Painting Used As Book Cover.

February 2016

Baldion’s painting ‘We don’t Know What We Are Making, Red’ has been published on the Book Cover of John Peter Roberts new book ‘China, From Permanent Revolution to Counter Revolution.’ WellRed Publications 2016. ISBN-13:978-1900007634

The book analysis the History of from Pre-revolutionary china to the modern restoration of capitalism in china today.

 

Look Here Not There: Solo Exhibition Fulham

'Coal ' People's History Museum Manchester 

Grapefruit Gallery - 618 Fulham Road SW6 5RP

August- September  2015

The majority of paintings on exhibition at Look Here, Not There were taken from direct experience when the artist gained privileged access to an Estonian construction site.

Unusually for a work of art based on the construction of a shell power plant the grand architecture is not the focus. Instead Baldion draws our attention elsewhere. In ‘new road’ two isolated workers inhabit a landscape that seems too large for them, our eyes are encouraged to enjoy the little shifts of colour and detail in the largely ochre ground. The recurring use of an aerial view point adds a voyeuristic aspect to the paintings with the figures wholly unaware of themselves so intently observed. Who is the viewer? Where are they looking from? Staring outside the window of the office, a fellow construction worker looking on his colleagues? The combined effects of these paintings are a discreet sense of alienation and longing.

21 - 27 June 2014

Coal is an installation of paintings made as a tribute to the militancy and bravery of the miners and their families, by Nicholas Baldion.

Artist Statement:

“These strikers faced the venom of the media and the brutality of Thatcher’s state when they stood up against the destruction of an industry and their communities.

Baldion uses a mixture of archive material and pictorial recreation based on witness accounts as source material, with each painting looking at a different aspect of the strike.  In this installation the arrangement has significance; the central painting depicts a standoff between police and miners and divides the wall in two.  On one side the paintings depict the reaction of the media, the brutality of the police, the talking shop of the TUC and labour leaders and the human cost.  On the other side the paintings depict the excitement of a solidarity demo, the pulling together of a community, the bread and butter solidarity in the face of hardship and the sheer determination and spirit of the miners and their supporters.”

Leigh Day Law Firm

October - December 2014

My work is inline with the ethics of this London law firm.

 

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