Portrait Sculpture in Contemporary Ceramics

LITERATURE AND CONTEXTUAL REVIEW

Pam GouldDE4101 Design Research 1

 2016

CONTENTSList of Figures 2

Introduction 4

What is Happening in Contemporary Portrait Sculpture? 4

1 Society of Portrait Sculptors Exhibition Visit 4

2 Interview with Megan Di Girolamo 5

3 Interview with Karin Hassenberg 6

What is a Portrait? 6

1 Mimesis and Identity 7

2 The Individual and the Portrait 8

3 Narrative, Time and Identity 11

Conclusion 13

Notes 13

Bibliography 14

Literature Review 14

Books 14

Articles 14

Websites 16

Contextual Review 18

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List of Figures

Front Cover GOULD P (2006) Mother with Sunhat [stoneware, textile, tea]

Figure 1 BOONHAM N (n.d.) Violin Man [bronze] In SOCIETY OF PORTRAIT SCULPTORS (SPS) (2016) Face 2016, The Catalogue of The 53rd Annual Exhibition, 16-21 May 2016, London: SPS p41

Figure 2 EDWARDS L (n.d.) A Scent in Dappled Light [bronze] In SOCIETY OF PORTRAIT SCULPTORS (SPS} (2016) Face 2016, The Catalogue of The 53rd Annual Exhibition, 16-21 May 2016, London: SPS p40

Figure 3 DI GIROLAMO M (n.d.) Migrant [glazed stoneware] In SOCIETY OF PORTRAIT SCULPTORS (SPS)(2016) Face 2016, The Catalogue of The 53rd Annual Exhibition, 16-21 May 2016, London: SPS p79

Figure 4 HASSENBERG K (n.d.) Henry VIII [glazed stoneware] Retrieved from: http://www.karinhessenberg.co.uk/#portfolio [Accessed 21/12/2016]

Figure 5 HASSENBERG K (2013) Blimey! You could be seen from space in that hat! [glazed stoneware] Retrieved from: http://www.karinhessenberg.co.uk/#portfolio [Accessed 21/12/2016]

Figure 6 ANTONI J (2000) Umbilicus [stirling silver] http://www.anthonymeierfinearts.com/artists/janine-antoni/slideshow?view=slider [Accessed 21/12/2016]

Figure 7 CHRISTIE BROWN (1995) Cast of Characters [terracotta, ceramic] In GARCIA E (2012) Ceramics and the Human Figure, London: A&C Black (p13)

Figure 8 KAHN S (2012) L:Clay [glazed stoneware, cast from 3D print] Retrieved from: http://www.sophiekahn.net/portraits?lightbox=image1rx7 [Accessed 19/12/2016]

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Figure 9 PICASSO P (1969) Portrait Imaginaires 27 2 69 and 28 2 69 [lithographs] Retrieved from: http://www.rembrandtetchings.co.uk/index.php?option=com_virtuemart&view=category&virtuemart_category_id=819&categorylayout=0&virtuemart_manufacturer_id=0&showcategory=1&showproducts=1&productsublayout=0&Itemid=715

Figure 10 SHERMAN C (2016) Untitled [photograph] Retrieved from: https://www.theguardian.com/artanddesign/2016/jul/03/cindy-sherman-interview-retrospective-motivation [Accessed 19/12/2016]

Figure 11 YIADOM-BOAKE L (2012) Bound Over to Keep The Faith [oil painting] Retrieved from: http://theartnewspaper.com/features/artist-interview-lynette-yiadom-boakye-paint-is-alive-fleshy-and-unpredictable [Accessed 19/12/2016]

Figure 12 NYMPHENBURG PORCELAIN MANUFACTORY (ca1760) Harlequin and Harlequina [hard paste porcelain, modelled by Bustelli FA] Retrieved from:http://www.metmuseum.org/art/collection/search/206046 [Accessed 31/12/2016]

Figure 13 PERRY G (2012/13) A Map of Days [coloured etching] Retrieved from: https://www.artfund.org/news/2014/10/31/grayson-perry-interview-map-of-days

Figure 14 LODER C (2010) In the Red [glazed ceramic] In GARCIA E (2012) Ceramics and the Human Figure, London: A&C Black (p83)

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IntroductionThe mention of ‘Portrait sculpture’ is likely to evoke images of the traditional portrait bust. Indeed, the portrait bust constituted my first foray into working with clay 10 years ago, and I continue to be interested in portraiture and identity. I’m conducting this literature/contextual review (note 1) to investigate if portrait sculpture can be developed into my ceramics practice.

The literature which specializes in ceramic portraiture was of the ‘how-to’ genre, and books that included ceramic portraits focused on the artist rather than discussing the nature of portraiture itself. So, I expanded my search to include the portrait and identity in all Sculpture, Fine Art, and the figure in Contemporary Ceramics (excluding the vessel).

I begin with a review of what is happening in contemporary portrait sculpture, including my discussions with two portrait sculptors who work in ceramics. From this I learnt the diverse nature of portraiture, and needed to reassess what constitutes a portrait.

The second section asks ‘What is a Portrait?’ and is categorized into the main themes salient to the portrait in Contemporary Art and Ceramics, concluding with the impact of my findings on the research question: ‘Can portrait sculpture be developed into my ceramics practice?’

What is happening in Contemporary Portrait Sculpture?1 Society of Portrait Sculptors ExhibitionVisitAs a starting point, I visited the 53rd Annual Exhibition of the Society of Portrait Sculptors (SPS) (Society of Portrait Sculptors 2016, Contextual Review 1), expecting to see some traditional busts and portrait figures - I wasn’t disappointed. There were plenty in bronze, resin, plaster, stone, ciment fondu.

Other exhibits were more unexpected: Guy Reid’s Girl Holding Phone, which was not posed in the portrait tradition, and Robert Hunt’s Beachcomber, which did not portray a face. There were two however,

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that challenged my idea of what a portrait could be (see Figures 1 & 2).

The first, Nigel Boonham’s Violin Man depicts ‘Two different pieces of music combined and expressed in a human figure’ (Society of Portrait Sculptors 2016 p95, Book, Literature Review 1). While I accept that music requires human expression in to have meaning, I found the concept of music as a subject for portraiture quite difficult.

Figure 1 Boonham Violin Man SPS 2016 Figure 2 Edwards Scent in

Dappled Light SPS 2016

Laurence Edwards’s Scent in Dappled Light was equally perplexing. The experience of dancing light and shadow and aromatic sensation are universal - expressions of Everyman, not signifiers of individual identity. Something to consider.

2 Interview with Megan Di GirolamoWhilst at the exhibition, I talked to Megan Di Girolamo, the only SPS member who specialises in ceramics (Di Girolamo 2016, Contextual Review 2). She trained as a sculptor, and

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specializes in hollow built stoneware. Commissioned portraits form a small part of her work. The victims of war, famine and displacement – mothers and children, usually life size - form the main focus of her work. Migrant was her first response to the Syrian crisis (note 2). Surface is important to her - distressed and fragmented to express the anguish of her subjects. These are not portraits of specific individuals, more ‘types’, using the one to exemplify the suffering of many.

Figure 3 Di Girolamo Migrant SPS 20163 Interview with Karin HassenbergI also talked to another regular exhibitor at the SPS, ceramicist Karin Hassenberg about her practice (Hassenberg 2016, Contextual Review 3). She models and hollows her portraits, and has a passion for glazes, each piece being fired multiple times. Her practice is split between garden ceramics and portraiture.

Figure 4 Hessenberg Henry VIII Figure 5 Hessenberg Blimey! You could be seen karinhessenberg.co.uk from space in that hat! karinhessenberg.co.uk

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Apart from commissioned portraits, her practice includes historical portraits such as Henry VIII (Figure 4), after Hans Holbein in the NPG, London. Interestingly, she also sculpts imaginary portraits. Figure 5 Blimey! is an example, and has previously been exhibited at the SPS exhibition.

Faceless portraits, imaginary subjects, types, music, Everyman? My understanding of the portrait needs re-evaluation before I can develop a practice from portraiture.

What is a Portrait?‘‘Lesley Stevenson, Senior Paintings Conservator defines a portrait as, ‘an evocation of a person. It gives the sense of that person. It doesn’t necessarily need to look like the person but it would have to give some impression.’ (National Galleries Scotland 2011 0.24) From the Renaissance to the 20th Century, the portrait did necessarily look like the person. Rapid social and cultural change, Freud’s theories of the unconscious and global war released art from the cultural imperatives of the previous era, and generated new conventions for the portrait:

1 Mimesis and IdentityThe Bowdoin College Museum of Art’s 2016 exhibition, This Is a Portrait If I Say So: Identity in American Art, 1912 to Today, brought together 75 portraits that show the ‘tendency, inaugurated roughly a century ago, to represent a sitter’s likeness through nonmimetic means’ (Collins Goodyear et al, 2016 p1, Book, Literary Review 2). The works are diverse, including text, such as Mel Bochner’s Wrap: portrait of Eva Hesse, abstract, such as Georgia O’Keefe’s expressive painting of Paul Strand, symbolic, such as L Roberts’s Portrait of Deb, or indexical such as Janine Antoni’s Umbilical (Figure 6).

Umbilical is interesting because Kemske (Garcia 2012, Book, Literature Review 3) identifies the fragmented body as a key theme in figurative ceramics (note 4), and it demonstrates two sub-themes – absence and synecdoche.

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Figure 6 Antoni J Umbilical 2000 [stirling silver] http://www.anthonymeierfinearts.com/artists/janine-antoni/slideshow?view=slider

The negative cast of the artist’s mouth and the negative cast of part of her mother’s hand make us aware of the missing body parts. At the same time, the body parts act as what Kemske calls a ‘sculptural Haiku’ (Garcia 2012. p26 Book, Literature Review 3). The fragment is the essence representing the complete body.

Clearly there are many ways to represent identity independent of iconic likeness - although some are more successful than others at conveying ‘some impression’ – which offers possibilities for my own practice.

2 The Individual and the Portraiti Can Everyman be the subject of a portrait? Kemske says of Christie Brown’s ‘Cast of Characters’ (Figure 7):

The works are stiff and uncompromising, rigid of posture…..and although each piece is individual, it is the individuality which ….. expresses the human condition, rather than the personal circumstances of one person.

(Garcia 2012, p12, Book, Literature Review 3)

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Figure 7 Brown C Cast of Characters 1995 in Garcia 2012

Sophie Kahn agrees, saying of her process, ‘it strips away life from the body’ (Leaders of Software and Art 2012, 2m 31, Video, Contextual Review

4), and her scanned heads are, ‘not portraits. Their data tells you virtually nothing about these people’ (Leaders of Software and Art 2012, 3.40 Contextual Review 4) (Figure 8)

I conclude that, despite Edwards’s ‘Scent in Dappled Light’ (Figure 2), being exhibited in Face16, portraits must contain signifiers that differentiate the sitter, or group of sitters, from other individuals.

Figure 8 Kahn S L-Clay 2012, glazed stoneware, cast from a 3D printhttp://www.sophiekahn.net/

portraits?lightbox=image1rx7

ii Can imaginary people or types be the subject of a portrait?

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Both types and imaginary sitters are well accepted as portraits in painting and photography: for instance, seventeenth century Tronies (note 3), Picasso’s tronie-inspired Portraits Imaginaires (Figure 9 shows two of the suite in the Goldmark Gallery)…..

Figure 9 Picasso P Portraits Imaginaires 27

2 69 and 28 2 69, 1969, Lithographs http://www.rembrandtetchings.co.uk/index.php?

option=com_virtuemart&view=category&virtuemart_category_id=819&categorylayout=0&virtuemart_manufacturer_id=0&showcategory=1&showprod

ucts=1&productsublayout=0&Itemid=715…..Cindy Sherman’s photographic exploration of social types (In Figure 10 she portrays herself as a doyen of Hollywood’s golden era)

Figure 10 SHERMAN C Untitled 2016[photograph] https://www.theguardian.com/artanddesign/2016/jul/03/cindy-sherman-interview-

retrospective-motivation

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…and the imaginary characters of Lynette Yiadom-Boakye’s paintings (Figure 11).

Figure 11 Yiadom-Boake L Bound Over to Keep The Faith 2012 [oil painting]

http://theartnewspaper.com/features/artist-interview-lynette-yiadom-boakye-paint-is-alive-fleshy-and-unpredictable

In ceramics, too, early figurines depicted theatrical characters of the Italian Commedia dell'Arte (Figure 12). The Met Museum states that these figurines were so popular they were produced by all the major German porcelain factories (The Met Museum 2016, Website, Literature Review 4).

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Figure 12 Nymphenburg Porcelain Manufactory Harlequin and Harlequina ca1760, [hard paste porcelain, modelled by Bustelli FA]

http://www.metmuseum.org/art/collection/search/206046

In addition, it has previously been established that the SPS’s exhibitions have included types (Figure 3) and imaginary sitters (Figure 4). Imaginary sitters can indeed be the subjects of portraits, and this offers interesting opportunities to develop my practice.

3 Narrative, Time and IdentityWhat differentiates the ‘Everyman’ figures of Christie Brown (Figure 6) from Karin Hassenberg’s portrait sculpture (Figure 5) is the narrative content - the signifiers by which the viewer reads the identity of the sitter. For my own practice it is interesting to note the effects of varying the amount of information provided for the viewer. Grayson Perry’s self- portrait, A Map of Days (Figure 13), is replete with narrative content, while Claire Loder’s character heads (Figure

14) leave ‘room for ambiguity in interpretation’ (Loder cited in Garcia 2012 p 83, Book, Literature Review 3) Loder goes on to say that her titles make her intentions clearer and she ‘enjoy(s) the other meanings that are given to my heads by those who encounter them.’

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Figure 14 Loder C In the Red 2010 [glazed ceramic] In Garcia 2012 p83

Perry’s A Map of Days is a product of his concept of identity, which is in accord with my own. He says that his idea of self is ‘fractured, layered, shifting, ambiguous’ (Channel 4 2016 0min.25secs Video, Contextual Review 5)

Figure 13 Perry G A Map of Days 2012/13 [coloured etching] https://www.artfund.org/news/2014/10/31/grayson-perry-interview-map-of-days

Perry’s concept of identity also reflects current sociological and psychological theories about the formation of identity, which have been interesting to read. He represents himself as a walled city. Inside are the labyrinthine narratives that constitute ‘self’ – a self which, he says, has no ‘pearl’ or ‘immutable centre’. Outside are the social/cultural interactions and narratives that constantly reinforce and mold his identity. This reflects the McAdams and McClean’s description of Narrative Identity as ‘a person’s internalized and evolving life story, integrating the reconstructed past and imagined

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future to provide life with some degree of unity and purpose.’ (McAdams and McClean 2013, Article, Literature Review 5)

Perry is obviously aware of Goffman’s theatrical metaphor to describe social interaction and identity when he says. ‘We perform ourselves over time’ (Channel 4 2016 0min.55secs Video, Contextual Review 5). For Perry, identity is a cultural phenomenon. This is the concept of identity I would like to portray in my practice, and I am especially interested in the idea of self as a performance unfolding over time.

ConclusionThe aim of this literature and contextual review was to determine if ceramic portrait sculpture could the focus of my practice. I’ve discovered that portrait sculpture offers a myriad of opportunities for further investigation and research. First, I have interviewed two ceramicists who have successfully developed their respective practices beyond the commissioned portrait. Secondly, I have expanded my understanding of portraiture to include: a) the many methods of expressing identity that are non-mimetic, b) sitters who are fictional, c) the possibility of shifting between a closed narrative to one more open to interpretation. Thirdly, I’ve discovered contemporary ideas about the formation of identity through the self-portrait of Grayson Perry. Finally, I have identified the area of research that will form the focus of my practice: how to employ the figure and/or figurine, or fragment thereof, to portray the multiple narratives of individual identity unfolding over time.

Notes1. I was unable to split the Literature and Contextual reviews in the

main text without losing the thread of my research. They are clearly delineated in the bibliography, and I’ve added descriptors to the citations in the main text e.g. (Smith 2013, Contextual Review 2) and (Jones 2015, Book, Literature Review 4). Sorry if I’ve made things difficult for you.

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2. Megan had exhibited another Syrian inspired work, Refugees, at the Royal Society of British Sculptors the previous month. A life size Mother sits crossed legged, cradling her young child. The fragmented surface indicates her anguish, the colours relate her to the SPS Migrant.

3. Tronies were 17th century paintings of imaginary characters in the portrait tradition, such as Johannes Vermeer's The Girl with a Pearl Earring (c. 1665). Roberts (p22) that, although historically a separate genre, they are now accepted as portraits.

4. Fragmentation is also an ambiguous term that means different things to different writers and ceramicists. I understand fragment to mean any figure, or part thereof, without the head; and it can also mean the full figure or upper body including a head, where the features and surface are not mimetic, but are indistinct or disrupted.

Bibliography*= reviewed in main textLiterature Review

BOOKSCOLLINS GOODYEAR A et al (2016) This Is a Portrait If I Say So,

Identity in American Art, 1912 to Today, Yale University Press, New Haven*

DEL VECCHIO M (2001) Postmodern Ceramics, Thames & Hudson, London

GARCIA E (2012) Ceramics and the Human Figure, A&C Black, London*

GUNTER V A (ed.) (2004) 500 Figures in Clay, Lark, New York

GUNTER V A (ed.) (2014) 500 Figures in Clay, Vol 2, Lark, New York

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O’REILLY S (2009) The Body in Contemporary Art, Thames & Hudson, London

OSTERMANN M (2006) The Ceramic Narrative, A&C Black, London

SOCIETY OF PORTRAIT SCULPTORS (2015) Face 2015, The Catalogue of The 52nd Annual Exhibition, 18-23 May 2015, SPS, London

SOCIETY OF PORTRAIT SCULPTORS (2016) Face 2016, The Catalogue of The 53rd Annual Exhibition, 16-21 May 2016, SPS, London*

ARTICLESBEDDOE S (2016) Pots About People, Ceramic Review [online] EBSCOhost, 280: 41-44, Available from: http://eds.a.ebscohost.com/eds/detail/detail?vid=10&sid=5eac2ffe-1c3b-4cc6-ba33-82ff24bd8322%40sessionmgr4010&hid=4205&bdata=JnNpdGU9ZWRzLWxpdmU%3d#AN=116498834&db=asu [Accessed 20/12/2016]

CARR SMD (2015) Enabling Self-Identity Revisioning through Portraiture, for people living with Life Threatening and Chronic Illnesses: Paint me this way! DPhil, Loughborough University

COON C (2015) Dark Histories: Ceramic Narratives by Margaret Keelan Calvin Ma, and Erika Sanada, Sculpture Review [online] EBSCOhost, 64.4: 30-33, Available from: http://eds.a.ebscohost.com/eds/detail/detail?vid=20&sid=5eac2ffe-1c3b-4cc6-ba33-82ff24bd8322%40sessionmgr4010&hid=4205&bdata=JnNpdGU9ZWRzLWxpdmU%3d#AN=112078505&db=asu [Accessed 20/12/2016]

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MAES H (2015) What is a Portrait? British Journal of Aesthetics [online] EBSCOhost, 34: 39-47, Available from: http://eds.a.ebscohost.com/eds/detail/detail?vid=15&sid=5eac2ffe-1c3b-4cc6-ba33-82ff24bd8322%40sessionmgr4010&hid=4205&bdata=JnNpdGU9ZWRzLWxpdmU%3d#AN=111219532&db=asu [Accessed 20/12/2016]

MAYO M (2004) An Investigation into the Potential of Ceramics to Expressively Render Flesh and Skin on the Human Body, PhD, University of Wales Institute, Cardiff

McADAMS DP and McLEAN C (2013) Narrative Identity, Current Directions in Psychological Science [online] Sage Journals, 22: 233-238, Available from: http://cdp.sagepub.com/content/22/3/233.abstract [Accessed 9/10/2016]*

McBRIDE K (2012) The Story at the Heart of It Ceramic Review, [online] EBSCOhost, 254, 52-55, Available from: http://eds.a.ebscohost.com/eds/detail/detail?vid=18&sid=5eac2ffe-1c3b-4cc6-ba33-82ff24bd8322%40sessionmgr4010&hid=4205&bdata=JnNpdGU9ZWRzLWxpdmU%3d#AN=72888059&db=asu [Accessed 20/12/2016]

RESTALL P (2016) Masterclass with Pea Restall Ceramic Review, [online] EBSCOhost, 282: 66-71, Available from: http://eds.b.ebscohost.com/ehost/pdfviewer/pdfviewer?vid=2&sid=53b42bef-1dfe-433b-94ae-729f613a3d79%40sessionmgr102&hid=122 [Accessed 4/12/2016]

ROBERTS MD (2013) Imaging the Face: An Investigation into Hyperrealist Depictions of the Human Facial Surface, PhD, University of Aberystwyth

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ROSS C (2010) The 'Body' in Fragments: anxieties, fascination and the idea of 'wholeness', Thinking in fragments: Romanticism and beyond, University of Birmingham (UK), 16-17 December, Available from: http://www.academia.edu/1394974/The_body_in_fragments_anxieties_fascination_and_the_idea_of_wholeness [Accessed 15/12/2016]

WEBSITESABOUT EDUCATION (2017) The Presentation of Self in Everyday Life [online]http://sociology.about.com/od/Works/a/Presentation-Of-Self-Everyday-Life.htm [Accessed 1/1/2017]

ADAMS T (2016) Cindy Sherman: ‘Why am I in these photos?’ [online] The Observer, London, Available from: https://www.theguardian.com/artanddesign/2016/jul/03/cindy-sherman-interview-retrospective-motivation [Accessed 19/12/2016]

BUCK L (2015) Artist Interview, Lynette Yiadom-Boakye: ‘Paint Is Alive, Fleshy And Unpredictable’ [online] The Art Newspaper, London and New York, Available from: http://theartnewspaper.com/features/artist-interview-lynette-yiadom-boakye-paint-is-alive-fleshy-and-unpredictable/ [Accessed 19/12/2016]

DI GIROLAMO M (2000) Sculptor Megan Di Girolama RBA ARBS MA [online] Available from: http://www.di-girolamo.co.uk/megan.htm [Accessed 19/12/2016]

GOLDMARK GALLERY (2016) Pablo Picasso: Portraits Imaginaires [online] Available from: http://www.rembrandtetchings.co.uk/index.php?option=com_virtuemart&view=category&virtuemart_catego

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ry_id=819&categorylayout=0&virtuemart_manufacturer_id=0&showcategory=1&showproducts=1&productsublayout=0&Itemid=715 [Accessed 19/12/2016]

HASSENBERG K (2016) Karin Hassenberg Sculpture and Ceramics [online] Available from: http://www.karinhessenberg.co.uk [Accessed 19/12/2016]

KAHN S (2016) Sophie Kahn [online] Available from: http://www.sophiekahn.net [Accessed 19/12/2016]

LITTLE CT and STEIN WA (2006) The Face in Medieval Sculpture [online] Met Museum, New York, Available from: http://www.metmuseum.org/toah/hd/face/hd_face.htm [Accessed 15/12/2016]

THE MET MUSEUM (2016) Art Collection [online] Met Museum, New York Available from: http://www.metmuseum.org/art/collection/search/206046 [Accessed 30/12/2016]*

TRENTINELLA R (2008) Roman Portrait Sculpture: The Stylistic Cycle [online] Met Museum, New York, Available from: http://www.metmuseum.org/toah/hd/ropo2/hd_ropo2.htm [Accessed 15/12/2016]

UNIVERSITY OF WALES INSTITUTE (2005) Fragmented Figure [online] Centre of Ceramic Studies, Cardiff, Available from: http://www.fragmentedfigure.net/introduction.htm [Accessed 19/12/2016]

Contextual ReviewCHANNEL 4 (2016) Grayson Perry’s Self Portrait [online video] Available from: http://www.channel4.com/programmes/grayson-perry-who-

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are-you/videos/all/grayson-perrys-self-portrait/3832079126001 [Accessed 15/12/2016]*

DI GIROLAMO M (2016) Portrait Sculpture, Interview with P Gould on 19 May, London*

DREW P (2015) Lecture 4: The Body In Contemporary Art [powerpoint presentation] Art Matters: Illuminating Contemporary Art, Shepparton Art Museum, Victoria, 20 May, Available from: http://www.slideshare.net/DrewPettifer/lecture-4-the-body-in-contemporary-art [Accessed 11/12/2016]

HESSENBERG K (2016) Clay Figure Sculpture [training course] Solway Ceramics Centre, Newton Arlosh, 25-26 June*

LEADERS IN SOFTWARE AND ART (2012) Sophie Kahn – LISA2012 [online video] Available from: https://vimeo.com/58810920 [Accessed 19/12/2016]*

NATIONAL GALLERIES SCOTLAND (2011) What Is a Portrait? [online video] Available from: https://www.nationalgalleries.org/play/play-menu/what-is-a-portrait [Accessed 15/12/2016]

SOCIETY OF PORTRAIT SCULPTORS (2016) Face 2016 [exhibition] La Galleria Pall Mall, London, 16-21 May*

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