Georgia Adamson is the Associate Director at Rosenfeld, London. Founded in 2011, the gallery is focused on showcasing mid-career artists alongside a dynamic programme for emerging talent. Georgia is Greek-English, studied art history in Italy and grew up in the U.K. The daughter of two artists, she started collecting when she was in her early twenties.
“Art Money allows first time buyers to have the confidence to start building a collection and it enables our more seasoned collectors to acquire larger scale and more ambitious works."
Number 13i, 2011
61 x 61 x 25cm
Leo Drew is well-known for monumental sculptures and large-scale assemblages that he has been creating since the 1990s. In his words: “I do big art.”
'Number 13i' is the first thing that I see every morning mounted on my wall, and though it has been there for years, and is not "big art" per se, it never fails to surprise me. Although smaller in scale than some of his other works, Leo harnesses this same tension between order and chaos. He breaks down, burns, oxidises and gives new life to his material.
The US artist (whom I have the honour of calling my friend) grew up in a public housing project in Connecticut. Landfills and dumps were his ‘playground,’ from where he would sift through discarded remnants and transform them. This sense of ‘force majeure’ emanates throughout his work and in his fascination with the natural life cycle of material. Despite its size, 'Number 13i' possesses great power and dynamism. For me, it evokes the debris and "found" materials of arte povera. Like the artists of this significant historical movement, Leo has this incredible capacity to capture a poetry, balance and reflection on the human condition with any ‘found’ material.
“You can make art from anything. This is what it’s all about. In the end, I learned that, for a fact, art exists in you. Just do it!"
Japanese sculptor Keita Miyazaki is one to watch. This unique emerging artist makes unconventional forms and abstract totems by fusing discarded car parts with traditional origami elements.
Keita’s hybrid aesthetic was born of his experience of seeing the ‘ruins’ of the 2011 tsunami and of his artistic desire to represent tension between a utopia and dystopia. In essence, he presents us with a post-apocalyptic reconciliation that sees optimism abound in his sculptural monuments. 'converted reality' is a striking and sophisticated piece, and it had an immediate impact on me from the first time that I saw it. This is one artwork I would love to own.
Keita will have a solo exhibition in London at the gallery this winter (2022) in parallel with a presentation at The Armory New York in September.