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Sax Impey 'Atlantic'

Fully illustrated publication of the exhibition 'Atlantic' by Sax Impey at Anima Mundi

Fully illustrated publication of the exhibition 'Atlantic' by Sax Impey at Anima Mundi

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Rebecca Harper<br />

The Waters of Dwelling<br />

<strong>Sax</strong> <strong>Impey</strong><br />

. Atlantic


“And as the drop kissed the ocean,<br />

it became the ocean itself.”<br />

Sw. Chidananda Tirtha


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Anima Mundi are delighted to present<br />

Atlantic, the latest solo exhibition by<br />

environmental artist and mariner<br />

<strong>Sax</strong> <strong>Impey</strong>.<br />

<strong>Impey</strong>’s often large scale artworks, are<br />

immersive and elemental, incorporating<br />

precise detail and dexterity with an<br />

expressive, behavioral use of medium.<br />

These works are predominantly<br />

derived from first hand experiences at<br />

sea. Having sailed many thousands of<br />

nautical miles around the world, these<br />

extensive trips continue to have, for<br />

the artist, profound personal resonance,<br />

providing continued creative agency.<br />

This particular body of works result from<br />

two particular facets of sailing in the<br />

Atlantic. The first, the specific conditions<br />

of time and place crossing the Gulf<br />

Stream whilst sailing to New York. The<br />

Gulf Stream runs parallel to the Eastern<br />

seaboard of North America, and then<br />

tends in a more eastern direction to cross<br />

the ocean. The main current also creates<br />

eddies, which loop out and turn back<br />

on itself. Wind, and swell, interacting<br />

with this movement of water, can create<br />

dynamic, sometimes volatile conditions.<br />

Other works draw upon a very different<br />

succession of Atlantic sailing experiences.<br />

As <strong>Impey</strong> describes “The nights when<br />

this mighty ocean, with all its’ flows<br />

and movements, presents itself as<br />

a sheet of mirrored glass. On these<br />

celestial, spectral nights, we sail in two<br />

worlds, the ocean and the Otherworld,<br />

and mythologies of the past present<br />

themselves in the existent moment.”<br />

This often sublime reflection of an artists<br />

unmediated reconnection with the natural<br />

world creates a tableau for our existential<br />

and spiritual focus. An important place of<br />

vicarious insight in to a power far more<br />

significant than our own, yet one we<br />

are aware of being intimately connected<br />

with. Pioneering environmentalist Rachel<br />

Carson wrote, in her 1951 book ‘The Sea<br />

Around Us’, “Eventually man, too, found<br />

his way back to the sea. Standing on its<br />

shores, he must have looked out upon it with<br />

wonder and curiosity, compounded with an<br />

unconscious recognition of his lineage. He<br />

could not physically re-enter the ocean as<br />

the seals and whales had done. But over the<br />

centuries, with all the skill and ingenuity<br />

and reasoning powers of his mind, he has<br />

sought to explore and investigate even<br />

its most remote parts, so that he might<br />

re-enter it mentally and imaginatively.”<br />

At a time of deep rooted ecological<br />

concern, the damage that we continue to<br />

wreak upon our planet, including, most<br />

worryingly, the oceans is no longer a secret.<br />

It is impossible not to observe, inhale and<br />

be consumed by one of <strong>Impey</strong>’s paintings<br />

and not be in awe. In part at an artist<br />

in notable synchronistic unity with his<br />

material and muse, in awe at the profound<br />

ephemeral beauty of the painting so<br />

exquisitely rendered, but mostly in awe of<br />

the palpable power of the subject herself.<br />

A liminal moment has been captured and<br />

so creates an echo. We are humbled, in the<br />

realization that these mighty waters will<br />

remain long after we have left. The damage<br />

that we wreak, we wreak upon ourselves.<br />

Joseph Clarke, 2021<br />

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Squall Study (1)<br />

mixed media on paper, 30 x 60 cm<br />

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Squall Study (2)<br />

mixed media on paper, 30 x 60 cm<br />

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Squall Study (3)<br />

mixed media on paper, 30 x 60 cm<br />

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Passing Rain, Rising Light, North Atlantic<br />

mixed media on panel, 122 x 183 cm<br />

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Rain in the North Atlantic<br />

mixed media on panel, 122 x 183 cm<br />

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Passing Rain, North Atlantic<br />

mixed media on panel, 71 x 104 cm<br />

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North Atlantic, Rain<br />

mixed media on panel, 71 x 104 cm<br />

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Rain, and Distant Light, North Atlantic<br />

mixed media on panel, 91 x 122 cm<br />

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Gulf Stream Squall (2)<br />

mixed media on panel, 122 x 183 cm<br />

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Gulf Stream Squall (3)<br />

mixed media on panel, 122 x 183 cm<br />

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Gulf Stream Squall (4)<br />

mixed media on panel, 91 x 122 cm<br />

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Gulf Stream Squall (5)<br />

mixed media on panel, 60 x 122 cm<br />

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At Sea, Lights and Visions (1)<br />

mixed media on paper, 30 x 60 cm<br />

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At Sea, Lights and Visions (2)<br />

mixed media on paper, 30 x 60 cm<br />

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At Sea, Lights and Visions (3)<br />

mixed media on paper, 30 x 60 cm<br />

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38ºN 69ºW (Study)<br />

mixed media on paper, 30 x 60 cm<br />

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Gulf Stream Squall, 38ºN 69ºW<br />

mixed media on panel, 122 x 244 cm<br />

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Atlantic Green (1)<br />

mixed media on paper, 30 x 60 cm<br />

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Atlantic Green (2)<br />

mixed media on paper, 30 x 60 cm<br />

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Atlantic Green (3)<br />

mixed media on paper, 30 x 60 cm<br />

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Atlantic Green (4)<br />

mixed media on paper, 30 x 60 cm<br />

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Atlantic Green (Study)<br />

mixed media on paper, 15 x 30 cm<br />

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Rain Curtain, North Atlantic (1)<br />

mixed media on panel, 30 x 60 cm<br />

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Rain Curtain, North Atlantic (2)<br />

mixed media on panel, 30 x 60 cm<br />

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Rain Curtain, North Atlantic (3)<br />

mixed media on panel, 30 x 60 cm<br />

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38ºN 69ºW<br />

mixed media on paper, 90 x 122 cm<br />

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Tir fo Thuinn<br />

mixed media on paper, 30 x 60 cm<br />

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Nocturne<br />

mixed media on paper, 30 x 60 cm<br />

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Cold Night (1)<br />

mixed media on paper, 15 x 30 cm<br />

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Cold Night (2)<br />

mixed media on paper, 15 x 30 cm<br />

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Burning Sea<br />

mixed media on paper, 30 x 60 cm<br />

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Nights of Glass (1)<br />

mixed media on paper, 30 x 60 cm<br />

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Nights of Glass (2)<br />

mixed media on paper, 30 x 60 cm<br />

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Nights of Glass (3)<br />

mixed media on paper, 15 x 30 cm<br />

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Nights of Glass (4)<br />

mixed media on paper, 15 x 30 cm<br />

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Selected Biography<br />

<strong>Sax</strong> <strong>Impey</strong> is a British artist born in Penzance, Cornwall.<br />

He currently works from one of the prestigious<br />

Porthmeor Studios in St. Ives. From 2005, he has<br />

collaborated with the cross-cultural, environmental<br />

art group Red Earth in the creation of site-specific<br />

installations including a multi media performance at<br />

Trafalgar Square, London and Birling Gap in Sussex.<br />

In 2007 <strong>Impey</strong>’s work was selected for the ‘Art Now<br />

Cornwall’ exhibition at Tate St Ives where he was<br />

placed on the cover of the associated publication.<br />

The same year he was heralded in The Times as one<br />

of the ‘New Faces of Cornish Art’. In 2010 he was<br />

featured in Owen Sheers’s BBC4 Documentary ‘Art of<br />

the Sea (In Pictures)’ alongside Anish Kapoor, J. M.<br />

W. Turner, Martin Parr and Maggi Hambling among<br />

others. His work was selected as a finalist the 2013<br />

Threadneedle Prize and the year before was elected an<br />

Academician at the Royal West of England Academy.<br />

Most recently <strong>Impey</strong> was included in ‘The Rime Of<br />

The Ancient Mariner : Big Read’ project alongside<br />

artists including Glenn Brown, Linder, Cornelia Parker,<br />

Marina Abramović, Yinka Shonibare, Charles Avery,<br />

Gavin Turk, Fiona Banner, Mark Dion, Derek Jarman,<br />

William Kentridge and John Akomfrah accompanied<br />

by readings from renowned voices including Jeremy<br />

Irons, Willem Dafoe, Hilary Mantel, Simon Armitage,<br />

Tilda Swinton, Iggy Pop, Marianne Faithfull, Alan<br />

Cumming, Rupert Everett and Alan Bennett. <strong>Impey</strong>’s<br />

paintings are in multiple collections including The Arts<br />

Council, Warwick University, the Connaught Hotel and<br />

the collections of Roman Abramovich and Lady Victoria<br />

Getty alongside other private collections worldwide.


Published by Anima Mundi to coincide with <strong>Sax</strong> <strong>Impey</strong> ‘Atlantic’<br />

Exhibition supported by<br />

All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or<br />

by any means electronic, mechanical, photocopying, recording or otherwise without the prior permission of the publishers<br />

Anima Mundi . Street-an-Pol . St. Ives . Cornwall . +44 (0)1736 793121 . mail@animamundigallery.com . www.animamundigallery.com

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