Guy and Michèle Beddington both follow a family tradition,
as members of both families in every generation since the 19th century
have been closely involved in the Arts, either as patrons, experts, dealers or as artists.
Long-time admirers of the Midi, and permanent residents nowadays, they exhibit well-known Contemporary Artists on two floors of a magnificent 18th century ‘Maison de Maître’ on the south-facing ramparts of the mediaeval village of Bargemon, where they also display works from their eclectic collections from other periods.
They work with museums and offer an art consultancy service to private clients, architects and to interior designers covering all aspects from the sourcing, purchase and sale of works of art to advice on valuation and insurance.
BEDDINGTON FINE ART Les Remparts 83830 Bargemon Var Provence – France
DUTCH LIGHT Everything happens in the landscape
To dutch painter Ramon Otting (1969), the landscape is a huge source of inspiration. The landscape reflects our moods, is enjoyable, can heal, or gives cause for contemplation. Otting’s work is all about nature and what it does to us human beings. This interaction is essential. An almost physical ominous threat is present in many of his land- and seascapes. Sometimes in dark and stormy skies, sometimes in overwhelming lightness. The superior power of nature compared to man, who will always lose, is palpable.
“I’d love to literally transfer nature’s behavior onto canvas. To paint like that is like almost merging with nature, even though there’s always some sense of shaping the image. But of course this is never attainable, this can only happen in nature. Sometimes you can also go too far, so you fall over, but that’s good too. In the end it’s all about the endeavour, because we can never really attain nature’s perfection. We’ll always be confronted with our shortcomings and insignificance. But it’s a requisite for us humans to persevere, on the road to the goal. Even though essentially you’re not, or only hardly, doing anything new.”
More and more, Otting’s work concentrates on building the wholeness to be found in nature. From low viewpoints and using terroir, Otting shows us the beauty and wealth of form and colour in nature. The looseness of his painting opens up his work even more and strengthens the power in the details. Paintings which capture that wondrous effect of light upon universal landscapes based on the rich Dutch cultural background. Dutch Light.
Helena Stork, Art Historian
Alejandro Mendoza is one of Cuba’s most diverse and intensely driven contemporary sculptors. His career in the U.S., particularly in South Florida, has had far-reaching impact. His work is constantly evolving yet maintains an aesthetic and personal integrity. His sculpture, in particular, is unafraid of venturing into different themes and tones–from defense of natural world to explorations of the personal and collective unconscious. His work boldly explores a wide range of formal concerns and draws on and fuses such diverse references as nature, urban detritus, and the dream state, and he does this in works whose deceptive simplicity and presentational immediacy allows them to be enjoyed by people with cultivated and popular tastes alike.
Mendoza genuinely embraces the role of sculpture and art in general as a motor for change in the world. For all the audacious experimentation in style and media Mendoza engages in, he does not cater to effete sensibilities and settles to have his work admired by smug illuminati. His “Giants in the City,” for example, has gathered dozens of inflatable sculptures by international artists specifically created for this project. Mendoza has taken them to numerous venues and installed them in publicly accessible grounds, permitting the general population to enjoy the various works whose impact range from the whimsical to the enigmatic and from the purely aesthetic to the socially conscious. Whether it be in his own powerful and distinctive work or in projects such as “Giants,” Mendoza’s spirit is the same–art is a fundamental social and personal need, an undeniable and irrepressible force in our personal and collective presence in this world.
ART CRITIC Ricardo Pau-Llosa
It’s tempting to see the years 1912–25 and 1947–70 as the two golden ages of abstract art, and to feel that the present revival of abstraction is no more than a silver age. But the present is always deceptive: it was not evident to their contemporaries that Malevich, Mondrian, and Pollock were the towering giants they seem to us in retrospect. The fact is, there is a vast amount of good abstract art being made today, and the best of it is every bit as good as the best abstract art of the past. The golden age of abstraction is right now.
Museums and art centers have lately been taking a remarkable interest in abstract art, past and present. Last year, MoMA opened “Inventing Abstraction, 1910–1925”; the Guggenheim offered “Art of Another Kind,” comparing American and European abstraction of the 1950s; “Destroy the Picture,” at the Museum of Contemporary Art, Los Angeles, explored the fascination with dirty, distressed materials among artists of the same era; the Musée d’art contemporain de Montréal traced theimpressive history of Canadian abstraction since 1939; the Hunter College/Times Square Gallery presented “Conceptual Abstraction,” a survey (which I curated with Joachim Pissarro) of 20 abstract painters who came to prominence in New York in the 1980s; and MUDAM (the Musée d’Art Moderne) in Luxembourg gathered 23 contemporary European artists in “Les Détours de l’abstraction.” Already in 2013, the Walker Art Center in Minneapolis has opened “Painter Painter,” a survey of emerging abstract painters from both the U.S. and Europe, and next month, the Museum of Contemporary Art in Chicago opens “MCA DNA Chicago Conceptual Abstraction,1986–1995,” with works in various mediums.
How do we make sense of all this activity in a type of art that was declared dead 40 years ago? I believe the most useful way to understand abstraction is not in terms of its formal evolution (which does not, in any case, fit the linear models beloved of theoreticians) but in terms of thematic content. The formal qualities of an abstract painting or sculpture are significant not in themselves but as part of the work’s expressive message. Artists work by reviving and transforming archetypes from the unconscious of modern culture. Therefore, the most useful questions to ask about contemporary abstract painting or sculpture are: What themes and forms does it retrieve from the tradition of modern art? How have they been changed? And how has the artist used them to express the social, political, and spiritual experience of our own time?
Amanda Madrigal was born and raised in Miami, Florida, where she attended one of the most prestigious art magnets in the country, New World School of the Arts. The school soon became a true home and family to her and offered the foundation she needed for her next journey, acquiring a bachelors degree in fine arts at Maryland Institute College of Arts. Amanda recently graduated from MICA in the Spring of 2013 with a major in Fiber Art and is currently living and working in Miami.
I began working on this piece from the inside out, both literally and figuratively. It is a circular object, created using a single element crochet technique, beginning in the center and working outward. The form is reminiscent of a polar grid, the same basic structure used to create a doily, but in this case, on a huge scale. I think about this piece as both a release of energy and collection of time. A way for me to transfigure the energy inside of me into something outside myself, and tangible; evidence. The piece was created using mostly donated and found materials that I would cut up and rip into long strips which I then crocheted into the final product, a large circular net. The simple and repetitive actions felt so necessary to me, they became a way to capture the fleeting time. The net is a physical construct made to collect my thoughts, ideas, feelings, and memories. Formulated from thousands of stitches, I would tear things apart and put them back together, stronger and united as a whole.
As the piece grew larger, it would consume the surrounding space so that I was no longer working around the net, but it was working around me. Forming a sort of back and forth between me and this extension of myself, constantly growing with every knot. Each layer of color that was added would transform the piece into something completely different, and watching this object spill effortlessly from my body I felt connected to the space around me. This idea began to provide a deep feeling of release.
The work became a mirror of the energy and time I put in to it. I saw a place to observe and experience abundance, flexibility, expansiveness and endless possibilities.
BENEDICTE FONTAINELLE BLANC
Ouroboros is a discussion of the beautiful process of birth-death-rebirth