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Installation view, Correspondences, Frestonian Gallery (2021) Courtesy of Frestonian Gallery
Paul de Monchaux and Tess Jaray first met as students at the Slade School of Art in the 1950s. Their friendship was then rekindled in 1986 when they both took part in the Stoke-on-Trent Garden Festival where de Monchaux showed sculpture in the Whitechapel Gallery Garden and Jaray presented her first brick floor piece. As each went on to pursue their separate careers they remained in contact, exchanging ideas, thoughts and influences and discussing common interests while also each exploring their very own very particular relationship with abstraction.
Over the ensuing years they also went on to make important public projects including Jaray’s floor for the concourse of Victoria Station, her forecourt for the British Embassy in Moscow and the Wakefield Cathedral precinct and De Monchaux’s war memorial in Norwich, stone sculpture complex in Birmingham’s Oozells Squa
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Founded in 1999, Modus Operandi, an independent arts unit with a track record of curating and producing high-quality art in the public realm, recently celebrated its 21st birthday. To mark this milestone, the company selected 21 projects at random, spanning the years since Vivien Lovell soft-launched the company.
Vivien is a visual arts curator with established expertise in commissioning permanent and temporary art within the public realm
Prior to founding Modus Operandi, she had been Founder-Director of Public Art Commissions Agency (PACA) from 1987 to 1999. She has championed the field of art in the public realm since 1978, integrating art strategically as a key element of environmental, architectural and regenerative schemes, and has initiated many collaborative projects between artists, architects and other design professionals.
Tess Jaray Credit © Turkina Faso
In the 60 years since she took a revelatory trip to Italy, Tess Jaray has relentlessly explored pictorial and architectural space through abstract painting. Two exhibitions at the start of this year reflect her enduring engagement with pattern, repetition, colour and structure. At the New Art Centre in Roche Court, UK, she is showing a group of recent works inspired by architectural elements of Piero della Francesca’s frescoes and paintings, and others evoking the patterned roof of St Stephen’s Cathedral in Vienna.
Jaray was born in the Austrian capital but grew up in the UK, after her Jewish parents had fled the Nazis many of her family died in the Holocaust. A retrospective,
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