Scarlett Raven | The Eleventh Hour 2014

Scarlett Raven | The Eleventh Hour 2014

I have in my hand a small red Poppy... It is an intensely simple, intensely floral flower. All silk and flame, a scarlet cup, perfect edged all round, seen among the wild grass far away like a burning coal from Heaven’s altars. …No sparing of colour anywhere - no outside coarseness - no interior secrecy. [It is] painted glass; it never glows so brightly as when the sun shines through it. Wherever it is seen - against the light or without light - always, it is a flame, and warms the wind like a blown ruby. – John Ruskin, artist and critic, 1875

FOREWORD

“Creation goes beyond the canvas. Like a chemical reaction, creation fills its environment. It has an aftermath. I suppose that is what I am really interested in, what the explosion, meeting, gathering of materials leaves behind. What we leave behind.” - Scarlett Raven Knowingly or not, the language of flowers is a language spoken universally. A crimson rose is exchanged between lovers to signify affection; the pale white cap of a snowdrop suggests the conclusion of the winter months; whilst the vivid yellow trumpet of a daffodil heralds the arrival of spring. Furthermore, the painted white lily in its purity and innocence was a Renaissance symbol of the Virgin Mary, as Van Gogh’s triumphant Sunflowers was a burst of happiness and hope within an otherwise turbulent artistic psyche: so too in art this visual language of flowers abounds. But what of the humble corn poppy? There is perhaps no other flower in existence quite so emotionally enduring and symbolically charged. Whilst there is evidence of the cultivation of this particular species as early as 5700 BCE, it was during the height of the First World War and the publication of John McCrae’s ‘In Flanders Fields’, that the poppy found its most popular interpretation. Written and published in 1915 as the Great War raged on, it was McCrae’s poem detailing the growth of poppy fields amongst the graves of the fallen which truly ignited the passions of the public, prompting The Royal British Legion to launch the very first Poppy Appeal and remaining closely rooted in our public consciousness as a symbol of remembrance ever since. In her debut exhibition for Castle Fine Art, Mayfair, artist Scarlett Raven explores the multiple facets of this complex flower. A collection of work inextricably bound to the First World War, ‘The Eleventh Hour’, directly references the date of Armistice Day in 1918: a date etched into the fabric of our history, a date filled with joy and despair in equal measure. It is here then, in this tension between sorrow and elation, dark and light in which Raven’s landscapes thrive and flourish, as the tissue delicate, blood-red blooms of the poppy once grew from the disturbed earth ravaged by war. In collaboration with The Royal British Legion, ‘The Eleventh Hour’ represents the ongoing relevance of the poppy as a symbol of the remembrance of the past, but also the future promise of hope.   Akin to the exhibition title, Scarlett Raven’s poppies are charged with a bouquet of significances; they are evocative of magic, of luck and artistic urgency. No stranger to the landscape medium, Raven’s meditations on

this modest flower began as a student at Central Saint Martins. The scenes created in ‘The Eleventh Hour’ are a culmination of this initial spark, each work striking in its individuality and yet emblematic of a larger whole, a visual allegory for humankind and battles won and lost. In this exhibition, the artist takes on a variety of roles: Raven is much less a painter than a gardener, nurturing the earth from the roots upwards, or a concert conductor arranging a complex symphony of colour, subject and materials. ‘The Eleventh Hour’ is Raven’s call to action for the observer, urging them to take on an active role in these vigorous and experiential works. Paintings become theatre sets in which scenes grow and develop, dependent on the seasons or time of day. Raven not only invites her viewers to perpetuate this artistic narrative but to accompany her on a journey which is both physical and emotional. Echoing Jackson Pollock and the Action Painters of the mid-twentieth century, both artist and observer participate in a multisensory experience. In scenes that are alive and raw with violence and passion, we are presented with the uneasy circumstances of poppy growth and the reality of our collective history. Scarlett Raven possesses a style and talent which is all her own and yet, like so many young artists, visual comparisons with other practitioners are seemingly unavoidable. Raven has been termed a “Van Gogh in the making”, ostensibly for her unflinching rendering of the natural world and almost sculptural handling of paint. Like Van Gogh before her, she is guided by her materials and, ultimately, guided by her heart. Furthermore, the complex physicality of her work is reminiscent of German artist Anselm Kiefer, a painter and sculptor who like Raven, utilises objects and media rich in history and symbolism - rope, dust, wood, fabric, wax - to create work which, despite its often heavy structure, holds the most fragile of meanings. For Scarlett Raven, her biggest influence and inspiration comes from the very earth we inhabit and the world which surrounds us: nature is at the heart of every work she creates. It is here then that the roads meet, a convergence at last between the fields of Northern Europe, the lives lost on battle grounds across the centuries, a young woman in possession of a rare artistic talent and nature, encapsulated in one of its most curious creations, the poppy. It is foremost an emblem of remembrance, but the poppies which feature in ‘The Eleventh Hour’ at Castle Fine Art Mayfair are ultimately hopeful, representative of the life which follows death, and the triumph of natural beauty over the ugliest of manmade scars.

THE ELEVENTH HOUR NO 1

Mixed Media on Boxed Canvas | 122 cm x 122 cm

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THE ELEVENTH HOUR NO 2

Mixed Media on Boxed Canvas | 122 cm x 183 cm

THE ELEVENTH HOUR NO 3

Mixed Media on Boxed Canvas | 122 cm x 183 cm

THE ELEVENTH HOUR NO 4

Mixed Media on Boxed Canvas | 122 cm x 183 cm

THE ELEVENTH HOUR NO 5 Mixed Media on Boxed Canvas | 122 cm x 122 cm

THE ELEVENTH HOUR NO 6

Mixed Media on Boxed Canvas | 122 cm x 122 cm

THE ELEVENTH HOUR NO 7

Mixed Media on Boxed Canvas | 122 cm x 122 cm

THE ELEVENTH HOUR NO 8

Mixed Media on Boxed Canvas | 122 cm x 122 cm

THE ELEVENTH HOUR NO 9

Mixed Media on Boxed Canvas | 122 cm x 122 cm

THE ELEVENTH HOUR NO 10

Mixed Media on Boxed Canvas | 122 cm x 122 cm

For use on dark backgrounds

Foruseon lightbackgrounds

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The Eleventh Hour No 1 is a unique piece in many ways, not least because it is believed to be the first painting created utilising altered reality (AR) techniques. Leading AR company Blippar provided the technical support for Scarlett to record every moment of the painting’s journey from blank canvas to the framed finished piece. Simply install the free Blippar app from your app store, open and point it at the painting to watch the creative process unfurl before your eyes. The Eleventh Hour No 1 has been gifted to The Royal British Legion and will be auctioned at their Poppy Ball on the 30 October 2014 to raise funds for the continued work that the charity does to provide practical, emotional and financial support to all members of the British Armed Forces community past and present.

The Royal British Legion is honoured that Scarlett Raven has chosen to donate one of her poignant paintings from The Eleventh Hour collection to be auctioned at the Poppy Ball this year. The 4th August 2014 marked the 100th anniversary of the day Britain entered one of the costliest conflicts in its history, the First World War. The majority of the UK’s population has an ancestor directly affected by that war, with losses felt right across the United Kingdom and the lives of nearly one million men and women sacrificed in service of the British Empire. The Royal British Legion was founded in 1921 by veterans of the First World War, who adopted the poppy as their symbol because these delicate flowers bloomed on the battlefields of Northern France after they had been ferociously churned up during the war, covering the ground where so many of their comrades fell. The fighting ended at 11am on 11th November 1918, following the signing of the Armistice, and that time and date remains etched into our psyche as a nation. Scarlett’s evocative landscape compositions bring the poppy to life, and highlight that this simple flower is a powerful symbol, not only of remembrance but also hope for the future and for peace – a message that is central to the work of the Legion. Today, a century on from the First World War, those serving in the Armed Forces, veterans and their families can still call on the Legion for help as they experience similar problems to 100 years ago, whether living with a bereavement or disability, having difficulty finding employment or coping with financial stress. We are hugely grateful to Scarlett, who through her work can create an emotive response and connection to the subject matter, enabling us to pass the torch of remembrance onto new generations and ensure the memories of those who fought for our freedoms live on. DOWNLOAD BLIPPAR APP FILL SCREEN WITH IMAGE BLIPP IMAGE INTO LIFE!

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THE ELEVENTH HOUR NO 1

Mixed Media on Boxed Canvas | 122 cm x 122 cm

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THE ELEVENTH HOUR NO 11

Mixed Media on Boxed Canvas | 122 cm x 122 cm

THE ELEVENTH HOUR NO 12

Mixed Media on Boxed Canvas | 122 cm x 122 cm

THE ELEVENTH HOUR NO 13

Mixed Media on Boxed Canvas | 122 cm x 183 cm

THE ELEVENTH HOUR NO 14

Mixed Media on Boxed Canvas | 122 cm x 183 cm

THE ELEVENTH HOUR NO 15

Mixed Media on Boxed Canvas | 122 cm x 183 cm

THE ELEVENTH HOUR NO 16

Mixed Media on Boxed Canvas | 122 cm x 183 cm

THE ELEVENTH HOUR NO 17

Mixed Media on Boxed Canvas | 122 cm x 183 cm

THE ELEVENTH HOUR NO 18

Mixed Media on Boxed Canvas | 122 cm x 183 cm

THE ELEVENTH HOUR NO 19

Mixed Media on Boxed Canvas | 122 cm x 183 cm

THE ELEVENTH HOUR NO 20

Mixed Media on Boxed Canvas | 122 cm x 183 cm

BIOGRAPHY

Scarlett Raven is a 28 year old British artist living in England. With a degree in Art from Central Saint Martins, she is one of the youngest artists to have had a solo exhibition in London’s esteemed Cork Street Galleries. Since graduating in 2009, Scarlett has participated in a number of group shows across London, and enjoyed several successful solo shows. Landscapes and seascapes are prominent in Raven’s work, capturing the romance of nature and its ability to affect and reflect human emotion, and its relation to society and the world around us. Her fascination with perspective sees Raven enjoy the exploration of the endless effects it can have on a single scene, and movement is a central theme to her body of work. Here, the viewer’s participation is essential in making it come to life. Using abstract forms, patterns, and sculpture as devices to imply movement and draw the viewer in, encouraging them to lend their imagination to, and establish a presence within, the painting. Her work embodies creation through movement and action. Scarlett has been involved in a number of public projects, including album art work design and charity commissions. She has enjoyed international critical acclaim including ES magazine, Creative Review, Modern Painters, Tate Magazine, Tatler, Time Out and Life Magazine. Popular acclaim is worldwide, with collectors in the UK, Dubai, Miami and Texas, and a number of high profile supporters such as Lord Jonathan Marland, Duffy, Take That, Roxy Music and Orlando Bloom.

EXHIBITIONS

‘Summer Exhibition’, Castle Fine Art, Mayfair, August - September 2014, London, England ‘Summer Solstice’, West Bank Gallery, Art Below, June 2014, London, England ‘Scape’, View Gallery, March - April 2014, Bristol, England ‘Art of Angel’, The Candid Arts Trust, Art Below, January 2014, London, England ‘Art Below’, Underground Gallery, Charing Cross, Regents Park and Bethnal Green Underground Tube Stations, Art Below, October 2013, London, England ‘Flight’, Hay Hill Gallery, April - May 2012, Cork St, London, England ‘Poppies’, Paddington Underground Tube Station, Art Below, September - October 2009, London, England ‘Paint’, The Print House Gallery, September - November 2009, London, England ‘Project Hope, HIV/AIDS Art Exhibition’, January 2009, Montreal, Canada ‘The Seduction of Paint’, Rollo Contemporary Art, November 2008 - January 2009, London, England ‘Sea’, Gaunt Gallery, March 2008, Frome, Somerset, England ‘Oversubscribed’, Lorem Ipsum Gallery, December 2007, London, England ‘Seascapes’, Petley Fine Art, September 2007, London, England ‘Nude’, Covent Garden, March 2007, London, England

The images contained within this literature are an artistic representation of the collection. To best experience our art, we recommend you contact your local gallery to arrange a viewing. © Washington Green 2014. The content of this brochure is subject to copyright and no part can be reproduced withiut prior permission

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