Anna Freeman Bentley’s paintings use architectural imagery to
explore the emotive potential of space. Grounded in an interest in
the baroque her source material includes junk shops, restaurants,
private members clubs, flea markets and designed interiors. Central
to her work is an investigation into surface, tension and the
atmosphere evoked by these different interior surroundings. The
spaces she depicts are empty, yet visual signifiers point to
evidence of people and social happenings. This, Freeman Bentley’s
third publication to date, is centred on the relationship between
painting and cinema and is divided into sections dedicated to major
paintings on canvas and panel, and a number of works on paper (all
works 2021–22). Freeman Bentley’s work here is focused on sets
from 'The Colour Room' (2021), a film that tells the story of the
early career of celebrated British ceramicist Clarice Cliff
(1899–1972). The foreword to the book is written by Rollo
Campbell and Matt Incledon of Frestonian Gallery. An essay by
writer and critic Thomas Marks draws out the importance to her work
of historic and contemporary cinema and temporary architecture.
Marks notes a change in palette in these new paintings, with
Freeman Bentley embracing pastels and tracing parallels between the
artist herself and Cliff. An interview with Georgie Paget,
co-founder of Caspian Films, production company for 'The Colour
Room', meanwhile, provides insight into the artist’s particular
interest in the artifice of film props and of the film set as a
layered space ‘steeped in meaning, purpose and potential.’ The
two discuss the reciprocity of painting and cinema in detail,
recounting Freeman Bentley’s experiences on the film’s sets and
discussing her working processes, beginning with taking photographs
on set, through to oil sketches and the later development of
large-scale canvases. The publication is edited by Matt Incledon
and Matt Price. It is designed by Joe Gilmore, printed and bound by
Gomer, Wales, and co-published by Frestonian Gallery, London, and
Anomie Publishing, London. The publication coincides with the
second solo show by Anna Freeman Bentley at Frestonian Gallery, by
whom the artist is represented. The exhibition, also titled ‘make
believe’ is divided between two sites: the 2022 Armory Show, New
York, and Frestonian Gallery, London. Anna Freeman Bentley studied
Painting at Chelsea College of Art, Kunsthochschule Berlin
Weissensee and the Royal College of Art. Awards and residencies
include Palazzo Monti Residency, Brescia, Italy, 2019; The
Elizabeth Greenshields Foundation Grant 2019 and 2017, and Artist
in Restaurant residency at Michelin-starred restaurant Pied Ã
Terre, London, 2012. Selected exhibitions (* denotes solo) include
DENK Gallery, Los Angeles, 2019*, Ahmanson Gallery, Irvine, 2018*;
Space K, Seoul, 2017; 68projects, Berlin, 2017; the East London
Painting Prize 2014 and 2015; Workshop Gallery, Venice, 2012*; MAC
Birmingham, 2011; Prague Biennale, 2011, and the Bloomberg New
Contemporaries, 2009. Her work is part of the Hotel Crillon
collection, Paris; Saatchi Collection, London; Hogan Lovells
Collection, London; the Ahmanson Collection, California, and
numerous private collections worldwide.
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