement of her limbs and paint sweeping lines onto the canvas. The scale not only allows the artist to envelop herself in the folds and forests of her works, but to also successfully relay this feeling to the viewer, who is encouraged to move from panel to panel in a physical and emotional exploration of her ‘mind landscapes.’
Albertini begins her compositions by drawing with charcoal directly onto paper, a direct and instinctual approach which allows for complete freedom of both mind and hand. From start to finish, Albertini carries out her drawings over the course of a single week of intense work, until her artistic conversation is complete and her energy is depleted.
Albertini uses colours as other artists would use objects or symbols to denote various characteristics or attributes of their subjects. Not shying away from any shade or hue, Albertini views colours as identity markers and uses their historical symbolism to imbue her various combinations with new meanings, resulting in abstract emotional portraits. From the inception of a work, despite the lack of formal preparation, the colour palette is predetermined, as is the number of panels, which are pre-cut and prepared in advance. The use of brown Kraft paper as a base for her paintings allows Albertini to use colours and create combinations which she feels would be lost on a white background.
Impressions will bring a dose of vitality and colour to Fitzroy Square this Autumn, inviting London audiences to explore Sydney Albertini’s painting for the first time. Coinciding with Albertini’s first exhibition in London will be the artist’s first exhibition in Paris, organised by beauty brand Sisley and opening on 21st November at Sisley’s Le Trois Cinq Friedland, 3 avenue de Friedland, Paris 8. Both exhibitions will continue until Friday 16th December.
