| The Young Masters Art Prize is a not-for-profit international curatorial platform and art initiative, founded in 2009 by gallerist Cynthia Valianti Corbett, owner of Cynthia Corbett Gallery. This unique initiative aims to highlight emerging artists of any gender, age, or nationality, working in any media. Young Masters celebrates artistic skill and innovation, with awareness of the Old Masters and art of the past. We strive to offer talented artists global visibility and support. The Young Masters Autumn Exhibition is hosted in two parts. Part 1 from 10th of October 2022 and Part 2 from mid November 2022 through 10th January 2023. |
| The Young Masters Autumn Exhibition, Part 1 comprises extraordinary artworks by: Rosie Emerson, Jemima Murphy, Elaine Woo MacGregor, Miranda Boulton, Annette Marie Townsend, Jason Kattenhorn, Ramon Omolaja Adeyemi, Jane Ward, Xanthe Burdett, Ali Mulroy, Stephannie Cartwright, Maria Diletta Rondoni, Camilla Hanney, Olga Morozova, Zoe Weisselberg, Ryan Barrett, Freya Nash, Andree Adley, Valerie Bernardini, Ronan McGeough, Kate Quinlan, Margo Selby, Felix Chesher. |
| INTRODUCING MARGO SELBY |
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| Margo Selby Carré Series, Work V, 2022 Tencel, cotton and silk 121.5 x 112.5 x 3.5 cmMargo Selby Vexillum Series, Work 2, 2021 Tencel, cotton and silk 72.2 x 65.2 cm |
| Margo Selby (born 1977, Eastbourne) studied at Chelsea College of Art & Design and the Royal College of Art in London, with a term at Atelier National d’Art in Paris. She now teaches in various institutions, and has own studio weaving workshops. In 2020, Margo was the recipient of the Craft Council’s Collect Open Award for her large scale textiles installation Vexillum at Somerset House, and, in 2021, the bi-annual Turner Medal for ‘Britain’s Greatest Colourist’. She also gave the Turner Lecture, reflecting on her practice.Selby is an artist and designer working with colour and geometric form in textiles. She makes hand-woven artworks, and oversees the design work of the Margo Selby Studio for mill production and commercial textiles applications – her tenet being ‘Art Into Industry’ – an approach to making art that is akin to that of the ‘Old Masters’ and mistresses, with their expanded studios and public commissions.Selby uses thread to create abstract geometric artworks that explore repetition and transition, symmetry and asymmetry, the dynamic and the stable. She is interested in the relationship between the body and the machine, hand and industry, craft and technology. The loom, and the disciplined nature of weaving as a practice, provides boundaries and constraints which can be tested. The orderly nature of the craft of weaving is reflected in the developing designs of the artworks. She is satisfied by rhythmic and uniform repetition – where each element of a composition is changed in a methodical progression. |
| INTRODUCING ROSIE EMERSON |
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| Rosie Emerson Horizon, 2022 Cyanotype on Paper 74 cm x 74 cm x 7 cm Rosie Emerson Athena, 2022 Cyanotype with 22crt Gold Leaf on Paper 74 x 74 x 7 cm |
| Rosie Emerson (born 1981, Dorset) is an award winning contemporary artist. Having studied and lived in London for ten years, she is now based West Sussex. Emerson’s work is collected and exhibited both in the UK and internationally. She was awarded the Bridgeman Studio Award; participated in the Young Masters Art Prize; exhibited her work in Sphinx Gallery, London; and created a new world record for the largest Cyanotype photograph.Emerson has undertaken a number of private and commercial commissions, working with brands including Harvey Nichols, The Ivy Club, Sony, Triumph Underwear, Redbull, P&O Cruises, and Annoushka jewellery. Her artwork has also been featured in Vogue, Harpers Bazaar, Another Magazine, The Financial Times Magazine and The Sunday Times Style Magazine.Emerson creates unapologetically feminine works on paper, which embrace aesthetics and engenders wonder. Her subjects reference historical and contemporary archetypes, such as Artemis and today’s super model. Influenced by the drama of the Baroque and the ethereal qualities of the Pre Raphaelites, she employs lighting, costumes and prop making, as well as printmaking and painting, to create her otherworldly one-off pieces. |
| INTRODUCING MARIA DILETTA RONDONI |
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| Maria Diletta Rondoni Rainbow Bud, 2022 Hand Built Porcelain 16 x 24 cmMaria Diletta Rondoni Gemma/Red and blue bud, 2022 Hand-built porcelain 25 x 28 cm |
| Maria Diletta Rondoni (born 1984, Italy) studied at the Academy of Fine Arts in Perugia. Maria has partaken in a number of exhibitions including, Flora Danica, Apple House-Guldagergaard International Ceramic Research Center in Skaelskor, Denmark (2021); Matres, International Festival of Ceramics for Women, Ceramics Museum of Deruta, in Perugia (2019);and XI International Exhibition for Ceramic Artists, Third Prize Winner, Museo Muda in Albissola Marina, Savona (2018).For Rondoni ceramic works come to life through an anaphoric process of composing different forms that absorbs her in as low creative flow. She uses few tools, sometimes just the tip of her fingers with a pinch and coil technique. She favours natural clays and loves to create her own palette of pigmented clays, thinking of her work as three-dimensionalpainting.Rondoni is inspired by the metamorphosis and permutation of nature, its movements and stages, its strength and fragility, to give voice to its sensual power as the origin of life. Her aim is to create a sort of imaginary, fantastic and corporeal herbarium. |
| INTRODUCING MARIA DILETTA RONDONI |
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| Jemima Murphy Blue Heart, 2022 Oil on Canvas 150 x 120 cm SOLD Jemima Murphy Bold Reprisal, 2022 Oil on Canvas 120 x 90 cm |
| Jemima Murphy (born 1992, London) studied BA Hons in Russian Language at the University of Bristol (2010-2014) and is currently completing the MA Fine Art at City & Guild’s of London Art School (2022-2023). Her artworks explore emotional memory and affectivity through reimagined landscapes and places she has been. She examines past experiences, relationships, and how love, loss, fears, desires and regrets are constantly reevaluated and reinterpreted. Her paintings occupy the liminal space between reality, memory and desire. Murphy’s paintings leave space for the viewer’s own interpretation, eliciting an array of emotions dependent on the viewer’s emotional state.Inspired by the Fauves, Murphy’s work embodies a Neo-Fauvist and expressionist style to create her immersive landscapes and foliage. By painting ambiguous locations, Murphy hopes to impart a feeling though her colourful dreamscapes. Very often the works are zoomed in to capture the fleeting and ephemeral nature of a memory – almost like flashes or corner fragments of a moment. Murphy is fascinated in how memories can be idolised until they become the epitome of fantasy and desire. |
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