Press



WE HAVE RECEIVED PRESS WITH
The Independent, the Financial Times, the BBC and Creative Review among others:








A fascinating new show called Lieux de Memoire from a quote by French historian Pierre Nora at London’s Sumarria Lunn Gallery takes a critical look through a glass, darkly at representations of reality, history and the news.
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Robert Bound on Lieux de Memoire, Monocle 24 (Radio), December 2013







We often think of memories as infallible truths… the reality is that memories are unreliable, constantly changing and subjective. The group show ‘Lieux de Mémoire’ (meaning ‘sites of memory’) explores the implications of this on a historical and political level. These artists are all rewriting history – and their own histories – in order to question accepted versions of events… Anglo-American David Birkin juxtaposes mainstream media with covert intelligence… The effect is alienating and, given the recent NSA revelations, extremely powerful…
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Peter Yeung on Lieux de Memoire, Time Out, December 2013







“Archetype” sees Shin strip the polychromy of her previous works for a more minimalist approach. For the most part, the vases, effigies, and picture frames on display are elegantly monochromatic, made from polished black soap. They appear to be cast from a solid block of marble or wrought from some ancient volcanic stone. But soap is not stone, a reality that Shin’s work celebrates. The nature of soap, she says, “is opposite, ephemeral not permanent.” Shin says. She often plays up this aspect of the disappearing act, the slow erasure of seemingly solid cultural fixtures.
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Sammy Medina on Archetype: Meekyoung Shin, Fast Co. Design, October 2013




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‘[dis]orient’ is an intelligently curated exhibition… It opens up a long-awaited creative and constructive dialogue between radically different artists, coming from divergent backgrounds and cultures. It gently encourages viewers to challenge their preconceptions of eastern and western art and understand how the two can be appreciated together.
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Celia Topping on [dis]orient. at Sumarria Lunn, The National (UAE), June 2013


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Rickard takes found materials in their raw state and explores how they and the environment around them react to extremely specific physical processes- “planned accidents”, if you will. David Rickard’s ceaseless inventiveness gives us a fascinating glimpse into how even the most apparently inert spaces can be transformed into something wondrous and charged.
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Interview with David Rickard for his solo exhibition ‘Vanishing Point’ at Sumarria Lunn
Digby Warde Aldam, T-R-E-M-O-R-S, May 2013



zakia

This small but diverse show of photography and sculpture at Sumarria Lunn in London manages to undermine any straightforward notion of masculinity, asking instead, “how can you be a man” when there’s no way of circumscribing what it actually involves… The curators seem to suggest that there are multiple ways of being a man, even though the title of the exhibition points to how so much of our language of empowerment is gendered. While it’s a small exhibition, it feels rich and provocative, making us question our own assumptions about how and what masculinity should be.
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Zakia Uddin on ‘Be A Man!’, The Weeklings, April 2013



thetelegraph

Be a Man! brings together work by seven artists, male and female, from the Twenties to the present day, and explores gender from the perspective of different nationalities, ethnicities and sexualities in an attempt to offer a broad examination of modern masculinity… Definitions of masculinity may have become more fluid over the past century – from the stiff-upper lipped male to today’s ‘metrosexual’ – but as these pictures suggest, gender remains very much an issue of contention and debate. Together, what the photographs in this challenging exhibition demonstrate is that masculine identity, at its core, is often dictated by how an individual wishes to project of themselves – in short, gender is personal.
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Louise Donovan, The Telegraph, April 2013



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Be A Man!
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L’Officiel Hommes, Spring/Summer 2013


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Be A Man!
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Hunter Magazine, Spring/Summer 2013


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Darren Harvey-Regan… doesn’t just point his lens, click, and produce two-dimensional representational images. Instead, he is interested in the nature of the photographic and its relationship to the material world; the physicality of a photograph as an object that bears a representational image but is simultaneously a thing in itself.
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Anna McNay on A Shifting Sense of Things, Photo Monitor, March 2013



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Blurring the boundaries between photography and sculpture, Exeter-born Darren Harvey-Regan’s work challenges us to scrutinise the divide between an object and its representation. Armed with an MA from the Royal College of Art, and fascinated by the work of heavyweights such as Cy Twombly, John Baldessari and Bill Watterson, the sensitive and mature curation of his exhibitions is integral to the meaning of his work.
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Leanne Cloudsdale on Darren Harvey-Regan, AnOther Magazine, February 2013



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That masculinity is often interpreted in ways that conflate violence with being a “real man” has pervasive individual and societal consequences. It’s hard to look at the images in this exhibit and not perceive this subtext. The question of what masculinity is, and how it is culturally constructed, is becoming more common and relevant… Works by a diverse group of artists… explore how men are viewed, how they see themselves and how culture chooses to represent them. The works are a good representation of how granularly intersecting issues of race, ethnicity and sexuality are in the construction of gender.
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Preview of Be A Man!, Soraya L. Chemaly, 125 magazine, February 2013



Chinneck

Alex Chinneck replicates a smash
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Eleonora Usseglio Prinsi on Alex’s Chinneck’s ‘Telling The Truth Through False Teeth’ in association with Sumarria Lunn Gallery, Mark Magazine, December/January 2012/13


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For his upcoming group show at Sumarria Lunn Gallery, titled The Fabricated Object and curated by Michael Petry and Sumarria Lunn, Turk has been placed beside the likes of Mona Hatoum and Mike Kelly, among others, in a questioning of the conceptual role assistants, and outsourcing plays in the way work is perceived by both the artist and viewer.
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An Interview with Gavin Turk, Art Wednesday, November 2012



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Michael Petry’s fascinating book The Art of Not Making: The New Artist/Artisan Relationship, published earlier this year, tackled this subject by speaking to both artists and their usually nameless fabricators, revealing how and why so much contemporary art is outsourced… Ponder these issues for yourself at Sumarria Lunn’s latest exhibition, co-curated by Petry, which presents work by artists who outsource – including Per Barclay, Angela de la Cruz, Mark Hampson, Gavin Turk and Richard Wilson.
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Nuala Calvi, Mayfair Times, November 2012



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Painting: Pulled, Stretched, Revealed
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Art Gallery Magazine (China), November 2012

You walked straight past the entrance, right? No worries- we’ve all done that. There’s a narrow doorway hiding behind a blanket wall of hairy green foliage- a trapdoor to the fantastical world that is the Sumarria Lunn Gallery. The airy space lurking beneath is a breath of fresh, young air in regal Mayfair. The brainchild of Vishal Sumarria and Will Lunn, both in their twenties, the project is the end result of two years of nomadic pop-up art projects… Step aside for exhibitions from… British, American and Korean artists among others.
Chloe McCloskey, Le Cool Mayfair Guide, November 2012



SquareMile

…Recasting the Gods at Mayfair’s Sumarria Lunn Gallery, which explores the idealisation, manipulation and misunderstanding of the classical period.
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Matt Huckle, Square Mile Magazine, October 2012


This darker collection shows a younger generation entering an equally productive dialogue with the classical. Materials are the core of their responses: Meekyoung Shin’s conceptually suggestive soap busts weathered by hand-washing; the past recast in broken graphite by Nika Neelova; Nick van Woert’s mock-innocent weapons of white bronze; and Andreas Blank’s apparent desire to give permanent value to the corporate office environment in agate, basalt, gypsum, quartzite, slate… Darren Harvey-Regan neatly perverts all that: he painstakingly painted the Photoshop checkerboard signifier of emptiness onto classical forms, only to photograph the results to yield what could have been a simply generated Photoshop look.
Paul Carey-Kent on Recasting the Gods, Saatchi Online, September 2012



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Recasting the Gods
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Ruben Manrique Diaz, Neo2, September 2012




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Chinneck’s intervention… [is] a humanized kind of minimalism, infused with the reality of a post-industrial cityscape, and the rampant social discrepancy coming in the wake of the East End’s rapid gentrification. Like Rachel Whiteread’s legendary cast of an abandoned Victorian terrace, “House,” demolished the year of its construction, Chinneck’s intervention has the charm of the ephemeral: the piece will exist only until the factory is demolished next November. But even after then, it could well remain as a fictional landmark.
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Coline Milliard on Alex’s Chinneck’s ‘Telling The Truth Through False Teeth’ in association with Sumarria Lunn Gallery, ARTINFO UK, July 2012



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…Packing another very serious punch, High House Gallery opens up its gardens to Dividing Line, an exhibition of contemporary outdoor sculpture presented in association with Sumarria Lunn Gallery… This exhibition aims to… shine a spotlight on contemporary outdoor sculpture.
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Sarah Mayhew, Oxford Mail, July 2012



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La Grande Peur du Feu
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Matthew Picton in Le Monde (special supplement), July/August 2012




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Adam Dix and Tim Phillips
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Elephant Magazine, Spring 2012


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Opening shot: Matthew Picton
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Blueprint, April 2012


prospect

Most often appreciated as windows into the past or as exquisite works of craftmanship, artist Matthew Picton expands mapping-as-art into the realm of political and cultural commentary
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William Irwin on Matthew Picton: Urban Narratives, Prospect Magazine, March 2012


Sumarria Lunn in the West End have consistently… staged coherent and intelligent group shows. They represent Glasgow-based Littlewhitehead (Craig Little and Blake Whitehead), who are subversive in the manner of the Chapman Brothers. They aim to attack the comfort of received ideas by realizing the traumatic sights that are so routinely represented by the media as hyper-real sculptures. Littlewhitehead were likewise featured in The Saatchi Gallery – Newspeak – British Art Now exhibition.
London Up and Coming, Ben Austin, Artery NYC, March 2012



thewashingtonpost

Artist Matthew Picton’s paper cities
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Maura Judkis, Washington Post, March 2012




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Controversial or ‘equally unimportant’
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Jakub Koguciuk on littlewhitehead, Scottish Art News (published by the Fleming Collection), Spring 2012




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Art Scene London
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Die Welt, December 2011



The show sees Grzymala take over the entire gallery with the installation, changing the way visitors interact with the space. It is the latest in a series of site-specific tape installations by the artist, who has previously exhibited at galleries including MoMA New York, the Tokyo Art Museum and the Drawing Room in London… While previous pieces have featured coloured tape, Grzymala has decided to work entirely with bold, black lines at Sumarria Lunn, resulting in a stunning installation.
Eliza Williams on Raumzeichnung – an installation by Monika Grzymala, Creative Review, October 2011


This particular small, but perfectly formed, show has Blue Curry, Ross Jones, littlewhitehead and Tim Phillips in a dialogue about the aggravations of modern life. The stand out work for me is Tim Phillips’ Hyperion. A gloriously over-the-top corporate logo for a future age. Inlaid wood in dynamic shapes is intercut with vinyl and backlit by LED lights. Russian suprematism meets corporate America.
Akickupthearts on Modern Frustrations, September 2011



A considered and intelligent response to the modern world’s tendency towards information overload.
Tom Jeffreys on Modern Frustrations, Spoonfed, September 2011




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Another dimension
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Photography As Object exhibition, Elle Decoration, August 2011



In this small yet well-put-together solo show at Sumarria Lunn, Rickard relinquishes part of his artistic control and lets the unknown creep in; the two are collaborators and the results are surprisingly coherent.
Laura Bushell on Time+Trace, Art Slant, June 2011



bbc

Yun-Kyung Jeong interview with the BBC
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Harriett Gilbert, BBC, May 2011



Axonometric skewing of perspective is a classic method for conveying depth, and Jeong’s compelling canvases do so in a variety of remarkable ways. This show suggests that we should expect rich offerings from Sumarria Lunn as they make their mark in Mayfair.
Dr Ayla Lepine (Courtauld Institute Visiting Lecturer) on the Yun-Kyung Jeong exhibition, Whitehot Magazine, May 2011



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Yun-Kyung Jeong creates layered worlds comprising architectural and organic forms. With expertly painted and drawn surfaces, she creates an illusion of depth similar to that of Escher, but one that’s also richly steeped in the eastern pictorial tradition… a stunning collection of works.
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Emma Field on the Yun-Kyung Jeong exhibition, Big Issue, May 2011



FT-Logo_list

This globally ambitious young gallery launches its Mayfair space… with Jeong’s hybrid landscape paintings.
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Jackie Wullschlager, Financial Times, May 2011




will

Mayfair’s new art gallery.
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Nancy Groves, The Independent, April 2011

Presented by SUMARRIA LUNN, the provocative work of Glaswegian art collective “littlewhitehead” was pointedly humorous and witty – if not a little dark for some. Emphasised by a smart, and decidedly cute, move to install the work outside of the tradition Fair stand- you are forced to confront the pieces as they become part of the narrative of the occasion. Against a background of endless Damian Hirst prints, these brutally honest installations might sit uncomfortably in penthouse apartment but are more than at home here.
Bethany Rex on littlewhitehead at the London Art Fair 2011, Aesthetica Magazine, January 2011


Korean artist Sungfeel Yun operates at the boundary of art and science by returning to the classroom favourite of iron filings with surprisingly persuasive results. He embeds the filings in resin, then uses magnets from the back of the canvas to drag them into swirling fluxes which have a painterly feel front-on and a more sculptural presence from some angles. He then submits selected areas to rusting, so adding to the contrast of elements: solar images usng earthy materials, positive and negative forces, metallic strength in a delicate form.
Paul Carey-Kent on Sungfeel Yun, Saatchi Online, October 2010





OTHER PRESS RECEIVED BY OUR ARTISTS




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David Rickard and Tommy Stockel at LoBe
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Julia Gwendolyn Schneider on David Rickard at LoBe (Berlin), Von Hundert, December 2012

What animates these maps is not simply the inspired fusion of form and content but also their simultaneous engagement with order and chaos. A map is a diagram– an abstraction, a simplification of reality. Picton’s maps struggle in the opposite direction: to tell us more, to remind us, to provoke and contradict, with the result that they are both more and less than the thing they represent”.
Emily Hall on Matthew Picton at Christopher Henry Gallery, Artforum, March 2012



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Solo Focus
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Manon Braat on David Rickard, Kunstbeeld, February 2012

The animal kingdom, or rather how we see it, is the subject of recent graduate Darren Harvey-Regan’s meditative show of photography and installation, A Collection Of Gaps. In his series Elisions, a drawing of a bird is carefully labelled all the way from its upper mandible to its hind toe. Sombre photos recalling museum catalogues depict 3D depictions of creatures against dark backgrounds, including a taxidermy badger swathed in plastic. What seems to be a real live mouse pauses above his reflection in one shot. What it’s looking at and what we’re seeing, naming and embellishing with our own uniquely human anthropomorphisms, are a universe apart, no matter how many scientific tags and labels we might impose.
Skye Sherwin on Darren Harvey-Regan at Phoenix (Exeter), The Guardian, July 2011



littleLAT

Littlewhitehead’s work taps into the pervasive sense of anxiety and loss that results. Their approach veers from comically grisly (a bloodied burlap bag hanging by a noose from a leafless tree) to oblique (paintings and photographs that pause and condense car wrecks and suicides in the manner of film stills)… poignant and promising…
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Leah Ollman on littlewhitehead at Marine Contemporary, Los Angeles Times, May 2011


Presented are a rich, philosophically entwined series of images and sculptural pieces featuring animals, either as artefacts or humorous victims of some form of ontological joke… Harvey-Regan’s work is arresting not just because of it’s immaculate execution but because the entangled references play against one another creating an intertextual fabric of thought and images.
Tom Trevatt on Darren Harvey-Regan at Room Gallery, The Exhibitionary Complex, May 2011


It Happened in the Corner is very much of its time: blackly humorous, slightly threatening and dripping with references from the art world, the similarly unsettling realist figurative sculptures of Duane Hanson, and the real world hoodies, the homeless, street gangs. Based in Glasgow, littlewhitehead are a collective who summon up our collective fears. This sculpture is a group of hooded figures clustered, their backs to the viewer, in a corner of the gallery. Here, the viewer feels like a bystander who happens on a violent incident, is drawn to it, but not enough to risk his or her own safety by interfering. The work gives us licence to stand and stare with impunity.
Sean O’Hagan on littlewhitehead at Newspeak: British Art Now at the Saatchi Gallery, The Observer, June 2010