Sarsen (Other stone). Marlborough Downs
Lotte Scott has created an edition for OUTPOST to go alongside her first solo show, The fields are seas. An edition of 16 black and white, hand printed photographs on fibre based paper.
Alongside her exhibition Poison the Cure at OUTPOST, Jenna Bliss has produced a series of signed silver gelatin prints, enlarged from super8mm film shot off a computer screen.
Simon Newby’s edition for OUTPOST is modelled on a draftsman’s set square. Made from transparent acrylic, three of the editions were shown in the gallery as part of the exhibition Underworld. In each of the editions the middle hole has slipped from its usual place, a few millimetres or completely. The square hangs from a signal black screw, and depending on the light conditions projects shadows or copies of itself on to the wall.
Resilient, brave; resolute in crisis, 2016
A red printed T-Shirt displaying the word SALE repeated in white. The design has been taken from the T-Shirt worn by a shop mannequin during a clothing sale.
Produced on the occasion of his OUTPOST solo exhibition ‘Days’, Jacques Rogers has made a series of small sculptures that feature a range of the artist professors who teach at the Städelschule, Frankfurt. The thumbnail portraits have been lifted from the institution's website and applied to each side of a packet of paracetamol.
Collectively titled ‘Units’, Alice Browne’s edition for OUTPOST are component parts from her exhibition Struc////. Originally scattered around the gallery, complicating rhythms and relationships between works, ‘Units’ drift out from larger paintings as pixels made solid. The ‘Units’ are hand painted, tinted with pigment or covered in aluminium leaf. Cast in plaster from moulds of wooden building blocks, they reproduce the dents and chips collected over their years kept on Browne’s studio floor.
Golden Memories, 2015
Isabelle Cornaro's edition for OUTPOST are extracts from her site-specific exhibition Golden Memories; spliced sections of the plastic 'carpet' where paint dust has fallen as remnants during the installation. Formed beneath the blue Reproduction painting, the edition has been cut to a ratio imitating dimensions of both the original painting and screen size of the film Amplifications, from which the paintings of Golden Memories were produced. They are fragments from the constructed scene/space.
Patrick Goddard’s edition for OUTPOST is a design printed on a white t-shirt. The t-shirt is all organic and fair-wear and stuff. It says ‘APOCALIPSTICK, EVENTUALLY EVEN THE PARASITES WILL STARVE IN THIS CARCASS OF CULTURE’ and it’s got a dead cat drawn in the middle there. Also it’s all maggoty. Patrick stole the word ‘Apocalipstick’ from issue 2 of the awesome comic book series ‘The Invisibles’, he feels a bit bad about that, but not that bad. Patrick has written this in the third person.
Commissioned by OUTPOST, artist duo, Peles Empire have produced a new limited edition of 10 digital, black and white prints. An A3 sheet lifted from the context of a larger image, the edition is a distorted fragment of the pair’s ongoing reproduction of the interior space of Peles Castle, a 19th Century pastiche of differing architectural styles at the base of the Carpathian Mountains, Romania. The image, rich with digital texture, appears to undulate, fold and tear apart, suggesting both the physical and visual distortions of the copying process and its creation.
Eternal: Internal: External, 2014
Peggy Franck’s edition for OUTPOST, ‘Eternal: Internal: External’ has been produced as a very limited chromogenic color print. Smears, brushstrokes and blobs of paint on superimposed sheets of different materials are centred around a close-up of the artist’s hand. Photographed after testing several shades of lipstick, the colour of the flesh and reddish, pinkish tints of the make-up are in strong contrast with the mostly cooler tones of the surrounding aspects. With ‘Eternal: Internal: External’, Peggy Franck continues her constant reinvention of explorations of layered dimensions in which she simultaneously celebrates and questions the artistic gesture.
Gili Tal has produced a limited edition of 30 roller blinds printed with a photograph she took of the Berlin skyline at sunset, part of a series of curtains and blinds that she is currently working on. The photograph is taken from the fifth floor car park of Neukolln Arcaden, a shopping centre close to the artist’s apartment. By inserting a more available and personal view into a realm otherwise populated by familiar yet potent clichés, the series considers the appropriation of city views in the marketing of luxury properties and how this relates to concepts of ownership. Each blind is made to measure according to individual specifications.
Prize Winning Rabbit, 2013
Produced in the spirit of village prize giving and inspired by an accidental foray into rabbit breeding, Claire Bayliss’ limited print edition, Prize Winning Rabbit, coincides with her OUTPOST solo exhibition, A Month in the Country.
Fiona Mackay has produced a limited edition silk handkerchief accompanied by a custom-made presentation box and packaging. Abstract paintings featured in Mackay’s exhibition result from batik dye applied to thin canvas, emulating silk fabric traditionally associated with the process. Mackay has reinterpreted her medium, digitally rendering an original batik painting onto Habotai silk, creating a tension between the coldness of digital design and subtle batik process, contained within the aesthetic of a gentleman’s silk handkerchief as an intimate, yet luxurious object. A custom-made gift box embossed with the exhibition title Syntax and lined with printed tissue paper also stores the handkerchief for safe-keeping.
Poster : Slippery under pressure, 2012
Produced to coincide with her OUTPOST solo exhibition, Slippery Under Pressure, Glasgow based artist, Ciara Phillips has specially created an edition of 10 screen prints. Crudely drawn in green ink, the words ‘Slippery under pressure’ negotiate space on the powder pink background with splodges of paint and seemingly cut and pasted examples of gestural brush strokes. The phrase, lifted from the title of Phillips’ accompanying exhibition, references a sense of ‘being out of control with a material’ which is playfully mirrored by the expressive marks and their collaged appearance.
Edition (In A Normal World I'd Be There), 2012
Gabriele Beveridge has produced a limited edition wall-based work comprising adhesive sheets of paper lifted from vintage photo albums and mounted onto wood. Each edition is unique, where the mounted yellowing paper surfaces develop abstract image and geometric forms over time. Thin painted edges on each wooden base add subtle hints of colour to the series, with each available in pastel shades of blue, pink or green.
This edition of four is made from a now discontinued Elevenses snack bar box, two of which are "Choc Chip bakes" and two "Raisin Bakes" with a found black and white image tucked inside. The edition can either be hung on a wall or placed free standing on a surface, retaining the functionality of a consumer object with the price of the edition mirroring that of it's supermarket shelf past.
Dramatic Arc, 2012
This crisp screen print on reflective aluminium depicts a dramatic arc, the same diagram as appears on one of the monitors within Drew’s show. Gustav Fraytag's classical story arc is normally used to illustrate the structure of fictional work, here it creates a reassuring and smiling face staring back at the viewer.
This silkscreen edition of the artist’s breasts is rendered in ink onto different brightly coloured paper, available on purple, red and yellow paper. These prints formed part of Keil’s exhibition at OUTPOST in April 2012.
Produced for his first solo exhibition (Grobo Mesa March 2 - 21 2012), Konda is a digital print comprising of two juxtaposed photographs of figures. The images are rendered in cool greys and greens, and are reminiscent of fashion photo shoots. Sanders' has edited these digital images in much the same way as he will manipulate and enhance images through the act of painting.
Jack Vickridge’s series comprises of 30 individual and unique mono prints on Japanese Masa paper. The print depicts the title 5’s, alongside expressionistic shapes and marks. The physical process of printing is transparent in these works as the print evolves and distorts though the series. These mini prints were produced for Vickridge’s solo exhibition of the same name at OUTPOST in October 2011.
How Can We Carry On?, 2011
Made for his solo exhibition How Can We Carry On? at OUTPOST in September 2011, this A2 digital print comprises of a collection of images brought together to form a dynamic assemblage. These seemingly floating images of faces, photography and geometric shapes are frequently used devices for Green, building a greater narrative and sensation.
The Qualmlessist Manifesto, 2011
A luminous orange screen print of The Qualmlessist Manifesto, written by Alan Stanners for his solo exhibition at OUTPOST in August 2011. The manifesto was launched and first recited by Stanners at the gallery on 3rd August 2011, which this edition commemorates.
Benjamin Brett has produced a seductive ink jet print onto a reflective foil for his joint exhibition with Stephen Draycott at OUTPOST in October 2010. This abstract print comprises of distorted forms that seem almost recognisable as images and symbols, but seemingly eludes interpretation.
Seasonal Trends 2, 2010
Seasonal Trends 2 takes inspiration from fashion industry trend reports. The text Draycott presents us with meanders between disjointed surreal narratives, descriptions and instructions to the reader. This edition was produced for his showLiminal, Draycott’s joint exhibition with Benjamin Brett in October 2010.
Floreat Salopia, Catalogue, 2010
Produced as a catalogue for his first solo exhibition at OUTPOST in September 2010, Floreat Salopia comprises images and text produce by Leaman. Simple line drawings of objects of the everyday and the artists own invention, printed on pastel coloured background adjacent to enigmatic titles of text-based directives.
Issue 4: Negative Space, 2010
A surreal narrative written by Russell and printed onto archival paper, depicting the negative space of a crucifix within the body of the text. The narrative comprises religious questioning, extreme language and references from popular culture: “Through all my triumphs, and through all my tears… Jesus carries me, Oh he carries me across the burning sand, over water deep and wide he gently takes me by the hand and carries me to the other side. Oh my Jesus carries me. Strumming my pain with his fingers…”
The Yesable Proposition, Catalogue, 2010
Produced to accompany his exhibition at OUTPOST of the same name, The Yesable Proposition documents the exhibition at the gallery, featuring colour images of the space and Wilsher’s interventions/alterations to the fixtures and fittings. This book sets out the rationale behind Wilsher’s conception of The Yesable Proposition, and also includes an interview with the artist by Ellie Morgan.
This publication between Simon Davenport and Lawrence Leaman was made and launched during OUTHOUSE. Each artist presents found colour images juxtaposed with text to create a complex and challenging dialogue.
Edition by Elizabeth Price commisioned by OUTPOST as part of the Eastern Pavilions Print Porfolio, click here for more information.
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