Alys Williams is Owner & Founding Director of VITRINE, London/ Basel. She has represented a growing community of artists since 2012, establishing a strong reputation as a selector and nurturer of new talent internationally.
"We have always offered instalment plans directly with clients but these involve more administration on the gallery side and delay in payment, and only after all payments have been made is the work released to the collector. We discovered Art Money in 2022 and think it's a great concept. The collector can easily apply for Art Money and spread their payments out whilst enjoying their work at the same time, and the gallery and artist receive payment immediately."
Charlie Godet Thomas
Endpaper (To Turn Belly up and go Bang in the Noonday Sun), 2014
Cast rubber, pigment, paint, wood
26.5 x 20.5 x 1.8cm
Charlie Godet Thomas' 'Endpaper (To Turn Belly up and go Bang in the Noonday Sun)' is one of the first artworks I acquired and is also the first work I discovered by the artist. This led to the strong and fruitful gallerist/artist relationship we still nurture today.
The work is made of cast rubber, pigment, paint and wood which are materials the artist continues to work with in unique and exceptional ways. Thomas studied sculpture, as did I, and this piece is a brilliant combination of materials and techniques that bridge the disciplines of painting and sculpture. I love the way that light changes its surface. It is a very poetic work that speaks of the artist's interest in books and fascination with their endpapers (the pattern pages that bind books in their cover). Literature is constant influence on his practice and another interest we share.
And yet you kept going, 2023
Mylar, digital paper print and epoxy resin
70 x 60 x 1cm
I would like to add a work titled ‘And yet you kept going’ by the talented British-Nigerian artist Ebun Sodipo to my collection. We are currently presenting a solo show of her works which use collage and resin at VITRINE Basel that opened to coincide with Art Basel week. It is her first show with the gallery and in Switzerland, and the work is stunning. Techniques used in this body of work were developed during her recent residency at V.O Curations where she had a subsequent solo show. Sodipo describes her practice as "mak[ing] work for those who will come after: the Black trans people of the future", and she uses images from her archive of online sources that explore notions of femininity, desire, and danger, fragmented and reformed then cast in resin. The final works appear fragile and light weight, like paper, but in fact have the strength and weightiness of resin.
Both these works and the metal piece by Tarek Lakhrissi from his BETRAYING series that I am stood next to in my portrait outside VITRINE Bermondsey highlight my interest in forms of language and sculpture, and experiential material processes, which is a thread within VITRINE’s programme and my growing personal collection.