6 - 27 April 2021
  • The first part of our curation, entitled Archi.Tech.Stories explores the union of architecture and technology through the eyes of Andy Burgess, Klari Reis and Tom Leighton. Our Young Masters alumni, photographers Fabiano Parisi and Isabelle Van Zeijl, joined by art historian, ceramicist and textile artist Matt Smith will present a trio show exploring the dense layering of history: Unpacking the Beauty of Age.

    Within the Environmental Impact in the Era of Pandemic programming, we are thrilled to introduce a recent artwork commission in collaboration with Conservation International by Deborah Azzopardi, Mother Nature (2021), inspired by Conservation International’s film Mother Nature with a powerful voice-over by the Oscar-winning artist and producer Julia Roberts.

  • Andy Burgess

    Andy Burgess

    Lauded by Annabel Sampson, Deputy Editor of Tatler as “the next David Hockney” painter Andy Burgess, who hails from London but lives in Arizona, continues to expand upon his fascination with contemporary architecture. A new series of paintings on panel and canvas colourfully re-imagines iconic modernist and contemporary houses. Burgess selects the subjects for his paintings with the discernment of the portrait painter. Buildings are chosen for their clean lines, bold geometric design and dynamic forms. Burgess approaches his subjects with a fresh eye, simplifying and abstracting forms even further and inventing, somewhat irreverently, new color schemes that expand the modernist lexicon beyond the minimalist white palette and rigid use of primary colours. Real places are sometimes re-invented, the architecture and design altered and modified, with new furniture and landscaping and a theatrical lighting that invests the painted scene with a dream-like quality and a peaceful and seductive allure.


  • Burgess, who has made a name for himself exploring the relationship between modernist architecture and contemporary painting, aims to instil the artwork with feelings of positivity and calmness, while staying true to his British and London heritage and his love of early 20th century art, architecture and collage. He will be creating a multi-layered narrative, incorporating his signature open primary colours and clean lines.

  • In 2021 Andy Burgess will be creating a series of site-specific artworks for the Neonatal Intensive Care Unit (NICU) at Chelsea and Westminster Hospital in London. The project, initiated by CW+ – the official charity of the Chelsea and Westminster Hospital NHS Foundation Trust – and facilitated by Cynthia Corbett Gallery, which represents Burgess internationally, aims to improve and enhance the NICU environment for patients, relatives and staff.


    Working together with the NICU team, Burgess will be reminiscing on the hospital’s neighbourhoods and its iconic views, sights and buildings in collaboration with hospital staff. The selected London scenes will be transformed by the artist in his unique, abstract, geometric style and printed on medically compliant vinyl – to then be installed in corridors and waiting areas of NICU.


    “This project inspires me tremendously and I’m excited to be embarking on this creative journey with the hospital and CW+,” explains the artist, Burgess. “I am delighted to have been identified for this unique opportunity and to be working with NICU staff to contribute to the improvement of the environment in this innovative way.”

    • Andy Burgess, Tropical House, 2019
      Andy Burgess, Tropical House, 2019
    • Andy Burgess, Concrete Desert House, 2018
      Andy Burgess, Concrete Desert House, 2018
  • This Friday, the 9th of April, at 8:00pm GMT / 3:00pm EST /2:00pm CT /12:00pm PST I am inviting you...

    This Friday, the 9th of April, at 8:00pm GMT / 3:00pm EST /2:00pm CT /12:00pm PST
    I am inviting you to join me on a virtual Expo CHGO visit to Andy Burgess's Tucson studio. 
    Andy and I will discuss his interest in Modernist architecture, his love for the architectural landscape of Chicago and his recently announced major commission for the Chelsea & Westminster Hospital in London, UK. Please click here to register for this discussion.

  • Tom Leighton

    Tom Leighton

    Tom Leighton is an artist, photographer and printmaker. Fascinated by the urban environment, he has photographed and worked with iconic and hidden architecture world-wide. He layers and manipulates images to build increasingly elaborate megastructures, asking how our cities will cope and change with expanding populations, and how these populations will live and move within these urban centres. He has photographed both ancient cities and the newest cities built on land reclaimed from the sea.


    Trained at the Royal College of Art, London, Leighton expertly manipulates images to allow us to imagine alternative cities of the present and the future. He seeks beauty in everything, from functional buildings to the most ornate architecture. He repeats motifs in unexpected places, repositions existing structures and contrasts the natural and the artificial: bright city lights set against natural night skies, concrete against greenery, business against eerie nighttime stillness.


  • Leighton asks us to reconsider our cities, what they are and what they might become. He pushes us to notice the beauty inherent in these populated places, the architecture and our place within it. At once futuristic and reflective, Leighton’s work demands multiple takes.


     “My photography is very exploratory – I don’t go on planned ‘photo shoots’, but I am constantly trying to track down exciting architecture or city views. In my work I have complete control as I contort & construct urban spaces. I show a complete disregard for the fundamentals of physics as I introduce gravity defying structures. I chose to use multiple natural light sources to create a collision of shadows and hyper real lighting. All this allows me to produce areas of ambiguity – and by doing so I play with the brains capacity to ignore or falsely correct what doesn’t make sense. My photographs are akin to a memory of a place - a distorted, reconstituted reality

  • Leighton has travelled through Europe, Asia and North America, building up an impressive body of photographic images that he then combines to make fantastical landscapes. His works are a celebration of architecture. Crammed with colour, form and energy, they highlight different aspects of the built environment. Structures and colours are carefully crafted to give the impression of populated places. Leighton's works ask playful questions, and show us the beauty and variety of our designed world.


    Collections include: AT&T Corporate Collection, USA; Prudential Douglas Elliman, NYC, William Blair, Chicago / London; The Sandor Family Collection, Chicago; The Shein Family Collection of Pennsylvania; The V&A Museum, London; The UBS Art Collection, London; JCA Group, London; MuCEM (French National Museum of European and Mediterranean civilisations) Marseille.

    • Tom Leighton, Skytree, 2017
      Tom Leighton, Skytree, 2017
    • Tom Leighton, Grand Avenue, 2017
      Tom Leighton, Grand Avenue, 2017
    • Tom Leighton, The Valley, 2017
      Tom Leighton, The Valley, 2017
  • Klari Reis

    Klari Reis

    Klari Reis uses the tools and techniques of science in her creative process, constantly experimenting with new ways to apply materials and methods. She is driven by curiosity and her desire to explore and document the natural and unnatural with a sense of wonder and joy. Formally trained as an architect, the artist from her base in San Francisco (in proximity to one of the largest concentrations of life science/technology companies in the world) collaborates with local biomedical companies and is inspired by the cutting edge of biological techniques and discoveries.


    The unifying theme of Klari Reis’s art is her mastery of a new media plastic, epoxy polymer, and the fine control she brings to its reactions with a variety of dyes and pigments. Her compositions display brightly coloured smears, bumps and blobs atop aluminum and wood panels. A skilled technician with a studio for a laboratory, Reis uses science in the service of her art.

  • Klari Reis's work has been exhibited worldwide and public collections include Microsoft Research in Cambridge, UK; Next World Capital’s offices in San Francisco, Paris, and Brussels; MEG Diagnostic Centre for Autistic Children in Oxford, UK; Great Ormond Street Hospital for Children in London; the Stanford University Medical Center Hoover Pavilion in California; and Elan Pharmaceuticals, Genentech, Acetelion and Cytokinetics in South San Francisco.

    • Klari Reis, Hypochondria Exploding, 60 pieces, 2020
      Klari Reis, Hypochondria Exploding, 60 pieces, 2020
    • Klari Reis, Hypochondria, 30 pieces, 2020
      Klari Reis, Hypochondria, 30 pieces, 2020
  • Cynthia Corbett In Conversation with Klari Reis

  • Fabiano Parisi

    Fabiano Parisi

    Fabiano Parisi began his career as a photographer following a degree in Psychology, coming to photography through a project photographing derelict asylums, which sparked his interest in the abandoned buildings which are the subject of his art practice today. He has two ongoing series: The Empire of Light and Il Mondo Che Non Vedo (The World I Do Not See). The latter title is taken from a collection of poems by Fernando Pessoa, a hint at the poetic qualities of Parisi’s work. What is so striking about Parisi’s work is his use of light, his relationship not just to history but to the theme of the ruin in Art History, and the composition and surface of his work. The power of Parisi’s work lies in the strength and command of his image-making, never straying from a strictly symmetrical approach, which allows the viewer to assume his viewpoint within the building, the wide-angle lens giving a sense of depth and breadth, without compromising on detail.

  • Parisi uses only natural light, shooting early in the morning. The colours and chiaroscuro are at their best at this time of day, and are left untouched by digital image manipulation software. Parisi’s photographs have an honesty and integrity that is part of what makes them so inviting. The artist often selects buildings with frescoed walls, which create an illusion of a painterly surface in his photographs and a textural sensibility that belies the photograph’s flat surface. His method highlights the patina of these forgotten places. The artist prints his work himself onto carefully chosen papers that enhance and maximise his colours and tones. Parisi has a strong relationship to Art History; the subject of the ruin was prevalent in the 18th and 19th Centuries, and interest is still strong today as evidenced by Tate Britain’s 2014 exhibition ‘Ruin Lust’. From painters such as Piranesi to Turner to Constable, Parisi is part of an important genre in art.


    Parisi participated in the 54th Venice Biennale, Italian Pavilion and in Fotografia Festival Internazionale di Roma in 2012 at the Macro Museum. In 2010 he was the winner of the Celeste Prize International for photography in New York; in 2012 he was shortlist for the Arte Laguna Prize, Venice where he was award a special Prize and in 2012 & 2014 he was shortlisted & announced finalist for the Young Masters Art Prize (a not-for-profit initiative presented by The Cynthia Corbett Gallery, London).

  • Fabiano Parisi
    Il Mondo Che Non Vedo 212, 2017
    C-Type photograph mounted on Dibond in tray frame.

    This is a historic 1,346-seat former boxing venue in Philadelphia, since 1938. The Ring magazine voted it the number-one boxing venue in the world, and Sports Illustrated noted it as the last great boxing venue in the country. Was featured in many movies, as in the Rocky film series. As experienced in some other abandoned spaces in the US, electricity and heating system were still working, trying to preserve the place from decay.
    111.8 x 111.8 cm
    44 x 44 in.
    Edition of 8
    • Fabiano Parisi, The Empire of Light No. 1 - USA, 2013
      Fabiano Parisi, The Empire of Light No. 1 - USA, 2013
    • Fabiano Parisi, The Empire of Light No. 2, 2013
      Fabiano Parisi, The Empire of Light No. 2, 2013
  • Isabelle Van Zeijl

    Isabelle Van Zeijl

    In a contemporary art world that condemns beauty as camouflage for conceptual shallowness, championing high aesthetics is nothing short of rebellion. Dutch photographer Isabelle Van Zeijl takes female beauty ideals from the past, and sabotages them in the context of today. Van Zeijl aestheticises contemporary beauty in her work to visually discuss art historical links and a new way of seeing female beauty. Her work is both timeless, universal and uniquely placed in the art historical canon while offering the female gaze.


    Van Zeijl is invested in her images. By using subjects that intrigue and evoke emotion, she reinvents herself over and over and has created a body of work to illustrate these autobiographical narratives. Her work takes from all she experiences in life - she is both model, creator, object and subject. Going beyond the realm of individual expression, so common in the genre of self-portraiture, she strives to be both universal and timeless, with a subtle political hint.

    • Isabelle van Zeijl, She Is, 2018
      Isabelle van Zeijl, She Is, 2018
    • Isabelle van Zeijl, Reveal Me, 2021
      Isabelle van Zeijl, Reveal Me, 2021
    • Isabelle van Zeijl, I Am I, 2019
      Isabelle van Zeijl, I Am I, 2019
    • Isabelle van Zeijl, I Am II, 2019
      Isabelle van Zeijl, I Am II, 2019
  • Isabelle Van Zeijl has shown work continuously and internationally over the past fifteen years, represented by galleries located in The UK, USA, The Netherlands, Belgium, and exhibiting at emerging and established international art fairs in New York, Miami, Los Angeles, Hong Kong, London, Germany, Belgium, Sweden and Italy. She was nominated for the Prix De La Photographie Paris, and The Fine Art Photography Awards. She was also one of the winners of The Young Masters Emerging Women Art Prize, London. Her work is held in private & public collections in the USA, UK, Belgium, Germany, France and The Netherlands.

    • Isabelle van Zeijl, She Is Here, 2019
      Isabelle van Zeijl, She Is Here, 2019
    • Isabelle van Zeijl, The New Me, 2019
      Isabelle van Zeijl, The New Me, 2019
  • Matt Smith

    Matt Smith

    UK-born Matt Smith is well known for his site-specific work in museums, galleries and historic houses. Using clay, textiles and their associated references, he explores how cultural organisations operate using techniques of institutional critique and artist intervention. He is interested in how history is a constantly selected and refined narrative that presents itself as a fixed and accurate account of the past and how, through taking objects and repurposing them in new situations, this can be brought to light. Of particular interest to him is how museums can be reframed into alternative perspectives.


    • Matt Smith, The Hunter, 2021
      Matt Smith, The Hunter, 2021
    • Matt Smith (British), Horse, 2018
      Matt Smith (British), Horse, 2018
    • Matt Smith (British), Stork II, 2021
      Matt Smith (British), Stork II, 2021
    • Matt Smith (British), Two Women, 2020
      Matt Smith (British), Two Women, 2020
    • Matt Smith (British), Fighting Cocks, 2020
      Matt Smith (British), Fighting Cocks, 2020
  • Matt Smith started his career at the V&A before developing exhibitions at the Science Museum and the British Film Institute. After retraining as a ceramicist, his work has often taken the form of hybrid artist/curator. His large scale solo shows have addressed themes including the legacy of colonisation in Losing Venus (Pitt Rivers Museum, Oxford) and Flux: Parian Unpacked (Fitzwilliam Museum, Cambridge), LGBT visibility in Queering the Museum (Birmingham Museum and Art Gallery, 2010) and Other Stories (Leeds University Art Collection, 2012). Matt co-directed and curated Unravelling the National Trust which saw over thirty artists working with contemporary craft (including himself) commissioned to respond to the histories of the National Trust properties Nymans House, Uppark House and The Vyne. Matt holds a practice-based PhD from the University of Brighton. The PhD explored the use of craft techniques in contemporary art by artists exploring identities. He is Professor of Ceramics and Glass at Konstfack University of the Arts, Stockholm and Honorary Fellow at the University of Leicester’s School of Museum Studies. His work is held in the collections of the Victoria and Albert Museum, the Walker Art Gallery, Birmingham Museum and Art Gallery and the Fitzwilliam Museum as well as numerous private international collections.


  • Deborah Azzopardi

    Deborah Azzopardi

    London-based Deborah Azzopardi acquired her worldwide fame for the joyous Pop Art images she has created over the past 35 years. Deborah’s unique and feminine take on contemporary art is best described by the esteemed art critic Estelle Lovatt. ‘America has Lichtenstein, we have Azzopardi!’ Lovett goes on to comment: “Sometimes you just want to curl up under a blanket. With a good book. A piece of chocolate. A man. This is what Deborah Azzopardi’s pictures make me feel like doing. They are me. They remind me of the time I had a red convertible sports car. I had two, actually. And yes, they are you, too. You immediately, automatically, engage with the narrative of Azzopardi’s conversational visual humour. Laughter is the best aphrodisiac, as you know. Never before has the erotic dream been painted by a woman so well. ... Distinctive, memorable and provocative, Azzopardi’s Pop Art shows what happens to the protagonist as her canvas acts like a storyboard for movies. Azzopardi’s definitely got the ‘When Harry Met Sally....’ – “I’ll have what she’s having” ... down to a fine art, in paint. ... There’s plenty of art historical references from... Manet’s suggestive ‘Olympia’; Boucher’s thought-provoking... ‘Louise O’Murphy’ and Fragonard’s frivolous, knickerless, ‘The Swing’.... Unique in approach, you easily recognise an Azzopardi picture. ... Working simple graphics and toned shading (for depth), the Pop Art line that Azzopardi sketches is different to Lichtenstein’s. Hers is more curvaceous. Feminine.”

  • The artwork Mother Nature was created for a limited edition exclusive prints to benefit Conservation International. The artist was inspired by 'Nature is Speaking' film series, created in collaboration with Oscar-winning actress and producer Julia Roberts.


    'A strongly placed female hand with painted red fingernails lays open whilst delicate but perfect Red Rose petals fall gently into it representing love. The same hand is simultaneously birthing a large blue tsunami of water giving life, and feeding essential nutrients into the planet that we are lucky enough to call home.

    The skyline is saturated with a warm yellow hue giving the rugged mountains distinction whilst they echo an indestructible and powerful presence. The mountains are juxtaposed with two white Calla Lily’s representing peace - beautiful, fragile, and exquisite flowers standing tall, cushioned by their vivid emerald green leaves.

    All are a sentiment to the purity of life and the beauty that is vigorous with undeniable fragility which ‘Mother Nature’ holds in the palm of her hand.

    Together this is a reminder that if she inhales, you inhale. If she exhales, you exhale. If she stops breathing, you stop breathing.

    She is the force that makes the wind sing, she is the essence that makes your senses ignite. She is dusk, she is dawn, she is everything you know. She is ‘Mother Nature’.' – Deborah Azzopardi

  • Nature Is Speaking – Julia Roberts is Mother Nature – by Conservation International (CI)

    Deborah Azzopardi's artwork Mother Nature (2021) was created for a limited edition exclusive prints to benefit Conservation International. The artist was inspired by 'Nature is Speaking' film series, created in...

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