FAYE FLEMING offsite Tim Braden    ‘The Collection’
A solo exhibition to be presented at The Armory Show, New York, March 2011

In this body of new work Tim Braden takes as its subject a collector and his collection, amassed in the gilt-edged rooms of his chateau. It represents Braden’s first solo exhibition in New York, and continues Braden’s exploration and ongoing preoccupation with how we look at objects and artworks.

The new paintings continue a line of enquiry that began with the ‘Looking at Sculpture’ series and includes his 2009 exhibition entitled ‘As if it were another landscape’ in which Braden made a series of paintings that relate directly to the collection and history of the Musée de Beaux-Arts in Algiers. In the catalogue text for the group exhibition ‘Sculpture in Painting’ at the Henry Moore Institute, UK, Jon Wood writes: “In Bradenʼs work ʻsculpture in paintingʼ in the early twenty- first century is ultimately about the mediation of sculpture and painting: about looking at sculpture through photography in the context and regime of the contemporary art museum. Gone are the earlier tales of metamorphosis and the paragone, and instead we find close, melancholic encounters: narratives of vision and exchange conducted, without touching and through Perspex, between viewer and art work, between sculptures, visitors and their shadows.”
This time Braden focuses on a private collection, and he approaches this treasure trove of paintings and sculptures with a curious, anthropological eye while at the same time engaging with painterly concerns that open up a wealth of problematic positions for viewers to navigate themselves within. Vitrines are a visual trope that Braden returns to frequently in his work, with their reflections and the strange angles through which one is forced to look at an object or artwork; mirrors, or the reflections created by imperfect lighting conditions are another. They serve as a reminder of the often self-inflicted distance and small annoyances – frames, vitrines, poor lighting and hanging - that so often get in the way of our experience of art.

With a hazy palette of blues, Braden uses color to refine or redefine the things he depicts. This is not a dry, forensic body of work, instead we are taken out of the here and now and then left wondering if such a place truly exists, or whether it has only been seen through film or the excesses of a nostalgic memory. As Douglas Heingartner wrote in a 2008 review for Frieze magazine: “Like Flaubertʼs search for ʻle mot justeʼ, Braden looks for the signature details that will most effectively portray a given place, emotions or memory. Flaubertʼs work often mixed the Romantic with the realist, and Bradenʼs images and sculptures likewise blend the wistful imaginary with the actually lived.”

Born in the UK in 1975, Tim Braden completed a residency at the Rijksakademie in Amsterdam (2006-08), and studied at the Ruskin School of Fine Art, Oxford University (1996-99) and the St Petersburg Academy of Fine Art (1994-95).

Recent solo exhibitions include ‘Paleis van Decoratie’, Galerie Juliètte Jongma, Amsterdam (2010); ‘As if it were another landscape’, Faye Fleming & Partner (2009); ‘Agence de Voyage’ curated by Nicholas De Oliveira and Nicola Oxley, SE8 Projects, London (2009); ‘I spend my evenings sitting by the fireside hunting tigers’ Galerie Juliètte Jongma, Amsterdam (2007); ‘Crossing rivers and climbing mountains’, Faye Fleming / Arquebuse, Geneva (2007); ‘Chère Tante Hanneke’, Timothy Taylor Gallery, London (2006).

Group exhibitions include: ‘Sculpture in Painting’, curated by Penelope Curtis, Henry Moore Institute, Leeds (2009); ‘Shake It; An Instant History of the Polaroid’, Pump House Gallery, London (2009); ‘Chance Encounters’ curated by Tobias Maier at Ludlow 38, New York run by the Goethe Institut and curated by the Munich Kunstverein (2009); ‘Natural Wonders: New Art from London’, Baibakov Art Projects, Moscow (2009); ‘The Flight of the Dodo’, curated by Tessa Giblin, The Project, Dublin (2008); Zuordnungsproblemes, Galerie Johann Koenig, Berlin (2008); Koninklijke Prijs voor Vrije Schilderkunst, Gemeentemuseum, The Hague (2007); ‘Le Nouveau Siècle, Museum Van Loon, Amsterdam (2006).