Yesterday evening, the gallery-run Sunday Art Fair opened in London for its 7th edition. The fair is spacious and has a modest group of 25 excellent galleries, who have presented a similarly lush selection of colours and materials as last year’s event.

Natalia Hug, Cologne

Cologne’s Natalia Hug are showing a selection of works by Dusseldorf-based artist Carolin Eidner. The individual pieces are placed on a larger felt wall installation, Soufleur, looking not unlike a gigantic smile — it’s a jolly fair after all. On top, are nine colourful copper works from the series Everybody Must Get Stoned (B.D.) (a suitable title, we think) with thick clay forms applied to their surfaces. The clay is moulded into recognisable objects in parts — such as a rabbit in one especially enjoyable piece — and abstract shapes in others.

Rachel Uffner Gallery, NY

Rachel Uffner Gallery are also showing a solo presentation, with work by Brooklyn-based Strauss Bourque-LaFrance. The artist paints on birch wood forms, using acrylic, ink, wood fill and stain, in pieces which are at once light-hearted and strangely dark. Black scribbles sit alongside primary colours and forms drip and flop on top of one another, as though caught in motion.

Barbara Seiler, Zurich

The first booth to greet visitors at the bottom of Sunday’s industrial stairs is from Zurich gallery Barbara Seiler. It is in fact an open booth, with wall-hung stretched latex works from Vanessa Safavi, oranges and whites pulled and wrinkled behind glass in a manner which calls to mind Jenny Saville-like flesh, as well as BDSM clothing. The theme continues in a central sculpture, three red-coated, long-nailed fingers jutting vertically from a clean white plinth. 

Future Gallery, Berlin

Next door, Berlin’s Future Gallery creates a similar impact, with Femke Herregraven’s icy rubber sculptures Malleable Regress, 2016 shining on the rough grey floor, and Subsecond Flocks – Where there’s no one left and you fly on in proud solitude, 2016 hanging behind it. The sea blues and abstractly futuristic nature of the works creates a compelling atmosphere.

Anat Ebgi, LA

Neil Raitt is presented in a solo booth from LA’s Anat Ebgi, with a series of oil and acrylic paintings held inside a three-walled tent, that bears repeated motifs from the artist’s work. The tent sits within a mini beach, a larger than man-sized green cactus lamp and deckchair sit at the entrance. The booth is intended to have a hobbyist feel to it.

Lyles & King, NY

Claire Tabouret and Casey Jane Ellison are showing at New York’s Lyles and King, ahead of the pair’s joint show at the gallery next month. Tabouret’s thickly layered paintings are overtly sinister, mouths of formally-placed subjects smeared with blood reds.

Sunday Art Fair‘ runs until 9 October at Ambika P3, 35 Marylebone Rd, London, NW1 5LS 

Carolin Eidner, From the series “Everybody Must Get Stoned (B.D.)”, 2013-2015 polymer clay on copper 30 x 20 cm (11 3/4″ x 7 7/8”)
Carolin Eidner, From the series “Everybody Must Get Stoned (B.D.)”, 2013-2015 polymer clay on copper 30 x 20 cm (11 3/4″ x 7 7/8”)
Strauss Bourque-LaFrance New Age Thriller 2016 oil, acrylic, water color, wood stain, wood fill, wax stick, on shaped birch panel 27 x 23 x 1 1/2 inches (68.6 x 58.4 x 3.8 cm)
Strauss Bourque-LaFrance Still at Whole Foods 2016 oil, acrylic, water color, wood stain, wood fill, wax stick, ink, on shaped birch panel 40 x 12 x 1 1/2 inches (101.6 x 30.5 x 3.8 cm)
Strauss Bourque-LaFrance Neon On 2016 acrylic, water color, wood stain, wood fill, ink, collaged paper and found images, on shaped birch panel 26 1/4 x 18 inches (66.7 x 45.7 cm)
Claire Tabouret, Makeup (Purple Eyeshadow), 2016
Makeup (Flowers), 2016, Acrylic on wood, 24 x 16.3 inches
Neil Raitt Black Mist Mountain (Topanga Swirl), 2016 Oil and acrylic on canvas 180 x 120 cm Courtesy of the artist and Anat Ebgi Gallery
Neil Raitt Birch Cabin (Vanilla Fade), 2016 Oil and acrylic on canvas 140 x 100 cm Courtesy of the artist and Anat Ebgi Gallery
Femke Herregraven, Malleable Regress – Arctic*, 2016, 8 cast polyurethane rubber blocks, each 33,5 x 28,5 x 2,5 cm
Subsecond Flocks – When there’s no one left and you fly on in proud solitude*, 2016, acrylic frame, Lambda metallic print, hand engraved aluminum, hand engraved aluminium rod, foam, acrylic tubes, feathers, rubber cord, 60 x 150 x 15 cm
Casey Jane Ellison – Do You Seem Wonderful Casey, Automated Private Test
Casey Jane Ellison – U R $
Casey Jane Ellison – It’s So Important to Seem Wonderul Part II Tutorial
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