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BORN: |
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| Britain, 1976 |
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LIVES/WORKS: |
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| London, England |
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EDUCATION: |
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| 1995-1998 |
BA Painting |
Chelsea College Of Art, London |
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1994-1995 |
Foundation |
Surrey Institute Of Art, Farnham |
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SOLO EXHIBITIONS: |
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| 2007 |
Piers Secunda, Paint Assemblages |
Nettie Horn Gallery, London |
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SELECTED GROUP EXHIBITIONS: |
| 2008 |
1996The Future Can Wait II |
Old Truman Brewery, London |
| 2008 |
Mashups |
DACS, London |
| 2008 |
Counterpoint |
British Sculpture Now and Then, Robin Katz, London |
| 2008 |
Space Now |
The Triangle, London |
| 2008 |
Superscope |
Lounge Gallery, London |
| 2007 |
Piers Secunda, Paint Assemblages |
Nettie Horn Gallery, London |
| 2007 |
The Lucifer Effect |
Gallery Primo Alonso, London |
| 2007 |
Happy Days |
John Jones, London |
| 2007 |
Texting |
Wallspace, London |
| 2007 |
Dorian Gray |
Vegas Gallery, London |
| 2007 |
Delicate Situations |
Online exhibition, London |
| 2006 |
Double Happiness |
Hollow Gallery, London |
| 2005 |
Secret |
Royal College of Art, London |
| 2005 |
The Gentle Art of Making Enemies |
(Catalogue, work illustrated) |
| 2005 |
Salon Show |
Hollow Gallery, London |
| 2005 |
Yabadabadoo |
Cell Project Space, London |
| 2004 |
Seven Seven |
Contemporary Art, London |
| 2003 |
Paint In 2003 |
Century Gallery, London. Catalogue |
| 2003 |
Selected Works, Vogue House |
Conde Nast, London |
| 2003 |
Nth Art Opening Exhibition |
London |
| 2003 |
Ryder Truck Exhibition (solo show) |
touring art galleries, New York |
| 2002 |
Mobile Exhibition No. 4 |
London |
| 2002 |
Ryder Truck Exhibition (solo show) |
touring art galleries, New York |
| 2002 |
Kiosk |
The Kiosk Project, London |
| 2001 |
Ryder Truck Exhibition (solo show) |
touring art galleries, New York |
| 2000 |
Paint |
Tivoli Arts Co-Op, Tivoli, New York |
| 1998 |
Painting In New York |
Tivoli Arts Co-Op, Tivoli, New York |
| 1998 |
The Temporary Museum |
(with Chris Ofili, Gavin Turk, Peter Blake, Richard Long, Bob
and Roberta Smith and Cornelia Parker, London). Catalogue |
| 1996 |
Roll On-Roll Off |
exhibition inside a Double Deck Bus, touring art museums, London |
| 1995 |
August Exhibition |
Sotheby’s, London |
| 1994 |
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Nicholas Thorp Gallery, London |
| 1994 |
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Nicholas Thorp Gallery, London |
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AWARDS & RESIDENCIES: |
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1994 |
The John Lewis Partnership Prize |
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BIBLIOGRAPHY: |
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2008 |
Art Monthly "Superscope", Cherry Smyth, March |
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2008 |
Houston Press "Paydirt: Thames Mudlarks", Troy Schulze |
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2008 |
Time Out "Rainbow Straightener" Martin Coomer |
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2008 |
The Guardian Guide "Rainbow Straightener" |
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2007 |
Celeste Art Prize. Catalogue |
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2007 |
Fash’ N Riot May 2007 Edition (work Illustrated) |
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2007 |
Jack Wakefield, Paint Sculpture (press release) |
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2007 |
Martin Holman, Piers Secunda: No Tub To A Whale…(catalogue
essay) |
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2007 |
David Ryan, Noel Forster and Piers Secunda Paintings and
Constructions (catalogue) |
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2005 |
Andy Collard The Gentle Art of Making Enemies (work illustrated) |
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2003 |
Dr. Tom Learner, Head Conservator, Tate. Modern Paint
(catalogue) |
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2002 |
James Bainbridge, Mobile Art, The Guardian |
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2000 |
Selma Young, Young Painters, Poughkeepsie Journal. New York |
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1996 |
Mobile Art, South London Press |
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COLLECTIONS: |
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The University of The Arts, London |
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Alannah Weston, London |
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Aquest International, New York |
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Borsetti Architecture, New York |
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Findlay Asset Management, New York |
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Howard Corporation, New York |
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John Jones, London |
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Khulman Collection, New York |
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McWilliams Collection, Santa Barbara |
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Moore and Moore Arts, Shanghai and London |
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Rachel Whiteread, London |
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Private Collections in the UK and US |
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ARTIST STATEMENT: |
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Piers Secunda’s work has developed over the last twelve years,
out of a desire to remove paint from its traditional support. In
his words, “as far as possible to separate paint from the
restraints of the applied 2D surface.” Secunda has
developed a wide range systems for using his industrial paint,
amongst which are pouring, smashing and casting with moulds to
produce industrial fixtures made of paint, which have their own
structural integrity and are increasingly used to hold the works
together. As a result the works seamlessly merge painting and
sculpture as they steadily develop their own language. |