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ART BRUSSELS 2025
Galerie Kandlhofer BOOTH 6D-08 -
HARMINDER JUDGE
Harminder Judge b.1982 Rotherham, UK/ Lives and works in London, UK. He graduated from the Royal Academy Schools, London in 2021.Imbued with an indelible vibrancy and depth, Harminder Judge makes transportive sculptural works that simultaneously reference Indian neo-tantric painting, as well as the abstract expressionist and colourfield movements of the 20th century. His alchemical process involves layering pigments into pools of wet plaster followed by prolonged periods of excavation; sanding, polishing and oiling. Culminating in expansive modular panels, and ineffable shapes which seem to hover off the wall, colour, forms, and compositions are allowed to reveal themselves and intensify over time. -
Harminder JudgeUntitled, 2025Plaster, polymer, pigment, scrim, oil200 x 200 x 4 cm
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Over the last few years Harminder’s titles often serve as reference points to a pivotal and formative moment in his teenage years. Arriving in Amritsar, Punjab at the age of 15, Harminder made the journey to his family’s village in Attowal where he took part in the funeral rites of his Grandfather who had recently passed away. This involved intimate rituals such as undressing and washing the body, preparing the cremation pyre on the family sugarcane farm, tending the burning pyre throughout the night under a blanket of stars, and collecting his Grandfather’s ashes, bone fragments and jewellery in the hazy morning sun. This physical and spiritual transformation of body becoming ash, of material becoming immaterial, physical becoming metaphysical, are concepts that tacitly underpin his practice.
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Harminder Judge Untitled, 2025 Plaster, polymer, pigment, scrim, oil 200 x 200 x 4 cm (Details)
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Made in a sort of ‘hands free’ manner the somewhat belligerent iconographic paintings by Harminder Judge, are as much a matter of relief as paint.
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The work with imagery, in Judge’s case a splattering, or mass, of pigment suspended within its own physical volume, a swarm of flies caught in aspic, in an apparently indirect manner. The subject and direction is petrified within a build-up of material and the work functions in a back to front manner, with the work reflecting gestural movement. The iconic, shift, rivulet of action, put in from behind or on top, arrives fixed and finite and front of stage, as it were, with hard surface, and diffuse action held still. The gesture is suspended, frozen in time, when turned from upside down and around to face us. So, like the director of an opera, the artist achieves total revelation only after the curtain has lifted at the dress rehearsal. Made up of many gestures and moments, after copious process and care, the instant breath or cross section of reaction is revealed with colour making up an image delivered all at once. Works by Judge allude to the gesture of expressionism but also to a statement that comes, perhaps, from elsewhere. Loose powdery material leaves a trace, like a script or language of painterly ambition.
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Harminder Judge Untitled, 2025 Plaster, polymer, pigment, scrim, oil 200 x 200 x 4 cm (Details)
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HANNAH PERRY
Hannah Perry (b.1984, Chester, England) lives and works in London. Perry received her BA in Fine Arts from Goldsmiths College, University of London and her MA from The Royal Academy of Art, London.Hannah is a British artist working mainly in installation, sculpture, print and video. Continuously generating and manipulating materials (footage, sound clips, images and objects) Perry develops a sprawling network of references, carefully exploring personal memory in today’s hyper- technological society whilst bending back the systems of representation via hyperactive distribution. Perry is guided by music or speech, repetition, focalisation and deceleration, revealing the strength of our personal investment in images of the illusory (youth, power, sex, taste, lifestyle) as well as the prescriptive nature of these desires. -
Perry’s use of arguably heavy materials and the physically robust connote industrial fabrication and this is by no accident – her immediate family, her brother and uncle, were welders. Littered with biographical and gendered centric references – the repeated presence of cars, clothing, and subjects – her work unfolds discussions about identity and investigates the complexity of the body.
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Hannah Perry
Viennese Waltz, 2025Aluminium, autobody paint
95 x 80 x 5 cm
37 3/8 x 31 1/2 x 2 in -
Solo exhibitions include: Manual Labour, Baltic Centre of Contemporary Art, Newcastle (2024-5); NTNT, Chester Contemporary, Chester (2023); The Momentary, Crystal Bridges Museum of Modern Art, Bentonville (2021); A Smashed Window and an Empty Room, Kunstverein Hamburg (2019); GUSH, Towner Gallery, Eastbourne (2019); Liquid Language, MOCA Toronto (2019); GUSH, Somerset House, London (2018); Rage Fluids, The Künstlerhaus, Gratz (2018); Viruses Worth Spreading, Arsenal Contemporary, New York (2017); 100 Problems, Contemporary Fine Arts, Berlin (2016); Present/Future, Artissima, Turin (2015); Mercury Retrograde, Seventeen, London (2015); Hannah Perry, ICA London (2015); You’re gonna be great, Jeanine Hoffland, Amsterdam (2015); Steve Turner, Los Angeles (2015)
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Hannah Perry Viennese Waltz (right) & Metal Gear Solid (left), 2025 Aluminium, autobody paint 95 x 80 x 5 cm (each)
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Hannah Perry is selected for The Screen programme at Art Brussels 2025.
The Screen is a new curated screening programme at Art Brussels 2025 dedicated to video art. This initiative offers participating galleries the opportunity to present a video work by one of their artists, fostering deeper engagement with time-based media within the fair’s dynamic setting.
A professional jury, composed of Eliel Jones (Curator of Performance and Time-based Media at KANAL-Centre Pompidou) and Brussels-based filmmaker Alex Reynolds, have carefully reviewed the submissions by galleries and selected six standout video projects. Each selected work will be given a dedicated one-hour screening slot at the Tribune at the fair, ensuring maximum visibility for fair attendees. With two screenings per day from Friday to Sunday, The Screen establishes a focused space for video art, enriching the visitor experience and highlighting the medium’s significance in contemporary artistic practice.
By introducing The Screen, Art Brussels reaffirms its commitment to showcasing diverse artistic expressions, further cementing its position as a key meeting point for collectors, curators, and art enthusiasts.Screening: Friday 25 April, 5:30 pm
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Hannah Perry, Manual Labour, 2024
Hannah Perry, Manual Labour, 2024
Past viewing_room
