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CAREY MORTIMER

Born 1962

Education

1990/1 Duncan of Jordanstone College of Art, Dundee, Scotland – MA in Public Art and Design.
1989 Il Laboratorio per Affresco, Prato, Italia – studied under Leonetto Tintori.
1984/86 City and Guilds of London Art School- Diploma in Decorative Arts.

Exhibitions
2017 Thackeray Gallery, London – Solo
2017 London Art Fair, Jan 2017
2015 Thackeray Gallery, London – Solo
2014 Ab Ovo Gallery, Todi, Umbria, Italy
2014 London Art Fair, Jan 2014
2013 Thackeray Gallery, London – Solo
2012 London Art Fair 2012
2011 Beaux Arts Bath
2010 Thackeray Gallery, London – Solo
2009 Freshair 2009, Cotswolds
2008 Thackeray Gallery, London – Solo
2006 Thackeray Gallery, London – Solo
2004 Thackeray Gallery, London – Solo
2004 Glyndebourne Gallery, Sussex
2003 Glyndebourne Gallery, Sussex.
2002 Thackeray Gallery, London-solo.
2002 Beatrice Royal Gallery, Hampshire
2001 Thackeray Gallery, London-solo.
2001 Stephen Lacey Gallery, London.
2000 Thackeray Gallery, London-solo.

1999 Quay Art Centre, Isle of Wight.
1999 East West Gallery, London.
1998 Thackeray Gallery, London-solo.
1997 Lamont Gallery, London.
1996 Thackeray Gallery, London – solo.
1995 Thackeray Gallery, London – solo.
1995 Art Rages Gallery, Amsterdam.
1994 Sue Rankin Gallery, London – solo.
1994 Royal Academy of Arts, Summer Show, London.
1991 Smiths Galleries, London.

Teaching
2008 – present: Courses held in studio, Bosa, Sardinia
2009 Fresco project with Scuola Elementare, Bosa
2006 Advanced fresco techniques, Quay Arts Summer School, Isle of Wight
2005 Egg tempera course, Quay Arts Summer School, Isle of Wight
2004 Fresco course, Quay Arts Summer School, Isle of Wight
2004 Ancient techniques, Dedalo Arts, Toscana, Italia
2003 Fresco course, Quay Arts Summer School, Isle of Wight
1998 Children’s fresco project, Servite School, London.
1995 Fresco course, The School of Visual Arts, London.
1992-1997 Part time teaching at City and Guilds of London Art School.

Commissions and Residencies
2016 Portable Frescoes, Umbria, Italy.
2002 Yar River Trail, Source to Mouth commissioned by Island 2000 Trust, Isle of Wight.
2002 Dedalo Artists Residency, Italy.
2001 Colle Verde Artists Residency,Italy sponsored by Southern Arts.
2001 Artist in Residence at Farleigh Hungerford Castle, Bath – English Heritage Year of the Artist.
2000 ‘Shell’, an external wall sculpture, Conquest Hospital, Hastings.
1999 ‘Food Chain’,an external wall sculpture for Island 2000 / J Sainsbury plc, Newport, Isle of Wight.
1998 ‘Cell Division’, a wall relief, and ‘Fertilisation’, a painting for maternity unit, Conquest Hospital, Hastings.
1997 Artists residency, maternity unit, Conquest Hospital, Hastings.
1996 12mx9m fresco,hydrotherapy unit, Conquest Hospital, Hastings.
1995 Paintings for Chelsea and Westminster Hospital, London.
1993 Three month expedition to Guyana as artist with Raleigh International.
1991 Sculptures for South of the River Show, Bristol.
1990 Murals in AIDS babies’ wards and orphanages, Bucharest, Romania.

Restorations
2012 18th century ceiling paintings in Palazzo, Bosa, Italy.
2013 18th century ceiling paintings in Palazzo, Bosa, Italy.

Artists Statement.
‘Carey Mortimer has been living and working in Italy for the last ten years, although it has perhaps been her spiritual home for far longer. The techniques which have essentially captivated her from her early days at City and Guilds of London Art School in London, through her global work and travels, teaching and public artwork, are those favoured by the artists of the Renaissance. Here is a contemporary British painter who uses these ancient techniques not only to convey her very modern concerns, but also who enjoys the sense of irony evoked by this extraordinary marriage of old and new. Her work recalls an age where Art, Philosophy, Science, Maths and Theology were inextricably linked.
Alongside Carey’s intuitive symbolism there is an intellectual narrative – a response to the environmental concerns of the planet and her own reactions to that. Notably, the images themselves often have an arcane quality, which is further reinforced by their deliberately manufactured antiquity. The feeling often is, that these images may not be contemporary at all, but relics from a past civilization, and we the viewer looking back at them from a future world.
These souvenirs of planet Earth, these delicate, exquisite relics are a tribute to Carey’s ability to transform what are often bleak issues, into works of consummate skill and lightness. They are a testimony to transience, a moment of calm before the storm, a nod to history , a reminder of our insignificance and an affirmation of our worth.’
Gabriella Dawnay.

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