At the end of a quaint, cobbled street just behind a gaggle of pubs that make up Shoreditch’s beating heart, lies a new kind of nucleus – one for the art world: a gallery ready to shake up and spit out the institution. A beacon of fluorescent green, Haricot Gallery, founded by Constance Read and Harry Raikes, replaces the art world’s out-of-date fetish for stuffy white walls and you-can-only-understand-this-exhibition-text-if-you’ve-done 5-PHD’s kind of attitude for Instagrammable neon soaked interiors and exhibition guides that actually, you know, make sense. And last night, they previewed their new show, ‘Up Close and Personal’, to a hoard of twenty-somethings accessorising with a glass of wine in the 31 degree September heat.

Navigating the more intimate things in life and hushing out the world’s white noise, this exhibition encourages you to put down your phone for a minute and zoom in on what actually makes life, well, beautiful: the smaller things. Showcasing the profound closeness and intimate details of the works of Maisie Cousins, David Surman, Jessica Rose Bird, Kevin Ford, Mingxuan Zhan, Yulia Zinshtein, Alfie Kungu and András Ladocsi, ‘Up Close and Personal’ catapults you into the fragility, delicacy and emotional gravity of, simply, paying attention. Think wasp-infested cherries and glitter-bombed butterflies, smudged rainbows of dancing figures, entangled bodies, stolen kisses and a mirage of tongue-wagging dogs. Ahead of the exhibition’s opening to the public today, Wonderland sat down with Haricot Gallery’s founders and a handful of the exhibited artists to chat about what sets the artworks – and the gallery – apart from the rest.

CONSTANCE READ AND HARRY RAIKES, HARICOT GALLERY’S FOUNDERS.

Tell us a bit about Haricot gallery. What does Haricot gallery do differently to other galleries?
Constance Read and Harry Raikes: In February 2023, Haricot Gallery opened its doors at 2 Blackall Street, Shoreditch, East London. We founded the gallery with a clear mission: to transform the way art is experienced. We had too many examples of going to galleries and feeling nervous and uncomfortable inside. The cold, eerie environments made it nearly impossible to engage with and celebrate the artwork. We wanted to completely change the narrative. This clear mission defines everything we do and ultimately sets us apart. Engaging with art should be incredibly warm, fun, exciting, and transparent. We aim to build a space for every exhibition that accomplishes just that. When we opened the gallery, one room was painted completely pink, and the other blue. We felt that moving away from the traditional ‘white cube’ would create a far more welcoming atmosphere, and it did. Regarding the exhibition text, we make sure it’s written in a way that doesn’t alienate anyone. There is nothing worse than going to an exhibition and finding the text has the most ridiculous and far-fetched connection to the work on show. As for pricing, we always have our prices out and available with the exhibition text. We aim to be as transparent as possible. Prices are often a taboo topic in the art world, with galleries hiding information, and everyone getting a different price depending on who they are. It’s a game we are not willing to play. We are proud to go against the traditional model and can’t wait to see where it takes us.

Can you tell us about the inspiration behind the theme ‘Up Close and Personal’ for this exhibition?
Constance Read and Harry Raikes: The inspiration revolved around the artists themselves. When we encountered the individual works of each artist, we knew that we had to work with them. It felt like a serendipitous moment when all eight names were on the same page. It initially felt daunting and intimidating, but it was incredibly exciting because we knew that if we got this right, it could be truly special. We then delved deeper into the process of learning more about the artists and their works. What stood out consistently was the recurring theme of closeness and intimacy interwoven into their creative narratives. Whether it was reflected in the artist’s unique perspective, their choice of subject matter, or the emotional resonance embedded within their works, the notion of ‘getting up close and personal’ was a common thread. This essence became the central force behind the exhibition and led to the perfect title, ‘Up Close and Personal.’ It’s about inviting our audience to move beyond the surface, to explore the intricacies and the emotions that are in each piece.

The exhibition features a diverse group of artists with unique perspectives. Why did you choose works that contrast, complement, and intersect with each other?
Constance Read and Harry Raikes: When planning the group show, we intentionally brought together a diverse group of artists working across various mediums, such as works on paper, canvas, and photography. Our aim was to utilise these contrasts to create a dynamic and engaging experience for viewers. It’s unpredictable and exciting to have a subdued canvas work placed next to a vivid and provocative photograph. This deliberate juxtaposition is unpredictable, and that’s key for an exciting show. The range of works is exciting, but we also have to make sure there is a dialogue among the artworks. Each of the eight artists in this exhibition brings their unique visual language and colour palette. However, whether through shared subject matter, perspectives, or levels of intimacy, there is a common thread that connects these works. This cohesion is vital for a group show, without it the works don’t complement each other. It ends up being messy and falling flat.

Finally, what does intimacy, within art, mean to you?
Constance Read and Harry Raikes: For me, it’s all to do with the depth of the piece. I want to look at something that pushes me to dig further than the surface level. When you begin to ask questions and explore, you start to become closer to that work.

ANDRÁS LADOCSI, DAVID SURMAN, JESSICA ROSE BIRD, YULIA ZINSHTEIN, ARTIST’S IN ‘UP CLOSE AND PERSONAL’.

How would you describe what you do and why you do it?
András Ladocsi: I feel great happiness when I am taking images, especially of people. It helps me to gain and collect things that I couldn’t otherwise.
David Surman: I’m an artist and I make art because I’m an artist. It’s not about motivation for me, it’s a way of being.
Jessica Rose Bird: Primarily working as a fashion illustrator or with clients in the fashion industry, my work seeks to capture a moment in time, not driven by trends or seasons, but instead focusing on those brief moments of stillness, intimacy and connection in a fast paced, ever evolving industry.

What initially drew you to art, and how did you discover your unique style and subject matter?
András Ladocsi: Honestly, I wanted to go to the same university as my friends and on the way I found photography as a tool that I could use to get in and stick with them.
David Surman: I started making pictures at a young age and got positive responses, and this became a feedback loop that nourishes you and makes you want to do more. Subject matter isn’t really a choice unless you force it. For me, I just follow my impulse toward nature.
Jessica Rose Bird: I’ve drawn since I was very young but studying fashion design at art school really opened up that previously unknown world to me. Combining a fashion subject matter with my love for art came slightly further down the line, albeit naturally, just through interest/exposure to that industry. In terms of style, working in environments such as live events or backstage at fashion shows means I need to work quickly, capturing my subject in a matter of minutes. My style has evolved through experimentation – trial and error working out the most effective way to record those snapshot moments, without loosing any of the energy present in that moment or the buzz of the surroundings.

Do you remember the first piece of art that moved you?
András Ladocsi: We had a postmodern sofa in our weekend house and I always loved the graphic design on it.
David Surman: Pinocchio (1940) by the Walt Disney animation studio, which was rereleased in the cinema in the 1980s. I felt the presence of art coming from the screen and afterwards it made me want to draw so much.

Could you share some insights into your creative process? How do you go about conceptualising and producing your work?
András Ladocsi: I usually start to work with something that interests me and when I have a larger amount of work then it’s easier to find its own concept in it. Starting with the concept can easily mislead my way of thinking.
David Surman: I tend to have lots of materials around: fresh canvases, mixed colours, charcoal. Then I stare at the blank canvas until I have an idea. Ideas are not the same as meanings, an idea can be a pure thing, a leg or an eye in a certain colour and with a certain brush-mark. I guess it’s very basic, I don’t deliberately research, I rely on what’s in my head.

Congratulations on being part of Haricot Gallery’s ‘Up Close and Personal’ exhibition. What excited you about being a part of it?
András Ladocsi: When Harry showed me the selected artists, I was already moved. It’s a great pleasure to be part of a talented group of people like this.
David Surman: The gallery made a really clear pitch on this curatorial theme of intimacy, and had assembled a group of artists I thought was really interesting. That’s enough to want to be involved.
Yulia Zinshtein: Thank you!! Besides the strong selection of talented artists, I had seen the previous group show and was excited by the prospect of working with Haricot. They approach their shows and conversations with care.

How does your work grapple with the theme of being ‘Up Close and Personal’?
András Ladocsi: I think my ongoing work is based on this theme now so it’s a nice coincidence. My ongoing project focuses on the relationship between a person and their environment. Through this project, I intend to examine how we are connected, in the same space, and how the actions and behaviour of each individual are affected by the collective. My work seeks to explore the inner depths of human beings and the power of the environment around us; how we all live in a place of connectedness, no matter how far we travel or how isolated we become. This shared connection and experience is unique, yet we all recognise what it looks and feels like. Through my work, I want to bring to light the intensity and resilience of the human spirit, captured in the moments where we are pushing our bodies and minds to reach our highest potential. Ultimately, my work is a celebration of life and the interconnectivity of our shared existence.
David Surman: I make paintings where you can usually see how it is made, the charcoal line and the brush-mark, so you’re sensing the body that made the picture at the same time as the subject matter. Nowadays, I paint animal bodies and they tend to be big in the composition, emphasising looking and moving.
Yulia Zinshtein: I really enjoy the performance of romance, the ridiculousness of rom-coms and the campiness in it. The piece in the show is a nod to that, you see two figures kissing in the cinema, hopefully unlocking some of your own teenage memories.
Jessica Rose Bird: The works we’ve selected for the show are some of my sketches from a Roksanda show during London Fashion Week in 2021, I’ve had the pleasure of drawing live backstage at her shows for a number of years now. To have that access behind the scenes – up close and personal with the clothing, models, hair and make up – there’s so much energy and excitement, I have the opportunity to create work with my own unique viewpoint, a moment in time shared with a particular model waiting to go out on the runway or sat waiting for their make up touch up. I have control over the composition, I can take my own images and I’m exposed to details that may not otherwise be captured by a photographer backstage. It’s a personal reportage of the event. This particular season was modelled by dancers, using charcoal and a looser intuitive drawing style incorporating blind drawing techniques I wanted to capture the relationships between the dancers, the pace of the environment, the clothing and the movement.

What does intimacy, within your work, mean to you?
András Ladocsi: It means that I gained trust with the person I am collaborating with.
David Surman: The idea is to show a body that wriggles in your mind, it’s an intimate thing. Paintings are sensual objects, and when you paint figuratively and you show eyes, hands or paws, noses, they bring to mind our own bodies.
Yulia Zinshtein: I think about the desire of intimacy and love all the time, I feel there’s a level of embarrassment within that. Intimacy is so important – that became painfully obvious out of lockdown days. I’m trying to proudly say I love, love and intimacy!