Olivia Kemp's drawings are expansive and relentless, fruit of an enthusiasm that borders on obsession. They take the idea of a romanticised or idealised place and run with it beyond any natural geography or sense of proportion. While her smaller drawings are intimate and precise, her large works seem endless and complex in the extreme, packed with a plethora of tiny details which are each given minute focus but built up into scenes without any focal point or respite. Most are of places Olivia has known but which she then turns into something ‘other’ through the processes of remembering and drawing. It is memory in action, an attachment to a physical place that is fired by imagination: specific and particular, whilst at the same time sprawling and continuous. Olivia Kemp's work is held in The Royal Collection (including the personal collection of Prince Charles), the Victoria & Albert Museum, and The Rothschild Collection, for whom she was commisioned to create a piece based on the RIBA award-winning Flint House (2015).
In his drawings Daniel Hosego uses Renaissance compositions as a stylistic template, into which he inserts contemporary issues – social media, selfie sticks, art references – to lend them the same importance and intensity given to moral allegories centuries ago. From these drawings, Daniel then creates large pop-art screenprints executed in seven different colourways in a thoroughly postmodern style. In combining two distinct artistic eras and sensibilites both in his content and in his modes of production, Daniel bookends his practice beautifully: the work travels a long timeline, from the 1400s up to the present, in an endeavour to apply the moral gravitas of our forebears to 21st century consumerism.
Sam Branton’s delicate pencil drawings reference the mezzoprints of English artists such as George Stubbs and John Martin. In his gentle but surreal works, Sam develops the romantic and exotic themes of his source materials, presenting fantastical animals in much the same way as Stubbs depicted Australian fauna, but with the dramatic lighting of Martin’s landscapes. As he often works in groups of drawings, Sam then produces his series as a book, crossing the line back into the realm of print from yet another angle. In this way Sam plays with the idea of the drawing & print as a connoisseur’s reference material, albeit in the context of an imagined world of surreal absurdity.