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- PROGRAMME
- KM MAP
- EVENTS CALENDAR
Painting is the starting point for all Nicolas Party’s works. Applying colour to different surfaces – paper, canvas, walls and objects – allows him to produce a range of work from paintings to site-specific installations. Typically producing still-life and landscape paintings, Party utilises a regular vocabulary of figurative elements – pots, food, mountains and trees – interpreted using the tropes of cubes, cylinders, cones, spheres and pyramids. Using this consistent formal vocabulary, he makes a hierarchy of decorative patterns, resulting in frieze-like paintings, which are concurrently representational and fantastical. These works repeatedly interrogate the language of forms central to his practice.
For ReMap 3 Nicolas Party will produce a site-specific installation of wall drawings throughout the building he is occupying. Considering the peeling paint of the various walls, he will produce a show, which will look at the ephemeral aspect of an artwork as well as the idea of nostalgia. The effect of time on the space will be used as narrative and metaphorical starting point for the exhibition.

Nicolas Party, Decorative Pattern No 1 (and Still life a striped pot) 2010, Spray paint on wall, 15 m x 10 m, Installation view ‘Kiss of Death’, Glue Factory, Glasgow, 2010

Corin Sworn (with Nicolas Party and Ciara Phillips), Attention!, Screen printed posters, Dimensions variable, Installation view ‘Blueprint for a Bogey’, Gallery of Modern Art, Glasgow, 2011

Nicolas Party (and Shelly Nadashi and Kate V Robertson), The Complete World History of Terrorism as it is Known Today + Solution, Set for a performance, Plateaux Festival Mousonturm, Frankfurt-am-Main

Nicolas Party, Elephant’s Plinth 2011, (with work from the Woodmill Studio Members), Acrylic on wooden plinths, Dimensions Variable, Installation view ‘Elephants at the Woodmill’, Woodmill, London, 2011

Nicolas Party, Decorative Pattern No 4 (and Fruit Stones) 2010, Acrylic on ceiling and acrylic on stone, Dimensions variable, Installation view ‘Elephants, Spoons and Sausage Rolls’, Le Rez de Chaussée, Glasgow, 2010

Nicolas Party, Decorative Pattern No 4 2010, Acrylic on ceiling, Dimensions variable, Installation view ‘Elephants, Spoons and Sausage Rolls’, Le Rez de Chaussée, Glasgow, 2010

Nicolas Party, Decorative Pattern No 5 (and stlll lifes) 2010, Spray paint and charcoal on wall, Dimensions Variable, Installation view ‘New Work Scotland’, Collective Gallery, Edinburgh, 2010

Nicolas Party, Decorative Pattern No 3 2010, Acrylic on wall, 450 cm x 50 cm, Installation view CCA, Glasgow, 2010

Nicolas Party, Decorative Pattern No 2 (and still lifes) 2010, Spray paint and charcoal on wall, Dimensions variable, Installation view ‘Teapots and Sausages’, Intermedia, Glasgow, 2010

Nicolas Party, Decorative Pattern No 1 (and Still life a striped pot) 2010, Spray paint on wall, Detail, Installation view ‘Kiss of Death’, Glue Factory, Glasgow, 2010

Nicolas Party, Sweet Geranium Book (DUST) 2010, With Joanne Tatham & Tom O’Sullivan, Publication, screen print on paper
Nicolas Party
43 Kerameikou, 1st floor
Lesley Young
lesley@themoderninstitute.com
+44 (0)141 248 3711
www.themoderninstitute.com
14-20 Osborne Street, Glasgow, G1 5QN, UK
The Modern Institute/Toby Webster Ltd
Still Life, Gold and Peeling Paint
Painting is the starting point for all Nicolas Party’s works. Applying colour to different surfaces – paper, canvas, walls and objects – allows him to produce a range of work from paintings to site-specific installations. Typically producing still-life and landscape paintings, Party utilises a regular vocabulary of figurative elements – pots, food, mountains and trees – interpreted using the tropes of cubes, cylinders, cones, spheres and pyramids. Using this consistent formal vocabulary, he makes a hierarchy of decorative patterns, resulting in frieze-like paintings, which are concurrently representational and fantastical. These works repeatedly interrogate the language of forms central to his practice.
For ReMap 3 Nicolas Party will produce a site-specific installation of wall drawings throughout the building he is occupying. Considering the peeling paint of the various walls, he will produce a show, which will look at the ephemeral aspect of an artwork as well as the idea of nostalgia. The effect of time on the space will be used as narrative and metaphorical starting point for the exhibition.
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