Two paints from the 'Murder Not Tragedy' series are exhibited as part of the bedroom artists group show in the hive hoxton.
Murder Not Tragedy’ is an ongoing series of paintings based on the Ranna plaza factory collapse of 2013 which killed 1130 garment workers. The workers were making the clothes for western high street brands. They lived on £25 a month. They worked for a 14-16hour day, seven days a week. When a crack appeared on the buildings workers were threatened with the withholding of a month’s wages if they refused to go back to work. Union activists are beaten. The factory owners, western clothing companies, the government, local politicians, civil servants and the police are all implicated in this crime.
In ‘No More Martyrs’ a survivor is pulled from the rubble. Most of the details of the scene are admitted. Focusing attention on the figure. Her arms stretched wide in a position resembling Christ on the cross. The background is a warm mars black interrupted by a pattern of leafed flowers, a symbol for the victims.
In ‘Not Even Death’ Two Workers are found dead. There last moments is spent in an embrace. They are painted in black and white. They look as if they are statues. In juxtaposition the fabrics of the clothing they made are in bright saturated colour. The Flowers are leafed in gold, and the rubble is thickened with sand coming off the canvas.
These paintings were created as a vehicle for mourning, for whoever is willing to remember.
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.
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.
“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.”
October - December 2014
My work is inline with the ethics of this London law firm.