Native: Manchester is a touring exhibition that has thus far, taken in Los Angeles, Tokyo, and Ozasa. The artists selected are from United States of America, Japan, Australia, and UK, forming a cross collaboration between PAPER, Durden & Ray, Gallery Lara Tokyo, and Art Office Ozasa.  Native explores the concept of nationhood. In these troubled times, each artist was simply asked, “Where are you from?” and asked to work in response. This exhibition is the culmination of these thoughts.

A few years ago, whilst in Copenhagen, I visited the Statens Museum and saw a work by the Danish collective, Superflex, FOREIGNERS PLEASE DON'T LEAVE US ALONE WITH THE DANES! (2002). This statement could not be more apt at this time. In the British context of Brexit, this fear of a nation rife with xenophobia fills me with utter terror. It also colours my sense of what it means to be a native of a particular geographic location. It becomes a heartfelt cry: FOREIGNERS PLEASE DON'T LEAVE US ALONE WITH THE BRITS!

For EC, a London based artist, born and raised in the UK of Italian parents and having attached little importance to being of one single nationality, Brexit induced a kind of claustrophobic panic. Nationalism was rearing its head. The fact that EC’s work handles a crashing of elements that are complexly interpenetrating, occupying cusps or on the verge of collapse seems appropriate in this context. The artist often introduces elements into this work that could suggest something readable by breaking down painted text.

California resident, David Leapman, who won the John Moores Painting Prize in 1995, references his London inspired imagined mountains and those that surround the city of Riverside, California. Juxtaposed to this landscape are various idiosyncratic images originating from his former home city and sustained by his London sensibility. Based in LA and Japan, Kio Griffith’s work posits not simply reflections of his pan-nationality but also of pan-sensory experience. As is a visual/sound artist, curator, he creates a diverse trajectory of projects between the U.S. and Japan. By mining historical sociolinguistic references, he amplifies awareness of temporal events past, present and future.

David Leapman
4-1-16, 8-9-16

watercolor,gold and silver ink on white paper,
19.5 x 28.6cm
2016
£850
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DavidLeapman
10.4.16

watercolor, gold and silver ink on black paper,
19 x 28cm
2016
£850
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David Leapman
1.2.16
 
gold ink on black paper,
19 x 28cm
2016
£850
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James Rielly,
Some have no home

watercolour on paper
38x29cm
2016
£3000
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James Rielly,
no home for some

watercolour on paper
38x29cm
2016
£3000
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James Rielly,
Learning to hide

watercolour on paper
38x29cm
2016
£3000
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EC
Intervallo

oil, household paints, acrylic & collage, canvas on board,
13x18 cm
2014
£1400
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EC 
Inferire

oil,household paints, acrylic & collage, canvas on board,
13x18 cm
2014
£1400
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EC
Phrased

oil,acrylic & collage on canvas,
5x10 cm
2014
£1000
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Nick Brown
?

gouache & Watercolour on Paper with Mirrored Card
42 x 30cm
2017
£TBC
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Nick Brown
?

Gouache & Watercolour with crushed Sea Shells on Paper with Mirrored Card
42 x 30cm
2017
£TBC
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Tom Dunn
Mesopotamia Drawing #12

charcoal on paper
40 x 40cm
2016

Tom Dunn
Mesopotamia Drawing #13

charcoal on paper
40 x 40cm
2016

Esmeralda Montes

Esmeralda Montes

Esmeralda Montes

Kio Griffith
Nibutani Ainu Village

2016

Chihiro Minato

Nobuki Mizumoto

Chris Sicat
Redwoods

Pencil on Paper
30 x 42cm
2015
£TBC
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Norio Taniguchi

Mark Dutcher
?

Oil on Paper
42 x 30cm
2016
£TBC
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Mark Dutcher
?

Oil on Paper
42 x 30cm
2016
£TBC
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Miyuki Yokomizo

Yang02 + Kenta Ishige