Dmitry had a super party of Russian and London society for his inaugural show at Lamberty.
I was surprised and delighted to greet faces from Moscow. And of course the Russian ladies were arrestingly stunning. Nataliya Resh, who set up the Open Culture Foundation, Khristina Sysoeva or model & TV presenter Marinika Smirnova, just to mention a few.
My goodness the Russians have brought a wonderful spirit to our capital.
The show was of course a knock out success. We now only have a handful to offer.
It was lovely to see you all.
And I hope to see you shortly for Derrick Santini's mystical lenticulars - Swimming with Peacocks.
Dmitry Oskin was born in Russia, St Petersburg, in 1986 and moved to live and work in London in 2009. Art was his first passion and he won a national prize at the age of 16 to create an artwork which now hangs in the Duma in Moscow. Prior to that at age 14, he won a national Russian drawing competition and was awarded first prize which was presented to him by the mayor of St Petersburg in the Hermitage Museum. Dmitry was trained and worked as a stylist on film and photo shoots. Since moving to London he has developed his career in photography. He has experienced various cultures through travels to South America, South East Asia and islands in the Indian Ocean which have deeply affected his artistic outlook.
'Butterflies – the high fashion of the world. Butterflies – the Christian Dior of wild life. They are like brides in their gowns. You want to waltz with them. They are perfect in their weightlessness. Butterflies are harmony, they are music.' — Dmitry Oskin
You know you’ve discovered a real artist when you first visit the studio. Agusti’s studio is large – a warehouse really, in the dusty outskirts of a quiet satellite of Barcelona. Yet here AC meets DC in the mind of Puíg. Here also were four years of his applied human zeal, which has never seen the door of the studio. Canvasses and boards stacked 20 deep all around the walls. Some of them soaring great images 15 feet high, often diptychs of two juxtaposed individuals, their vicissitudes celebrated in paint pools of thoughts, their experiences become sgraffito strands of internal rhythms. The wiring of cogito ergo sum become visible. It’s a somewhat overwhelming treat – like being allowed into the inner sanctum of a great cathedral of the mind. Then you start to notice the occasional eye peering enquiringly at you from a canvas. This all-seeing eye, resembling a Turkish nazar, gave me the inspiration for the title of this show of most carefully selected Agusti Puig paintings.
A truly wonderful video of STIK has just been released on the BBC. If you haven’t already seen it I’d highly recommend watching it here. STIK has also recently released a book which is available to buy on Amazon. Each book comes with a fantastic poster inside as well which you can grab here. For details on works we have available by STIK please contact email@example.com.
We’re all very pleased to see the smaller ‘Smiley’ works by Ryan Callanan back on the wall. A fair few of the finishes are now coming to the end of their edition so if they might be of ch before they all go. For further info contact us on firstname.lastname@example.org.
PUTTING THE RECORD STRAIGHT. THE BARE FACTS.
Lamberty purchased these containers from a recreation ground beside a canal after viewing them in autumn 2014. We commissioned a Polish agent to make sure everything was in order and to negotiate purchase from the legal owner. We have recently been contacted by an arts institution called Laznia that was involved with Stik to create the project in 2011. Laznia did not notice that the containers had been removed until Stik contacted them a year later. Neither Laznia nor Stik have a contract of permission from the former containers owner to graffiti them. Lamberty understands that the area occupied by the containers is under redevelopment. We provided new containers for temporary use by the canoe club until their new building is erected on the site. The replacement containers will then be sold for the benefit of the club [a sum of many thousands of pounds]. The club has already received new boats as part of Lamberty’s benefit to the local community. Lamberty legally purchased these works with full documentation. We removed them from a harsh outdoor climate, where they were deteriorating, and prepared them for indoor instalment. A limited number can be viewed at Lamberty Gallery. Lamberty has sold more secondary market Stik works than any other gallery. Andrew Lamberty has recently met with Stik to discuss our handling of these pieces. Stik was unaware that Laznia had not gained formal permission to graffiti these containers and that they were privately owned. Lamberty has requested that Stik recognise and endorse the removal of these pieces – in exchange we have offered to return the works over decorated by local children for the enjoyment or benefit of the local school community. Stik had not ever acknowledged our offer to return the works over decorated by the children AND he had painted on private property.