FTN-blog

Born in the bustling city of London in 1959, the esteemed Matthew Tyson has spent his life honing his craft in the captivating region of south east France.

His formative years were spent studying at prominent institutions such as St Martin’s School of Art and Goldsmith’s College, both located in the vibrant city of London. Throughout his illustrious career, Tyson’s works have been acquired by numerous distinguished public and private collections, cementing his place as a renowned figure in the world of art.

His repertoire also includes a plethora of public art commissions, the most notable being a monumental project of 17 intricate stained glass windows crafted between the years of 2001 and 2007. Erected in the resplendent Saint Pierre Cathedral situated in the rustic commune of St Claude in the Jura region, this exquisite creation was commissioned by the esteemed French Ministry of Culture.

In addition to his achievements, Tyson has also been privileged to serve as an artist in residence at the prestigious Birmingham City Museum and Art Galleries. In 2007, he was bestowed with the honor of being a residency fellow at the renowned Edward Albee Foundation in the picturesque town of Montauk, located in New York.

A globally recognized figure, Tyson has imparted his knowledge and expertise in numerous educational institutions, both in Europe and the United States. For a decade, from 2009 until 2019, he had the privilege of teaching at the distinguished Université Jean Monnet in St Etienne.

Armed with a masterful command of the English language and an unwavering dedication to his craft, Tyson’s work showcases a blend of perplexity and vibrancy, setting him apart from his contemporaries. With a keen eye for elegance, he artfully interweaves a diverse range of vivid vocabulary, imbuing his compositions with a distinct and captivating essence. Let the resulting output speak for itself, as the true essence of enigmatic complexity and linguistic dynamism is brought to life with each stroke of his brush.

www.ftn-books.com has agreat print from the 80’s by Tyson available.

Charles Bézie (1934, France) graduated from the Académie Jullian in Paris after completing his foundational arts education at the École d’art de St. Nazaire. He has resided in Paris since 1960, working as an autonomous visual craftsperson to this day.

Initially, he sought to create art that defied the norms set by renowned predecessors, specifically Malevich and Mondriaan. This desire manifested in what he refers to as his graphic era, paintings in which he strived to eliminate the geometry through a web of delicate horizontal, vertical, and diagonal lines. Frequently, he overlaid various layers of disparate compositions, obscuring them in part. Notable collections of this formative phase in his career include Déserts (1976), Variations (1977/1978), Sérénités (1979), Tensions (1980), and Suite indienne (1981)

In the subsequent years, his work evolved through a number of stages, the lines expanding to form thick bands, eventually culminating in a series dubbed Quadrille. In 1995, he abandoned the use of diagonals altogether, ushering in a completely new artistic vernacular centered on research into rhythm, derived from numerical patterns. In 2003, he embarked on a fresh body of work called Fibonacci Suite, inspired by the insights of the renowned 13th-century Italian mathematician. The merit of these pieces lies in the intuitive manner in which Charles Bézie employs the Fibonacci sequence algorithm [F(n)=F(n-1)+F(n-2)]. The paintings in this series are built upon a framework of horizontal lines. The foundation work is equally critical, consisting of vertical bands of paint applied with a spackle knife that gradually conceals the texture of the canvas. Subsequently, he employs a smooth paint roller, allowing the nuances among the various bands to be illuminated by natural or artificial light. He refers to this as the “animating of the background.”

www.ftn-books.com has several Bezie pub;lications noa available.

David Saunders was born 1936 in Essex. In between leaving his educational studies and being drafted for military duty, he dabbled briefly within the advertising industry. While in this transitional phase, he made the most of his evenings by attending life classes taught by Vivian Pitchforth at St. Martin’s School of Art, located on the bustling Charing Cross Road in London. The area was abuzz with cutting-edge cultural endeavors.

Serving on Salisbury plain, he was given the opportunity to pursue his fervor for painting during moments of respite from active service. The nearby landscape of white hills scattered with solitary clusters of forests served as a muse for many of Paul Nash’s paintings. This particular setting may have also had an impact on Saunders’ early work.

After being discharged from the military, Saunders continued his education in painting under the guidance of Frederick Gore at Saint Martin’s School of Art. He then went on to complete his Master’s degree at the esteemed Royal Academy Schools in London from 1959 to 1962.

Saunders’ first public showing was as part of the Young Contemporaries exhibition in London in 1959. He displayed a painting of an imaginary landscape that was inspired by his initial trip to Italy that same year. The following year, he participated in an eclectic exhibition titled “Tomorrow’s Artists” at the Grabowski Gallery in London.

In 1965, Saunders had his first solo exhibition at the Artists’ International Gallery in London.

His artwork was increasingly becoming the center of attention, and in 1967, he was showcased in the ‘A Survey of Abstract Painting’ exhibition at the Camden Arts Centre. This exhibition included works by several other renowned artists, including Peter Joseph. From this point on, a close and enduring friendship developed between Joseph and Saunders, characterized by an intense and expansive dialogue, expressed both visually and verbally.

It was from this particular showing that the Arts Council procured the first of many of Saunders’ paintings that would eventually become part of public collections. In that same year, his artwork was also featured in the Edinburgh Festival exhibition titled ‘Hundred Best Paintings’ at the Richard Demarco Gallery.

In 1965, Saunders was appointed to a teaching position at Newport College of Art. It was there that he encountered Jeffrey Steele, who was six years his senior and also a painter. At a public exhibition in Cardiff in 1968, the two artists were jointly awarded the Arts Council Purchase Prize. This pivotal moment marked the beginning of a lengthy collaboration between the two, with the first visible outcome being the establishment of the Systems Group one year later. The British artists who joined this group were influenced by the principles of international Constructivism, but with a distinct political undercurrent. When Steele assumed the role of Head of Fine Art at Portsmouth Polytechnic, he invited Saunders to join as a part-time lecturer. This was where Saunders first connected with members of the English experimental composers’ school, including Michael Parsons who remains a close friend and collaborator.

The ‘Systems’ group had a relatively brief existence, culminating in 1972 with their exhibition at the Whitechapel Gallery in London. It was here that Saunders unveiled a large installation piece. Many of the artists associated with the group also exhibited at the Lucy Milton Gallery in London.

In 1970, Saunders was an artist in residence at The Gardner Centre for the Arts at the University of Sussex. By 1972, he was invited to be a guest artist at the Stedelijk Museum studios in Amsterdam. This opportunity allowed him to deeply immerse himself in the work and environment of renowned painter Piet Mondrian.

From 1970 to 1980, Saunders served as a visiting lecturer at the Slade School of Fine Art at the University of London, while also teaching painting and photography at Liverpool Polytechnic Art School. In 1988, at the age of 52, he made the decision to step away from formal teaching.

During the years 1980-1990, Saunders delved deeply into the intricacies of color in painting, culminating in the 1986 exhibit ‘Colour Presentations’ in collaboration with painter Richard Bell, sponsored by the Arts Council. The catalog’s introduction features an essay by philosopher Bernard Harrison.

After leaving formal instruction, the artist relocated to London, setting up a studio in the East End at the Bow Arts Trust. It was there that his work ventured into a – seemingly – revolutionary direction, possibly influenced by significant events in his personal life. Whatever prompted this shift, it was a period of intense and fruitful productivity.

In 2006, Saunders permanently relocated to the French Pyrenees, where the earthly and ethereal conditions harmonize with his creative process.

www.ftn-books.com has a nice silkscreen /signed/dated print by Saunders now available.

Francisco Soto Mesa was born in Madrid and pursued art studies at what was formerly known as the Escuela Superior de Bellas Artes de San Fernando, now the Facultad de Bellas Artes de la Universidad Complutense de Madrid, where he obtained his degree.

In 1978, he inaugurated the Escuela de Artes Plásticas “El Estudio” and the “Sala Previa,” where he taught and organized exhibitions, mainly featuring emerging artists. In October 2001, he opened the adjacent space to the Art School, which was named “Tercer Espacio” and served as a venue for non-commercial exhibitions of renowned artists, as well as other events and activities related to the world of art and culture. It later became known as “Galería Tercer Espacio” and was in operation from early 2006 to the end of 2011. From that point on, the same activities focused on creative, artistic, and personal development continued to be organized in these spaces until its relocation to San Agustín street, in the same neighborhood, where all teaching and artistic activities continue to be led by Elisa Soto with her guidance and expertise.

the silkscreen below is now available at www.ftn-books.com

No portrait of the artist this time , but a great silkscreen by Jaak Vuylsteke who used the square as a grid for practically all his art.

Jaak Vuylsteke …….The focus of my work revolves around the examination of the square. This investigation delves into the square from multiple perspectives, with an emphasis on concentrations that involve the 90 ° angle and the parallel sides. Through various transformations, intricate relationships are formed. The resulting pieces are meticulously constructed using geometric principles, resulting in visually striking drawings, paintings, and sculptures.

The above silkscreen print nis now available at www.ftn-books.com

Ian Hamilton Finlay (1925–2006), a multifaceted philosopher, sculptor, and poet, revitalized the classical tradition through a rich body of work that encompasses an array of creative forms, celebrating the enduring power of language. His diverse output includes prints, poems, books, inscriptions, neons, sculptures, permanent installations, and landscape design. As a pure conceptual artist, Finlay was attuned to the formalistic concerns of literary and artistic modernism, such as color, shape, scale, texture, and composition. For nearly four decades, he built his pieces using philosophical texts, myths, characters, and imagery from the past, skillfully juxtaposing them to create enigmatic and thought-provoking combinations. Finlay’s adept use of syntax and narrative configuration masterfully blended refined distinctions with a poetic philosophy. His talent lay in breaking down complex ideas into concise words and phrases, often laced with his characteristic wit and wry humor.

In 1961, Finlay co-founded the Wild Hawthorn Press with Jessie McGuffie and quickly gained international recognition as Britain’s leading concrete poet. His publications continue to be instrumental in disseminating his visual art. As a sculptor, he collaborated with skilled artisans in a wide range of materials, bringing his ideas to life through stone carvings, constructed objects, and neon lighting. In the mid-1960s, Finlay resided and worked in Stonypath, situated in the southwest of Edinburgh. Here, he transformed the surrounding rural acres into a one-of-a-kind garden and lifelong endeavor: Little Sparta. Ian Hamilton Finlay passed away on March 27, 2006, at the age of 80.

www.ftn-books.com has several Hamilton Finlay publications now available.

At times, one must stand literally face to face with a piece by Klein Hofmeijer to fully comprehend the precise structure and cohesion of its various components. He consistently manages to absorb external artistic influences (such as art, literature, film, and music) and weave them together into an unmistakable style.

From March 7th to June 1st, Museum van Bommel van Dam will extensively explore the various themes and motifs present in Hans Klein Hofmeijer’s work. Along with a thematic focus on series such as “Lichtvangers,” “de Achterkant van de Schilder,” and “Inktmannen,” there will also be significant attention given to his complex word images, inventive use of materials, and thought-provoking statements about his artistry.

www.ftn-books.com has the OVER MOOI publication from 2004 now available.

Olga Zimmelová (1945) entered the world in Majdalena in southern Bohemia. In 1968, she took the leap to Switzerland, where she settled and pursued an education in the arts. During this time, conceptual art held a prominent position on the world stage, and Zimmelová – much like her fellow Czech artists who departed the country during that era – was drawn to this innovative movement. Her art took on a natural conceptual trajectory, characterized by her inherent inclination towards openness. She does not hold onto anything, be it in life or in art. The exhibition, An Unencumbered Look at the Church of St. Lawrence, utilizes painting, objects, and projections to showcase Zimmelová’s unfettered reflection on her birthplace and childhood, as well as other significant locations in her life.

www.ftn-books.com has the PANDATARIA book now available.

In the year 1981, Graham achieved his inaugural masterpiece, A1: The Great North Road. This groundbreaking series of color photographs, captured along A1, Great Britain’s lengthiest numbered road, shook the foundations of traditional British photography dominated by black-and-white social documentary. Graham’s use of color film in the early 1980s pioneered a new wave in the genre, inspiring a generation of artists including Martin Parr, Richard Billingham, Simon Norfolk, and Nick Waplington to embrace color.

In 2011, The Museum of Modern Art in New York acquired the complete set of prints from The Great North Road, the very set Graham utilized to create his first book in 1983. Over the course of the past thirty years, Graham has explored different corners of the world, crafting twelve distinct collections of work. His talent has been celebrated in more than eighty solo exhibitions worldwide.

www.ftn-books.com has the THE END OF AN AGE invitation now available featuring Untitled no. 22

Mohamed Aksouh is an Algerian Postwar & Contemporary artist who was born in 1934.Numerous key galleries and museums such as Galerie Claude Lemand have featured Mohamed Aksouh’s work in the past.

Mohamed Aksouh is an Algerian Postwar & Contemporary artist who was born in 1934.Numerous key galleries and museums such as Galerie Claude Lemand have featured Mohamed Aksouh’s work in the past.

Michel Humair is a painter of the New School of Paris, born in the Swiss Jura in 1926, settled in France in 1947 and died in 2019. He described his approach as “Impressionism of lyrical abstraction”. Lydia Harambourg wrote in La Gazette de l’Hôtel Drouot: “Humair belongs to the second generation of an abstraction that privileges gesture and movement underlying a fervent emotion (…). This one passes by the colors and the contrasts, by the forms and by a sensual matter of which he exploits the expressive richnesses to the service of what he wants to translate: the truth of his landscape”.

These 3 artist were presented in 1999 in the SIGNATURE PARIS 4 exhibition at BORZO.

the catalog is now available at www.ftn-books.com