London Lantern

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Metamorphosis: Paris, Parody and Paparazzi at Eaton Terrace Gallery

03/06/2008, By

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Artist Nicholas de Lacy-Brown's forthcoming exhibition Metamorphosis; Paris, Parody and Paparazzi relaunches the new, state of the art exhibition hire space at Eaton Terrace Gallery, in the heart of Londonís Belgravia. Nicholas was approached to exhibit and help launch the gallery having spent the last 8 years creating a unique and multicoloured striking style that had been itself, successfully launched only a few months previously in a solo exhibition in Cork Street, Mayfair.

Metamorphosis - the title, was aptly and carefully chosen to be associated with not only the transformation of Nicholasís emerging style but also in consideration for the new gallery launch; both undertaking change, growth and development. An artist finding a style of his own, striking examples of free from the heart unhindered styles, as seen in the Joie de Vivre (Zest of Life) Trilogy, which will be prominently hanging in the window space of the gallery during the exhibition.

Paris: Inspired, as many other artists by the intriguing city of Paris, Nicholas aged 16 created his first major piece La Paris Formidable (2000), the setting for self-explanation. The Paris collection emerged from the Parisian influence, a city of love, yet dampened by broken dreams is evident in Nicholasís Heartbreak II, half painted in hues of grey, symbolising that even in Paris hearts can be broken. Montmarten est pas un endroit ordinaire (2001) has a personal significance in the place, a strong belonging.

His move in styles from surreal to realism was sought from a study of reflection and light with the use of oils in his Cityscapes, one of which is significantly Paris. Parody: Self taught from a young age, Nicholas learnt directly from the past masters by studying and drawing their work that eventually developed his unique style. The importance of parody - self-education in the development of the artistís style has been a combination of influences from Dali, Picasso and Patrick Caulfieldís vintage collections (Vintage Q, Coffee and also reference to the renaissance style of painting in Mother & Child).

Influences of surrealism are evident in Nicholasís work including his new addition Pond Life in the afternoon. His purposely referenced take on Picassoís Segunda Guernica, created on a large canvas was a social statement; todayís terrorism is yesterdays Fascism; connecting even the Madrid train bombing to a second Guernica tragedy. Frida Kahloís iconic The Two Fridas created to parody her own struggle between two life roles was emulated in Nicholasís own style in Two Nicks. Sending a clear message of how personal struggle can affect your life.

The characterisation of a Ďnormí as a parody of legal philosophical jurisprudential teachings. The Norm created from the artistís lecture room doodling during the Theory of Normality (by philosopher of law, Hans Kelsen); is the central subject in his earlier Norm series and reappears in his latest Pond Life in the Afternoon.

Recently Self Portrait in Orange was the subject of GSE Student assignment in which students were asked to recreate a self-portrait in the established style that Nicholas had achieved. Ironically a compliment and confirmation that this self-taught artist has made an impact in the world of fine art.

Paparazzi: Drawn on the attention the artist received in the aftermath of appearing on the BBC Oneís The Apprentice 2008. During the experience, the scapegoat tactics of his competitors in the boardroom is portrayed in Nicholas in the Renaissance. The experience and the brutal treatment of the tabloids, the brutal invasion of privacy and the perception of the character the media wanted to portrayed Fish in Four Quadrants. Headline news also appears in the rolled up newspapers of Pond Life in the Afternoon and Cinnamon and Nutmeg.

The exhibition centrepiece is Nicholasís new work, Metamorphosis; Pond Life in the Afternoon. It summarises in his contemporary and vivid evolution of his unique style; from pop art at the top of the composition to the realism in the depiction of his peonies at the bottom, all enclosed within a surreal and vivid environment. Within this latest addition to his collection, Nicholas demonstrates the mastering of his medium using his iconic imagery seen in his earlier art career.

A game element with dominos and a dartboard replicated from his earlier works such as La Foret des Jeux (2007) and The Joie de Vivre (Zest of Life) Trilogy (2005). The Afternoon Tea, familiar in previous works as Joie de Vivre II, High Perspective and Cinnamon & Nutmeg. All conformed within a floral virtuoso landscape typical of the metamorphosis that Nicholasís artwork itself has evolved into.

Pond Life in the Afternoon draws influences from many iconic images of the artistís new and emerging style. It symbolises metamorphosis in Nature (tad poles, baby newt, dragon flies, bees), the baby showing not only human life but also contemporary to the time of the painting; the birth of his nephew. Pond life, within the paintingís titles denotes Nicholasís strong feelings over his experience with the tabloid press; victimised for being a product of perception created only in the minds of the determined media. This is also depicted in the headline news on the newspapers that feature subtly in the composition. The painting uniquely combines all the themes of the exhibition amazingly onto one 70 x 90 cm canvas.

2nd July to 12th July
Eaton Terrace Gallery
40 Eaton Terrace
London SW1W 8TS
+44 (0)20 7730 0629
Monday to Saturday: 11 am to 6 pm
Sunday: 12 am to 4 pm

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