• With the much anticipated offline edition of Art Miami 2021 just around the corner, we would like to give you the opportunity of witnessing the Art Fair if by some reason you will not be physically present in Florida next week or would love a live preview of our forthcoming curation!


    We are delighted to be returning to Miami for the fantastic Art Week with our exciting curation. You will  find us at booth AM100 @ Art Miami Pavilion   (One Herald Plaza, NE 14th Street & Biscayne Bay, Miami, FL 33132). The Fair will be open to the public from 11am-7pm from Wednesday 1st December to Sunday 5th December. 


    Amy Hughes' practice is both fuelled by and symbolic of the highly prestigious Porcelain wares produced at the Royal Sèvres Factory in the late 17th and 18th centuries. Hughes’ works reference and pay homage to the originals, but are created with a freer approach, giving them a new lease of life.

    After Alhambra pieces take inspiration from the large lustre vases produced during the Nasrid Dynasty (the last Muslim Dynasty in the Iberian peninsula, ruling Granada) in the 14th and 15th centuries which became romantically known as 'Alhambra Vases', and of which only 8 remain in semi-intact existence today. The skill, the legend, the intrigue surrounding these vases captivated and fuelled my fascination to explore a contemporary response to the stunning relics. The forms, the two wing-like handles, the horizontal decorations all reference the originals, the rawness in composition and materiality nodding to their faded beauty. Drawing studies of their intricate surface pattern have been enlarged and explored on the coil and slab built forms creating exciting pattern and shape with a colourful and lively approach.

    Amy Hughes will make her Art Miami debut with Cynthia Corbett Gallery in 2021.


    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. As a women she experiences prejudices against women; misogyny in numerous ways including sex discrimination, belittling/violence against women and sexual objectification. Van Zeijl aestheticises these prejudices in her work to visually discuss this troubling dichotomy, presenting a new way of seeing female beauty. An oppressive idealisation of beauty is tackled in her work through unique female character and emotion.


    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 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.


    In 2021 Andy Burgess, who hails from London but lives in Arizona, continues to expand upon his fascination with California and Florida mid-century 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.

    In 2021 Andy Burgess created 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. “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.” 


    Roman born Fabiano Parisi came to photography through a project researching abandoned buildings which are still the subject of his art practice today. The title of one of his ongoing series: Il Mondo Che Non Vedo (The World I Do Not See) – is taken from a collection of poems by Fernando Pessoa, a hint at the poetic qualities of Parisi’s work. Parisi is a regular visitor to the States, where in 2017 he shot the historic former boxing venue in Philadelphia, featured in the Rocky film series. 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.

    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, while his method highlights the patina of these forgotten places. 

  • Fabiano Parisi, Daydreaming Roma 01 , 2020

    Fabiano Parisi

    Daydreaming Roma 01 , 2020
    Archival pigment print on fine art rag paper
    110 x 150 cm
    43 1/4 x 59 1/4 in.
    Edition of 8

    This year Klari Reis opens a new chapter of her oeuvre, debuting her new Botanical series at Art Miami. These bright wild landscapes are also peaceful places where comfort and serenity may be found. Plants in the home are known to benefit mental and emotional health, but these are not the common house plant. They are dreamscapes with pigmented epoxy resin, drooping teal leaves on fluorescent pink stems, which require the imagination to place their location. They are visual imaginings into the ideal: a world without global warming, with lush forests, and eradicated greenhouse gases. Glossy and hopeful with a visceral application of handmade marks, these botanicals may possess therapeutic properties or exert beneficial pharmacological effects. Strange and familiar at the same time, they are playful and exotic as they engage the viewer. 

    These botanical works are the latest in Reis’s ever-changing artistic exploration of biology and of beauty and design exhibited by nature. Engaging with these systems has taken the artist on a journey from microscopic workings of cells, as far afield as the uncanny re-envisioning of city maps as biological blueprints, to these newest, macro paintings of nature triumphant, imposing its own order on the world. 

  • Klari Reis, Amalgamate, 2021

    Klari Reis

    Amalgamate, 2021
    Mixed Media and Epoxy on Wood
    119 x 188 cm
    47" x 74"

    Crystal Latimer was born in Hollywood, CA but grew up in Ellwood City, PA. In 2010, Crystal completed her BFA Slippery Rock University. She then went to receive an MA and MFA from Indiana University of Pennsylvania in 2013 and 2016, respectively. After graduating, Crystal taught several courses at Penn State New Kensington and Indiana University of Pennsylvania, Punxsutawney and has lectured at Slippery Rock University and Carlow University.


    KEEPSAKES is an ongoing series of painted tapestries that depict stories of inner strength. A keepsake's value is in its sentiment, its worth a reflection of the owner's relationship to the memento. KEEPSAKES:Storied is the present phase of evolution in this series, digging deeper into the existing concepts and expanding upon a wilder nature.


    Historically, tapestries have been a feminine artform that also symbolized the interior, domestic spaces traditionally engendered as female. The painted tapestries of this series present a similar expanse of feminine artistry and allegory, while simultaneously illustrating the awakening of a previously dormant female power. The artwork empowers the audience to look inward, and see a reflection that expands outward. 


    Storied is consequently feminine at first appearance, yet a closer look reveals an unexpected balance of masculine and feminine energy. As the cowgirl of KEEPSAKES reclaimed the masculine archetype for the feminine, Storied expands upon that reclamation by taking the audience into the wild. Wolves and bears are present alongside and in addition to cheetahs, nodding to other expressions of the female archetype in folklore.The “Mama Bear” and “She-Wolf” concept have been passed down through the generations in stories as wild, instinctual, creatures capable of both great power and great compassion. However, we know that this duality is continually challenged as the wild woman is conditioned out of her truest nature; the raw essence that authentically expresses the human self. These animals are surrounded by portraits of women, arresting in their gaze and purposefully confrontational to the viewer. Flora symbolize rebirth, while birds allude to freedom. An abundance of decorative gilding and jewel-toned palettes underscore the message of worth. Gilded-edged designs and tassels bring the paintings to life and transform the tapestries into a dimensional form.


    Storied may be rooted in allegory and history, but its sentiment lies in the stories women tell about themselves.The lives we lead are guided by the stories we inherit, the roles and attitudes we assume, the glass ceilings that are present in women's lives. Each of us are an embodiment of our truest beliefs. KEEPSAKES: Storied is an outward reminder of the expansive stories we can choose for ourselves. To reveal, in spirit, both the masculine and the feminine, wild and refined.


    ‘America has Lichtenstein, we have Azzopardi!’ - Estelle Lovatt FRSA

    Deborah Azzopardi acquired her worldwide fame for the joyous Pop Art images she has created over the past 35 years. Her unique and feminine take on contemporary art is best described by the esteemed art critic Estelle Lovatt: ‘America has Lichtenstein, we have Azzopardi!’ Lovatt 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. ... 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 world is familiar with Azzopardi’s artworks, as many of them have been published internationally. Her original paintings, such as the Habitat ‘Dating’ series (2004/08), the iconic ...One Lump Or Two? (2014) and Love Is The Answer (2016), created by the artist at the request of Mitch and Janis Winehouse as a tribute to their daughter, are in great demand.

  • Deborah Azzopardi, Petite Pure, 2021

    Deborah Azzopardi

    Petite Pure, 2021
    Acrylic on 640g Arches paper
    37 x 58 cm
    14 1/2 x 22 3/4 in.

    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.


    In 2015 / 2016, Matt was Artist in Residence at the Victoria and Albert Museum. In 2009 he received the ARC Award for Craft from Aspex Gallery and was awarded the inaugural Young Masters Maylis Grand Ceramics Prize in 2014. At Collect 2018, he was awarded "Object of the Show" by Ekow Eshun. For Collect 2020, Cynthia Corbett and Matt Smith co-curated a site-specific installation featuring textiles and black parian works. The curation was extremely well-received, and Matt was awarded the inaugural Brookfield Properties Crafts Council Collection Prize, which allowed the Crafts Council to purchase six artworks for the Council's collection. The V&A Museum's Design and Textiles department also acquired one of Matt's subversive embroideries.


    Matt regularly exhibits his work at public collections including Coming Out, Walker Art Gallery 2017, A Place at the Table, Pallant House, 2014; Subversive Design, Brighton Museum and Art Gallery, 2013; DIY A Revolution in Handicrafts, Society for Contemporary Craft, Pittsburg, 2010.


    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.


    Lluís Barba constructs his huge photographs with minute attention to detail. During the last twenty years he has developed his distinctive iconography, each work including visual references as people, paintings and his own artworks are transferred to new compositions. Just as artists have for centuries teased their audience with allegory and symbolism, so Barba’s jigsaw of iconography presents a maze of allegorical pathways, the symbolism of the historical sources overlaid with that of the contemporary characters, reinforced by our own personal knowledge and experience and the gravitas afforded by column inches, art criticism and saleroom prices. In Barba’s work we can read the growth of celebrity currency, commentary on recent history and also his own personal reflections: like many historical artists, Barba’s work is also ultimately a giant autobiography. We see photographs of collectors or visitors gathered from trips to international art fairs, including images he has been asked to take by people viewing his own work; there are his motifs such as barcodes, imprinted on his characters; and the rainbows and flowers, his symbols of hope. Wry humour and ironic cross-references colour his visual commentary, as we are invited to navigate between images in the contemporary world, instantly recognisable art historical references and the ever-changing landscape of celebrity icons. When you stand in front of one of Barba’s enormous photographs you are literally in the space of the art as it spreads out before you, sometimes extending into the viewing space with flooring or sculptures spilling from the image.

    Born in Spain and educated at the Escola Massana Centre d’Art, Barcelona, Barba has exhibited his work in the United States, Europe, Latin America and Canada. His work is held in major public collections and his private collections include, Jorge M. Pérez, Miami, Rick & Kathy Hilton, California and Wendy Fisher, London.

    Lluís Barba was one of the first finalists of the inaugural 2009 Young Masters Art Prize in London. The artist exhibited at the European Pavilion of the 2017 Venice Biennale.

  • Lluís Barba, The Studio of the Painter, Pierre Subleyras, 2012

    Lluís Barba

    The Studio of the Painter, Pierre Subleyras, 2012
    C-Type Print, Diasec Mounted

    103.1 x 100.1 cm
    40 5/8 x 39 3/8 in.
    Edition of 6
  • For all sales enquiries please contact Gallery Founder & Director Cynthia Corbett at info@thecynthiacorbettgallery.com