Richard Harrison English, b. 1954

Down the ages the image of the horse rears up across a multitude of stories – of myth, folklore and fact - all abounding in equine protagonists. The horse embodies...

This short-running January exhibition occupies the gallery as a temporary pocket of time - a contained space in the heart of London's Fitzrovia that opens outward onto something far larger. Across photography, painting and works on paper, the exhibition brings together artists whose practices circle the idea of landscape in its many registers: seen from afar or at close range, mapped across bodies and objects, or stretched into vast, expressive terrain.

Liquid Resonance brings together eight compelling approaches to the theme of liquidity, where water, oil, paint, atmosphere and memory are used to evoke transformation, emotion and reflection.

Richard Harrison was born in Liverpool in 1954. He read Medieval History at Cambridge University and then received BA and MA Fine Art degrees in Painting from Chelsea School of Art. The critic Brian Sewell was an early champion of Harrison's work. He recognised its committed, insistent nature and described the artist as 'a visionary prophet' and his paintings as 'big, bold, beautiful and threatening'.

This summer Pontone Gallery mounts an exhibition of painters who are all obsessed with the materiality of their medium, which they each manipulate with a distinct and intense singularity.

Malcolm Liepke’s paintings assert his skilful and graphic iterations of human flesh in all its forensic intimacy. His gestural and fluent handling emphasises the delicate, bruised tones of his male and female models, framed by a bright and acidic variety of rich colour.

Timothy Spall elicits a profound spiritual response with a dark and brooding landscape that contains a discrete, but explicit, description of the crucifixion at Golgotha. Misty veils of charcoal greys are penetrated by shafts of sulphurous sunlight to reveal a tragic scene, glimpsed from afar but unmistakable.

Richard Harrison deploys vigorous and expressive passages of highly worked paint. Clots, clumps, streaks and sticky accretions are distressed and agitated by the artist’s urgent hand, eager to fashion an image of primal landscape from a chaos of turbid material.

Henry Jabbour explores a rich and sumptuous palette of shimmering primary hues. Glistening oil paint is freely applied in thick, creamy skeins and slicks against saturated, liquid glazes. Vestigial romantic figures hover in this world of subtle, painterly abstraction.

This exhibition marks the occasion with a selection drawn from the gallery’s extensive list of international artists, including many previously exclusive to The Albemarle Gallery. The presentation focusses particularly on...

The viewer’s eye is dazzled by volcanic eruptions of elemental colour. Harrison’s palette is highly registered; primary and secondary hues dominate, making for strong contrasts and rich combinations. This lends...