lockdown many of us have either had to set up a home office for the first time
or adapt and improve on an existing workspace to make it more conducive for
current needs. In doing so, you probably have made sure your desk space has all
the essentials but have you given any thought to what’s hanging on your walls?
view from your desk that you will gaze upon from time to time throughout the
day can be extremely important for your daily motivation, inspiration and
overall well-being and so it’s worth giving this aspect of your workspace
serious thought too.
everyone has a window with a glorious view, but art can become your window onto
a very pleasing vista or any image that speaks to your imagination and makes
you feel good and happy.
not make this small change by choosing to hang some art which can dramatically
change the look and feel of your workspace?
are 6 ideas for buying and installing art for your new home office:
Start by choosing art you love. It needs to appeal to you and it is important that you want to come into your workspace, that you are excited to sit down at your desk because you love coming into your home office and the art you have selected for your walls really should reinforce these strong positive vibes.
Use the art to create the appropriate ambience or mood for your working environment that you require depending on the nature of your work and the emotions and feelings you want to experience – it maybe that you require a very peaceful or meditative space for calm focussed work or maybe that you require a more inspiring, dynamic or energetic vibe or it maybe needs to feel uplifting and joyous – art can transform the way you feel and help you get into the right mindset.
If you do lots of video conferencing and zoom calls with clients and colleagues it may also be important to consider who else might see the artwork and whether what you’ve displayed is appropriate for your clients or colleague to see too?
You can use art to say something about your values, ethos, interests, passions and beliefs or even your brand and your company’s values. Choose artworks that have resonance and meaning for you or for your brand.
Select art and hang the art appropriately to the space. Give the artwork room to breathe and therefore there should be good space around the artwork (negative space) so that it fits perfectly on the wall and does not dominate or overwhelm the space. Equally don’t place something that is very small into a large space either.
Hanging art appropriately will also require some consideration being given to environmental conditions so that your artwork does not get damaged such as – light, temperature, humidity and weight bearing on the wall. For more detailed tips on this see our website for an article on The Art Of Hanging Art for – 5 rules on hanging art.)
If you would like any help at all in choosing artwork for your home office please contact us here for a free consultation.
If you would like to see some artworks to get a sense of what might work for you see here our latest exhibition “Getting Closer to Nature” on Artsy.
To see more tips about how to select art that you love, meets your budget and should bring long lasting enjoyment please also visit our Facebook page www.facebook.com/vedocorporateart/.
This article is written by Lauren Slater, Gallery Assistant at Gallery Different and was originally published on LinkedIn on April 1st 2020. Gallery Different is our JV partner in VEDO Corporate Art Consultancy.
In 2012 Gallery Different began to work alongside the Denis Bowen estate, with the then-executor and nephew of the late artist, Nick Bowen. However, upon Nick’s untimely death in 2018, Gallery Different took sole responsibility for the estate and has since, on first-hand experience, borne witness to the artistic genius of a revolutionary post-war British artist. This blog draws upon a number of resources from Bowen’s personal archive, obituaries of the artist, and an interview with a close peer and artist, Derek Culley.
Born in Kimberley, South Africa in 1921, and
orphaned at a young age, Denis Bowen’s life was turbulent from the onset. After
the loss of his parents, Bowen emigrated to the United Kingdom where he was to
live with his aunt, in Huddersfield. In 1936, Bowen enrolled at Huddersfield
School of Art. After graduating, Bowen was due to undertake a position at the
Royal College of Art. However, with the outbreak of World War II where he
served as Chief Naval Radar Operator, his admission was postponed until the war
During his lifetime, Bowen was known for his
substantial portfolio of works, curating, directing and his contribution to
artistic education. Between the 1940s and 1980s, Bowen undertook various
teaching roles both nationally and internationally. These included Kingston
Institute of Art, Hammersmith School of Arts, Birmingham School of Art, Central
School of Art and Design and the Royal College of Art, and the University of
British Columbia in Vancouver. It was during his time in Canada that Bowen discovered
a number of Canadian artists such as William J.B. Newcombe.
Regarded as a patron, Bowen founded the New Vision
Group in 1951, with other students from the Hammersmith School of Art. The
group’s principal aim was to draw in young, unknown and international talent
that mainly focused on non-figurative art. In 1956, Denis Bowen would open and
co-direct, the New Vision Centre Gallery, with Halima Nalecz, and Frank Avray
Wilson. In its ten year period (1956 – 1966), the New Vision Centre Gallery exhibited
artists such as Gordon House, Ian Stephenson, and Aubrey Williams. All of whom
went on to achieve global recognition. The gallery exhibited an expansive array
of artists and artworks from 29 different countries and 220 artists (58% of
which came from abroad). Of the exhibitions that took place, 90% were solo
Advocacy for international artists, including those
from the British Commonwealth, was nearly unheard of with little to no
recognition in the British art scene. There still continued to be much
hostility to black and Asian artists. Yet the New Vision Centre Gallery
promoted and supported them with the same fervour it held towards British
artists. The gallery also hosted the first exhibitions for European groups such
as the Italian group Forma-1, and German Group Zero.
Bowen’s patronage status extended to Derek Culley,
whom Culley said he had ‘the great fortune’ of meeting in the mid 80’s, when
Denis would become his mentor. Culley recalls, ‘He introduced me to the London
art world and the art of navigating its peculiarities and complexities. When it
came to the contemporary and modern art world, Bowen was a Master Painter with
an encyclopaedic knowledge of art and the art world. Bowen taught me a new way
to look/ question/ approach and appreciate art; from being both a viewer and
Bowen’s consciousness for inclusivity is
demonstrated by his approach to fellow artist Culley. Whilst hosting an
exhibition of Contemporary Celtic Region artists during a Celtic festival,
Bowen proposed enlarging the model and premise to include all 7 Celtic Regions
in Europe. From this Celtic Vision was born, headed by Denis, Derek and
Scottish artist John Bellany. The primary aim; to exhibit contemporary visual
arts from these regions – politics aside.
Bowen’s encounters and established friendships with
fellow artists allowed him to become a vehement collector of art. His
collection comprised of works by highly regarded artists such as Sir Terry
Frost, Alan Davie, Albert Irvin, Victor Pasmore, Alan Reynolds and William
Gear. Bowen’s collection stayed true to the international ethos of the New
Vision Centre Gallery in which his collection expanded internationally to
include works by Aubrey Williams, Arpana Caur, F.N. Souza, and Zao Wou-Ki, to
name a few. The array of works, some of which are oils, etchings and prints,
will be exhibited in a variety of upcoming exhibitions at Gallery Different, to
again pay homage to the work and dedication of national and international
post-war abstract artists. These works will also be available to private
collectors as the gallery moves forward with the Bowen Archive.
Whilst continuing to play a pivotal part in art education, Bowen was challenging and shaping post-war artistic trends. Bowen’s style was continually evolving throughout his practice. From the 1950s to mid 60s, Bowen was one of the first artists in Britain to experiment with Tachism. During this time, each painting would be started and completed within one sitting to maintain the importance of the physical process behind painting, suggesting that to return to a painting was to destroy its integrity. Post Tachism, Bowen’s painterly style was dominated by psychedelia from 1969-1980, and later ended with a relentless obsession with space discovery and the unattainable.
enthralling aspect of Bowen’s work was his capacity to lure the audience with
stark contrasts of technique and colour. In many works, Bowen employs simple
materials and found objects, including door panels and kitchen cupboards. These
created a juxtaposition between the aesthetically enticing and incomprehensible
planetary landscapes he would depict, and the preloved furniture of his own
home and studio. Bowen’s chosen subjects including erupting lava and planetary
landscapes, are something we can only imagine yet their depiction is so expressive we almost feel we are within the
painting. This is demonstrated by Bowen’s Magma
Despite being fastened onto a stretcher, the work is without a frame, giving it
a sense of limitlessness. The vibrant indigo hue, mixed with splashes of
electric blue are immediately enticing. Yet the layering of the metallic, and
sporadic gold draw you in further, heightening the sense of something magical
and unworldly. In contrast, the deep black at the bottom seems dark and
sinister, rendering the subject of the work somewhat incomprehensible. Although
Bowen worked the paintbrush and canvas, he ultimately left the paint to fuse
into the background and other lines, allowing for a seemingly free and
unrestricted result. This spontaneity remained at the forefront of Bowen’s work
and life, and is one of the paramount reasons why his work continues to be
regarded very highly, with institutions such as The Tate holding his work
within their collection.
Like the advent of space technology, Bowen’s
paintings of space make it more accessible and conceivable to the human
imagination. The beauty of each individual canvas allows the viewer to feel
deep and intense emotions, and as Vince Rea stated the ‘paintings give the
audience new and emotive experiences of colour and atmospheres indicative of
observable changes in space from vast distances of eerie atmospheric
stillnesses to lavaic eruptions of energy and matter.’ His complex choice of
colours, which often have subtle alterations depending on their lighting, are
demonstrable of the ever-changing landscapes of outer space and the continuous
fascination one can find with it.
At the heart of everything Denis Bowen stood for, was the influence from which the title of the New Vision Centre Gallery derived. Gyorgy Kepes’ Language of Vision (Chicago, 1944) drew upon the universality and power of visual language and the necessity for new imagery that reflected recent technological and physical developments. Ultimately, this ethos ran through the practice of the gallery where it beckoned artists from across the globe who were producing art that was in tune with the vast societal, economical and political changes that were happening post-war. People were again eager to reflect the severity of World War II and work towards reconstructing society. In this way, the coming together of multi-racial groups in London saw it become the cultural hub for social change, arguably headed by Denis Bowen, and the New Vision Group.
Denis Bowen’s visionary status is one that cannot
be forgotten. Even whilst he was faced with the unpopular opinions regarding
his works, Bowen continued to produce works that were rebellious, risqué and
independent. Derek Culley remembers, ‘Not one for “Art Bollox” Denis knew his
art/its history, and his contemporaries.’ His relentless dedication to stay
true to his practice ultimately deemed him the ‘unflagging champion on
non-figurative art’. As The Guardian drew upon, British art continues to
underplay the 50s and 60s abstraction, and the contribution of the New Vision
Centre Gallery (most importantly Denis Bowen) in shaping the modern art movement,
and enabling significant trends and greater freedoms. Bowen was wholeheartedly
devoted to his work and teaching, and his unique role in the history of
modern/contemporary art must be remembered with great admiration. Well
remembered and regarded, Culley said ‘Denis was a man for all seasons’, being
one of many to bear testimony to the great importance and amiability of Denis
Gallery Different will be hosting a variety of exhibitions of Denis Bowen’s collection, along with a large-scale retrospective of Denis Bowen’s work in 2021. VEDO will be posting further information about this extraordinary artist and the Gallery’s events for this artist. If you are interested in any of the above information, including buying Bowen paintings and would like further information please contact us.
(c) Artist Bruno Tinucci, Clarendon Fine Art Gallery
A few weeks ago, I was in the waiting area at a hospital in London anxiously awaiting the outcome of an X-ray for a very close relative of mine who was having to investigate some alarming symptoms.
As I fidgeted nervously, and my eyes darted around the deserted waiting room in the early morning hours, my eye caught these beautiful landscape paintings which I simply assumed were reproductions.
As an art consultant and someone who loves art my attention was grabbed. On closer inspection these were in fact original paintings by contemporary artists. The works were curated by Rebecca Marsham, Senior Gallery Manager of Clarendon Fine Art Gallery in Cobham.
The theme was contemporary impressionistic landscapes by two different artists, a Russian artist Maya Eventov and an Italian artist called Bruno Tinucci. Both artists use strong sun light with dramatic effect and have a bold painterly style and their paintings are very uplifting.
I then spent some time looking at the views within the paintings.
I was transported to Tinucci’s lush sunflower field and rustic farm house, with a piercing blue-sky backdrop set in a typical rural Tuscany setting. Through the sway of the flora and strong light, you could feel the cool breeze and intensity of the burning sunshine.
I then stood before two large silver birches within a woodland. Eventov’s use of painting and etching on the canvas to build up the composition layers cleverly creates a sculptural quality to her works.
All of a sudden I felt calmer, my breath had settled, and I had shifted from an anxious state to a more balanced place. My relative came back into the waiting room and I was very fortunate to find that the X-ray revealed nothing sinister.
This is the first time I experienced the potential power of art in a medical setting.
Having spent a good three years in and out of clinics, hospitals and surgeries I was used to seeing many different types of artworks in this type of environment.
Unfortunately more often than not the art was uninteresting, pops of brightly coloured abstracts or great swirls of paint, randomly placed on the walls and designed to simply brighten the space or to merely blend into the interior design scheme but with no more meaning or significance.
However, art that has true synergy with the message the clinic wants to convey has an altogether far greater impact. Art can talk to the viewer, visually stimulating the senses and can convey powerful and challenging messages.
Whether it’s just to captivate the viewer with the awesome power of Mother Nature through a gorgeous landscape that may remind us of greater things than ourselves, of life’s reassuring cycle or simply the pure beauty there is to be found in our natural world or the art is on some other topic altogether, on a conscious and sub-conscious level art speaks to us all.
There have been studies on the impact of art on the healing process and recovery of patients and many top clinics and hospitals have used art in their wards for this primary purpose and with great effect.
When the clinic gets it right as they did at this hospital, with the installation having been professionally sourced and curated, it can leave a very positive and lasting impression on the viewer, as it had done so for me.
I have since contacted the Gallerist Rebecca Marsham and asked her how she came to select these artworks and Rebecca explained to me the following:
“The Wellington Hospital approached me to buy some permanent artwork for one of their units. I know only too well the power that the right (or wrong) artwork can deliver – the positive mood it can induce which is so important for healing – so I went on a mission to find artists that painted specifically uplifting, joyous and yet calming artwork. I thought it was important to set the right tone for all visitors to the unit: the patients, the medical staff and the visitors.”
We have found that where the art consultant has a clearly defined brief in mind and understands precisely what the client wants to achieve, this can lead to the best results. In this case creating “the right tone” and ensuring the artworks were uplifting, joyous and calming and were appropriate for all the visitors to the unit were criteria used to find artworks that would meet the client’s requirements. Having specific criteria in mind can also significantly cut down the sourcing time and time taken selecting the artworks for purchase and/or display for both the art consultant and client.
At VEDO, we find art that truly has synergy with your Company’s brand and ethos. We liaise with galleries and independent artists in the UK and internationally to help source art that can have that desired impact for clients, artworks that impart meaning and significance and can have resonance with the appropriate audience whether it is clients, staff or suppliers.
To find out more about our process, please see our services page here.
To find out more and for a free consultation contact us here
VEDO is very proud to be participating in Henley’s Art and Music Festival this week by showcasing 8 leading sculptors at the Festival from Wednesday 5th July until Sunday 9th July.
We have selected a few exceptional British and International sculptors to represent and have endeavoured to show the wide range of styles and scale you can have in sculpture from small indoor works to the monumental, from abstract to figurative, also providing educational information about various pricing, different mediums of sculptural works and the commissioning process.
About the Sculptors
We are showing a stunning kinetic work by Ivan Black, whose piece has been specifically designed for the festival. Ivan’s work is wondrous, his conception of movement is fascinating and sophisticated incorporation of lighting and colour is nothing short of joyous and magical. This is a sculptor who rightfully deserves his work to sit alongside the great kinetic sculptors found in the museums of the world.
(c) Sculptor Ivan Black
Simon Gudgeon has achieved recognition for his monumental works, such as his stunning giant bronze Swan at the Serpentine close to Princess Diana’s fountain memorial and his reflective bronze heads entitled ‘Search for Enlightenment’ displayed nearby in Knightsbridge. To see his beautiful smooth and paired down depictions from nature one should visit his elegant sculpture park in Dorset where he displays a range of his large scale sculptural works in a breathtaking setting.
(c) Sculptor Simon Gudgeon
Sally Fawkes and Richard Jackson are exceptional British glass sculptors. They have been represented by the best of British art dealers and similarly their works have found themselves into major collectors homes internationally. Having mastered their unique technique over decades they remain leaders in using the glass medium. Excitingly they have taken their works to monumental scale over the last few years and have produced magnificent pieces, such as their most recent commission of a monumental work shown at Salisbury Cathedral and a stunning commissioned work for the Shard.
(c) Sculptors Sally Fawkes and Richard Jackson
Mel Fraser’s beautiful abstract alabaster works are perfect for any elegant garden setting or luxurious home. She is represented by a gallerist and has become a recognised name for the interior design sector for her elegant abstract works that compliment a wide variety of settings. There is a stunning purity to her forms that provide endless joy and contemplation and her skill is apparent from her ability to work large pieces of stone or alabaster into paper like winged forms that are sometimes worked so finely that they become almost translucent.
(c) Sculptor Mel Fraser
For smaller scale interior works we are showing pieces by Philip Hearsey. Philip’s works are timeless and elegant and hark back to the best forms in ancient times, in particular ancient Egypt or Cycladic times. From beautiful arcs or circles or baton like shapes, his sophisticated use of form creates a strong sense of order and his works have a reassuringly calm and restful feel to them. Hearsey works in a variety of mediums and also adds a stunning creative touch that is highly distinctive, usually playing with the patina of the bronze to create an other-worldly feel.
(c) Sculptor Philip Hearsey
Johannes von Stumm has produced a range of stunning corporate commissions and public works from his winged angel for Nike to his Big Mother and Child stainless steel series that cuts the landscape like a knife leaving you to contemplate the essence of human nature set within the landscape. We are showing his very clever smaller geometric works that are a sophisticated combination of media often glass, bronze and stone. These works are highly distinctive works and are extremely contemporary in feel and work exceedingly well in corporate and luxury spaces.
(c) Sculptor Johannes von Stumm
Last but by no means least, a star of the event is Paul Day. He is representing himself at the Festival but we have the great pleasure of hosting his works on our stand and supporting this huge talent. He needs no introduction having done several famous Royal monuments, from the Queen Mother’s memorial, Battle of Britain to the Iraq and Afghanistan war memorial.
His highly detailed figurative work is hugely accessible, fiendishly clever and demonstrates his extraordinary skill in rendering such great detail that translates so lucidly and perfectly in bronze form. His work demands attention and for that reason his works will stand the test of time in monumental form. We are pleased to announce that at the fair guests can see a range of works, demonstrating that his work is affordable and achievable for many collectors too.
(c) Sculptor Paul Day
VEDO see this event as a truly wonderful opportunity for us to show some larger monumental works in a stunning setting and also showcase some smaller indoor works that would look wonderful in any home. Our goal is to bring to great many people beautiful and accessible sculpture.
Sculpture is often an overlooked medium in preference to 2D forms such as painting, photography and prints. It is perceived to be expensive and difficult to place. We feel that sculpture can add tremendous value and make a wonderful statement in a wide range of environments from the home, the office or to a public space.
Commissioning bespoke sculptures for public works or for corporate spaces is our forte at VEDO and we understand that it can be an extremely challenging and complex project to manage. However our skilled art advisers take the stress out of the process, make it highly enjoyable and help clients achieve their creative vision by working effectively with the sculptors, designers and clients.
For more details about how we can help your company in such a project please do visit our website www.vedocorporateart.com and contact us through the contact page.
For a copy of our new sculpture brochure to see the different sculptors we represent and the types of work we can help commission for your clients or your projects please contact us.
VEDO Corporate Art Service is delighted to present some captivating new sculptural work by ceramic artist Desa Philippi.
Desa’s wall sculptures are beautiful fluid porcelain shapes with a strong graphic element.
(c) Red porcelain wall sculpture by artist Desa Philippi
She has developed a range of abstract, biomorphic shapes, which are layered in open and closed forms and can be combined in different dimensions. They are therefore uniquely adaptable to different spaces.
(c) Vertical midnight blue porcelain wall sculpture by artist Desa Philippi
She uses bold primary colours that heightens the graphic element and gives a strong contemporary art feel, as well as being very joyous artworks.
(c) Yellow porcelain wall sculprure & alphabet ceramic vessels by artist Desa Philippi
We think of graffiti art when we look at these wonderful shapes, as well as comic strips and the great American pop artists of the 1960s, such as Roy Lichenstein.
In her own words Desa’s says she is
..“influenced by modernist sculpture and the urban environment within which the work is produced, I spent a lot of time looking at and photographing the reflections of buildings, graffiti walls, cranes and other urban structures on the nearby Regents Canal, observing changes of the water’s surface when disturbed by wind, moving canal boats, water birds, or floating debris. This direct observation helped me to rethink the continuous forms of my porcelain vessels in terms of open and animated surfaces.”
Desa is currently showing some of her stunning flat matt grey ceramic vessels at Gallery DIFFERENT in London in an exhibition called ‘The Art and Politics of Eating’. To read about this exhibition click here.
(c) Alphabet Vessels by artist Desa Philippi
Desa works from her studio in Camden in London. Her background as an art historian is eminently clear from the strong sense of design and aesthetics that permeates her work as an artist.
Her ceramics are effortlessly chic and would look great in any contemporary designed living space, bringing in a sophisticated design element.
To see more please do not hesitate to contact us at Jessica@vedocorporateart.com
VEDO Corporate Art Service is proud to support Gallery DIFFERENT’S forthcoming exhibition: ‘The Art and Politics of Eating’.
(c) Artist Zev Robinson
Zev Robinson, a Canadian and British artist and film-maker is showcasing his large beautiful dream-like pastel paintings at the Gallery, 14 Percy Street, London W1 this week.
Zev an experienced artist has coordinated this exhibition of his pastels with the release of his film ‘The Art of Politics of Eating’ – Pied à Terre documentary, shown this evening at the Gallery.
His film examines the restaurant’s passionate interest in supporting the sustainable food system and how their relationship with their forty suppliers makes an important contribution to the small independent British food sector.
There will also be a moderated discussion about quality food producers and the role of quality restaurants in sustaining those producers and the rural environment.
From the Corporate Art perspective, Pied à Terre restaurant is well known and highly regarded as an amazing champion of the arts.
Apart from hanging artworks by emerging and established artists in this elegant and very fashionable restaurant and allowing an important showcasing venue for artists to be enjoyed by their clientele, they are true patrons of the arts and this echoes through a film like this, made by a visual artist who has turned the spotlight on their core passion, supporting sustainable food systems and making sure the best of British food is served in their restaurant.
Zev’s work is elegant, accessible and blends the boundaries between art and food and the point at which these two creative endeavours meet.
(c) Artist Zev Robinson
The pastel medium creates a haze to the subject-matter that feels dream-like and surreal and with his closely studied blue camphor jugs and succulent Queen olives in terracotta dishes you are instantly transported to the Mediterranean.
To see the film, the screening is tonight 6th June 2017, please book tickets through the Gallery.
VEDO Corporate Art looks for the best independent artists for the commercial sectors, such as interior design and hotel design.
Also showing this week at Gallery DIFFERENT, 14 Percy Street, W1, VEDO is very proud to announce that two exceptional ceramicists are showing their works too.
French ceramic artist Isabelle Poupinel will be showcasing three of her stunning works, all quite different and show the unique range of styles in her repertoire.
From her stunning North African inspired earthen dish, with a beautiful turquoise glaze, perfect as a central piece for a kitchen table or dining al fresco and serving delicious nibbles, such as pistachio nuts, to her beautiful woven looking ceramic basket – an object that is both minimalist and in our view seems to echo great tribal art, namely Tutsi or Hutu woven baskets.
(c) Artist Isabelle Poupinel
Lastly Isabelle is showing a chic pinched white porcelain vase with a gold tie that would look elegant in any luxurious room and reminds us of the great finesse you find in gorgeous homes in the South of France.
German born Desa Philippi, who works from her studio in Camden in London, will be showing her impressive and elegant pots. Her vessels look fabulous in a group and make an effortless and chic artistic display.
These works are artistic too and are for display rather than use. Desa produces clean lines and her works have an extremely pleasing symmetry, often combined with interesting decoration such as her sophisticated on-glaze patterns that use steel or tungsten to create fine lines. In Desa’s work there are gorgeous industrial matt grey or sensitive cream tones or a flat pure white that demands attention and echoes Bauhaus and great design.
(c) Artist Desa Philippi
Desa, like Isabelle, has a diverse repertoire but is consistently elegant in her style and approach and works by either of these artists would look fabulous in any home.
For more details about these three artists please contact VEDO.
The exhibition is on until Wednesday 14th June 2017, Gallery Different 14 Percy Street, London W1.