All work and images © Michael Andrew Page

Contact: michaelandrewpage@yahoo.com

Instagram: michaelandrewpage

Born 1989, Northampton, UK

Lives and works in London

 

2012-2014   Royal College of Art, London, MA Painting

2008-2012   Slade School of Fine Art, UCL, BA Fine Art

2007-2008   Byam Shaw School of Art, UAL, Foundation

 

 

SOLO EXHIBITIONS

 

2019    FYSSHYNGE, Gao Gallery, London UK

2015    Art Rotterdam 15, Edel Assanti, Rotterdam, NL

2014    Count the leaves in Vallombrosa, Edel Assanti, London, UK        

 

SELECTED GROUP EXHIBITIONS

 

2018    Group Show, Gao Gallery, London, UK

            Xenia Bond, Valerie Kong, Michael Andrew Page, Sam Risley, Joel Wycherley, Yi Zhang

2017    The Sleeping Procession, Cass Sculpture Foundation, UK

            Curated by Sean Steadman & Gabriel Hartley

            Matt Ager, Rebecca Ackroyd, Marijke Appleman, Alvarro Barrington, Sara Barker, 

            Anthony Caro, Stewart Cliff, Karen di Franco, Kira Freije, Elizabeth Frink, Cristina 

            Garrido, Peter Hide, Sebastian Jefford, Phillip King, Hannah Lees, Eddie Martinez, 

            Ellis O'Connell, Michael Andrew Page, Eduardo Paolozzi, Peter Peri, Peter Lazlo Peri,

            Dieter Roth, Alex Scarfe, Lindsay Seers, Frederick Sommer and Bill Woodrow

2016    Shrines to Speed, Leila Heller Gallery, New York, USA

            Curated by Vivian Brody and Alexander Heller

            Ron Arad, Arman, Daniel Arsham, John Baldessari, Jean Michel Basquiat, Robert

            Bechtle, Bruce High Quality Foundation, John Chamberlain, Bruce Davidson. Wim

            Delvoye, Richard Diebenkorn, William Eggelston, Richard Estes, Nick Farhi, Louis

            Faurer, Sylvie Fleury, John Aaron Frank, William Gedney, Dennis Hopper, William

            Klein, Jeff Koons, Jacques Henri Latrigue, Arthur Leipzig, Nate Lowman, Jonathan

            Monk, Robert Olsen, Ruth Orkin, Kaz Oshiro, Michael Andrew Page, Raymond

            Pettibon, Jack Pierson, Richard Prince, Dana Powell, Rob Pruitt, Robert

            Rauschenberg, Ed Ruscha, Salvatore Scarpitta, Blair Thurman, Robert Williams,

            Andy Warhol, Aaron Young

2015    The Frivolous Now, Alon Zakaim Fine Art, London, UK

            Dylan Lynch, Chloe Wise, Carly Mark, Joe Kay, Michael Andrew

            Page, Nick Farhi, Charles Lutz, Julio Felix, Nicole Reber, Ahmet

            Civelek, Henry Levy (Curated by Julio Felix, In Conjunction with

            Young And Starving)

2014    Starter (Curated by Andrew Stahl), L’Escargot, London, UK

            RCA SHOW ’14, Royal College of Art, London, UK

            Dean’s Suite, (Group) Royal College of Art, London, UK

            Stewart’s Law RCA Secret, Royal College of Art, London, UK

2013    PNTG NOV, Royal College of Art, London, UK

            RCA Secret '13, Royal College of Art, London, UK

            Notes to Self, Dyson Gallery, Royal College of Art, London

            RCA Interim Show, Royal College of Art, London, UK

2012    Slade School of Fine Art BA/BFA Degree Show, London, UK

2010    Jerwood Drawing Prize 2010, JVA Space, London, UK

            The Arts Club Members Exhibition, London, UK

            Open Studios, Slade School of Fine Art, London, UK

            The Common Room, Mare Street Studios, London, UK

            Off Modern, Corsica Studios, Elephant & Castle, London, UK

2009    Start, The Rag Factory, London, UK

 

RESIDENCIES

 

2014    Land Securities Studio Residency, Bow Arts Trust, London, UK

 

AWARDS/SCHOLARSHIPS

 

2014     Land Securities Studio Award, London, UK

2014     Chadwell Award, Shortlisted Artist, London, UK

2011     Osborne’s Solicitors Art Prize, Shortlisted Artist, UK

2010     Jerwood Drawing Prize, Shortlisted Artist, JVA, London, UK

2010     Excellence in Drawing Award (First Prize), Dover Street Arts Club,

             London, UK

2009     Excellence in Drawing Award (Runner-up), Dover Street Arts Club,

             London, UK

2009     Painting Scholarship Prize, Slade School of Fine Art, UCL, UK

2009     Sir Andrew Taylor Prize for Fine Art Research, UCL, UK

 

 

BIBLIOGRAPHY/PRESS

 

2016   Shrines to Speed, Leila Heller Gallery, NY (Publication)

2015   The Frivolous Now, Wall Street International Magazine (Online)

2014   Michael Andrew Page: Count The Leaves in Vallombrosa, Kolekto

           Magazine, Will Davie, (online)

2014   Michael Andrew Page Cut and Pastes Cultural History at Edel Assanti

           Artsy Editorial, Hannah Gregory.

2014   Martian Sunsets are Blue, RCA Show 2014 Painting Catalogue,

           Emmerson Press, UK

2013   Pageobium, Self-Published Risograph Fanzine, RCA Thesis

2011   Papa Jupiter And The Primal Horde: An Institutionalized Context of

           Anthropophagy Self-published edition of artist writing, Michael Andrew

           Page.

2010  Jerwood Drawing Prize 2010 Catalogue, Ed. Siobhan Kneale.

 

 

 

CURRENT: FYSSHYNGE, Gao Gallery, London, UK

27th September - 2nd November 2019

Was it for this
That one, the fairest of all Rivers, lov’d
To blend his murmurs with my Nurse’s song,
And from his alder shades and rocky falls,
And from his fords and shallows, sent a voice
That flow’d along my dreams?

–—William Wordsworth


 

FYSSHYNGE is an exhibition that deals with flows of time.


Fishing boxes drawn in monumental scale, they evoke platonic solids-cum-architectural follies. Extremities kissing the perimeter of drawn space, they are realised in maniacal crosshatched detail. These are plans saturated in labour-time, lovingly and tortuously rendered but once finished emerging into an atemporal repose. Fixed in perspective the boxes are all that seems to exist, no relational scale objects, no rulers of measure, the expanse of water they would normally face is left mysteriously absent. In this sense they are akin to a mathematical object, the intense and repeated focus across these series of box drawings gives an odd quality. They feel a little like a Boltzmann Brain 1, fanciful and perverse, floating free.


Such flights of the imagination seem to spring from drawing, paper is for a child the first place to enact desires, a portal to watch the interior life becomes concrete. Indeed, the particular perspective of the boxes is perpendicular to the sightline of a child crawling, every detail and crevice is investigated with incredulity. However unlike a small child, who’s impulse is to taste their world, these are studies against the olfactory. They intend to vivisection a slice of remembered time, they are distillations; crystalline.  


One gets the sense with Michael Page’s work that there is an encoding of information, intuitive rather than algorithmic but based on principles and hidden rules. In the clock drawings comprised of collaged paper fixed to plate steel with magnets, the letter N appears slotted into the compositions. ‘N’ is an algebraic substitute for a hidden value. There is a sense with all the work of the personal and private realm of drawing, an audience of one. This quality is convergent with the tradition of the illuminated manuscript or alchemist, the drawn page being an intersection of the transcendent. Interested in the Antiquarian movement Page relates to the era of science at its most private and personal, the figure of John Leland walking the landscape and making drawings of the standing stones and churches of England echoes in the background of his own personal codex of drawings. The sinewy concourses of the Paroxysmal series evoke parabolic forms from nature, river bends or snakes’ bellies, they are of course also calligraphic and cartographic, like the fishing box drawings their size appears scalable. 


Brice Marden said painting’s power is in the simplicity of the fact that “It stays that way, you’re different but it’s the same, you can go back to it.” This seems particularly pertinent with FYSSHYNGE as the drawings contain the potential of their conversion into objects or equipment, but they are presented as-is, precise and quiet. In many ways it is an exhibition about absences, that which is left out gives ballast to what is visible. These are drawings of prosthetics, once ink is put onto paper it has the indelible quality of being persuasively ‘real’, hence the mistrust in oral traditions of the written word. It defies aging. Drawing’s resonance with the mind is seamless like that of words, we are happy to live in its spaces and time without realising we have left our own.


1. Theoretical object proposed under the condition of an infinite timescale, in which particles in the void of space would form any object at random no matter how unlikely, including one hundred billion neurons in a brain.