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Mark Corfield-Moore eschews the traditional weaving technique of ikat to explore his dual Thai and British identity
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Pete Doherty says his new look is down to his love of cheese on toast
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Taymour Grahne Projects opens an online solo exhibition by artist Johnny Izatt-Lowry
A Drawing of a House, Folded, on a Table, 2021, Coloured pencil on paper, 40 x 30 cm. / 15.7 x 11.8 in.
LONDON
.-Taymour Grahne Projects is presenting A Table, with Things On, an online solo exhibition by London based artist Johnny Izatt-Lowry.
A Table, with Things On is a series of 12 playful yet sombre still lives representing everyday objects lying on tables. Johnnys works build on an interest in interactions with familiar subjects and document the quotidian in an almost uncanny way. Despite the simplicity of what the series proposes, there is a sense of the surreal that pervades each piece as the subjects feel poised between our reality and a world of precise, awkward order.
Cassina Projects brings together a selection of figurative works by contemporary artists
Bambou Gili, Distance of the moon, 2020. Oil on canvas, 142 x 183 cm.
MILAN
.- The myth of Iώ - first priestess of Hera, the wife of Zeus - is quintessentially a story of torment, metamorphosis and, above all, lust. Desire, regarded as a gravitational force transcending aesthetics and form, governs immortal gods and humans alike.
Beautiful nymph and mortal lover, Iώ was seduced by Zeus, king of the gods, and transformed into a heifer to be concealed from his jealous wife, Hera. Hera, still somewhat suspicious, demanded the heifer as a gift forcing Zeus to reluctantly hand Io over to her care. Argos, who had hundred eyes, was sent to guard Iώ and prevent Zeus from visiting her. Yet Zeus, succumbing to the most uncontrollable impulse of desire, in turn, sent Hermes to distract and eventually slay Argos. When Iώ was freed, still in the form of a heifer, Hera directed a gadfly to sting her
âHyper-romantic,â is how Polly Stenham describes her elegant, slightly crumbling Bloomsbury house, before rolling her eyes and letting out a faux-operatic peal: âItâs a bit, âAhhhhh!ââ Three years ago, the award-winning playwright, who shot to fame at 19 when her debut
That Face became a sensation at the Royal Court, moved into the same imposing Georgian square in central London that Virginia Woolf, DH Lawrence and Dorothy L Sayers once called home â and seems happy to play to type. When I visit on a sunshiny spring afternoon, her hallway is stuffed to bursting with cardboard boxes of books.
The restored copper fire surround in the main sitting room.
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