|Medium||Watercolour on paper|
|Dimensions||29.7 x 21 cm|
About the work
It’s a little bit of a tradition that I draw Jonathan for the Biennial. Here he is working on his model railway lockdown project.
About the artist:
Born 1975 Munich, Sophie Von Hellerman lives and works in London. Graduated from the Kunstakademie, Dusseldorf (1999), and the Royal College of Art (2001).
Von Hellermann’s paintings recall the look of fables, legends, and traditional stories that are imbued with the workings of her subconscious, rather than the content of existing images. Her romantic, pastel-washed canvases are often installed to suggest complex narrative threads. The artist applies pure pigment directly onto unprimed canvas, her use of broad-brushed washes imbues a sense of weightlessness to her pictures. Von Hellermann’s paintings draw upon everyday affairs as often and as fluidly as they borrow from the imagery of classical mythology and literature to create expansive imaginary places.
Her works are held in private and public collections including the Los Angeles County Museum of Art; The Metropolitan Museum of Art, New York; and Saatchi Collection, London.
Selected solo exhibitions include Swirls and Circles, Wentrup, Berlin (2019); Sophie von Hellermann, Greene Naftali, New York (2019); New Waves, Pilar Corrias, London (2018); Stufen zur Kunst – Sophie von Hellermann, Kunstverein Hannover (2017); After a Fashion – A Play with Fire, Vilma Gold, London (2015); Elephant in the room, Firstsite, Colchester (2013); Crying For The Sunset, Vilma Gold, London (2011); The Lucky Hand, Greene Naftali, New York (2011); Who Shall Survive? Almine Rech, Brussels (2010); and Maximus, Marc Foxx, Los Angeles (2009). Selected group exhibitions include 3 Zimmer, Küche, Bad, Braunsfelder Family Collection (curated by David Ostroski), Braunsfelder, Cologne (2019); Im Grunde ist es die Wahrheit / Essentially it’s the truth, Magenta Plains, New York (2019); Digitalia (with hobbypopMUSEUM), Dortmunder Kunstverein, Dortmund (2018); Fleming Faloon, Office Baroque, Brussels (2017); That Continuous Thing: Artists and the Ceramics Studio, 1920-today, Tate, St Ives (2017); Jahresgaben 2016, Bonner Kunstverein, Bonn (2016); Works on Paper, Greene Naftali, New York (2015); Empathy and Abstraction. Modernist Women in Germany, Kunsthalle Bielefeld (2015); I Cheer a Dead Man’s Sweetheart, De La Warr Pavilion, Bexhill on Sea (2014); and Watercolour, Tate Britain, London (2011).