In mid 2017, Gina was commissioned to create artwork for the brand new Hoxton Hotel in an 18th Century residence in the 2nd arrondissement in Paris.

Gina created 3 new works for the collection from her Incremento series. The pieces were photographed in abandoned French chateaus near to Paris.

The work can be seen via appointment – info@ginasoden.co.uk

Photo Credit: The Hoxton

Photo Credit: Adam Bridgland

Artworks in order –

Paliers ​D​’arrivée, 2017, 78 x 59cm mounted and framed, Edition of 15

Escalier Bleu, 2017, 78 x 59cm mounted and framed, Edition of 15

Chambre Degrade, 2017, 78 x 59cm mounted and framed, Edition of 15

Members of the final panel admiring Heja Rahiminia‘s Looking for Utopia: Refugees series.

The Rise Art global judging panel, featured 9 acclaimed artists – including Gavin Turk, Fiona Banner and Richard Wilson – and renowned curators and arts journalists. They viewed the works in person on the night. After much deliberation, the judges cast their votes.

Gina’s winning photograph of an abandoned sanitorium was described as “an exquisite observer of beautiful decay” by judges who crowned her

UK Artist of the Year and Photographer of The Year.

Gina’s photo was hand picked by photography legend David Bailey along with the other judges on the panel, Harland Miller, Ben Eine, Gavin Turk and Fiona Banner who recognised her ‘creative excellence, original ideas and technical skill’.

Gina Soden’s winning photo Klinik

Press – https://www.riseart.com/article/2018-02-09-art-collections-announcing-the-rise-art-prize-winners

https://www.countryandtownhouse.co.uk/culture/rise-art-prize-2018-winners/

https://www.luxuriousmagazine.com/2018/02/gina-soden-rise-art-prize/

Gina created 8 new works for the collection, using archival imagery of the workers building the foundations of the bank in 1928.
130 framed works were then placed in half of the 256 bedrooms.

The work can be seen via appointment – info@ginasoden.co.uk

Soden selects imagery from her journeys into abandoned territories and buildings throughout Europe and hand prints them onto the kind of rough surface she might have encountered on site when taking the original photograph. The work is then further developed through a process of corrosion as well occasionally the addition of gold leaf.

These works are original and take Soden’s journey one stage further beyond finding and capturing the extraordinary locations. Now the artwork will manifest itself in an organic way through the manipulation of various tools, chemicals, brushes, rollers, pliers, blowtorches and sanders.

The series title is invented from combining corrosion (evident from the decayed surface quality) and collodium which was an early photographic process used on tintypes and glass.

Soden’s work is typically recognised for symmetry and precision of composition. However, in this series, she puts herself in an uncomfortable position as the pursuit of the ideal and the perfect is no longer the aim. Instead the process is unpredictable and Soden has had to learn how to develop and incorporate beautiful accidents in her practice. The artist has gone from camera and tripod to a gas mark wearing experimenter.

The artist’s objective has always been to transport the viewer to locations she discovers, to demonstrate the beauty of decay and the poetry of ruins. Corrodium allows her to continue in this quest with a completely new and unique visual language. The work rewards longer looking and there is a new duality to the surface which can be abstract and highly textured in places through the use of gold leaf and mirror.

Text: Kate Bryan
Arts Broadcaster and Head of Collections Soho House and Co

Kate Bryan took the gender ratio of the CEOs of the FTSE 100 companies which comprised of 93 men and 7 women, and turned it on it’s head to make a statement about the under representation of women in the art world. There are 93 women in the collection, and 7 men collaborating with women. The collection features celebrated artists such as Rachel Whiteread, Polly Morgan, Annie Morris and Tracy Emin to name but a few.

Click to read more about the exhibition

Gina created a new work for the collection, using archival imagery of the workers building the foundations of the bank in 1928 and hand printed the imagery onto decayed aluminum.

The work can be seen via appointment – info@ginasoden.co.uk

Gina Soden at Photo London with Eleven Gallery, 2016

The day before the Groucho Club exhibition in 2012, The Independant featured Gina’s portfolio in their Art’s section complete with a gallery portfolio and several of Gina’s stories from her time inside the derelict buildings.

For the full story and images; click this link;

 http://www.independent.co.uk/arts-entertainment/art/features/the-art-of-abandonment-decay-and-running-from-security-guards-8282709.html?origin=internalSearch

Gina was contacted by the Editor-In-Chief of the Spaces recently and had an interview.

Take a look below at the article –

https://thespaces.com/2017/03/20/gina-soden-derelict-buildings/

Gina Soden won The Naylor Award for the Finest Photograph in 2014 in the National Open Art – NOA Competition

Each year the works of the NOA Competition winners go on display with the 2014 exhibition being opened at Somerset House by the wonderful sculptor Sir Antony Gormley and NOA Vice President and internationally acclaimed artist Gavin Turk. 

]]> https://www.ginasoden.co.uk/2017/08/22/winner-of-the-naylor-award-for-the-finest-photograph-in-2014/feed/ 0 https://www.ginasoden.co.uk/2017/08/22/leica-interview/ https://www.ginasoden.co.uk/2017/08/22/leica-interview/#respond Tue, 22 Aug 2017 15:31:29 +0000 http://www.ginasoden.co.uk/?p=14843

Manicomio © Gina Soden 2013

In the run up to The Other Art Fair 2014 Gina was featured in the Art section of The Independent in a piece written by Gillian Orr.

Click the image above to see the article in full.

In late October Gina Soden gave an interview to Dazed and Confused Magazine, to be featured online to Dazed Digital. Her portfolio was also featured as an online gallery.  The review was published in advance of her forthcoming pop up solo exhibition at London’s Groucho Club.

Read the article here – http://www.dazeddigital.com/photography/article/14951/1/gina-sodens-spooky-ruins

In late October Gina Soden’s portfolio was featured as an online gallery on GQ magazine online. The review was published in advance of her forthcoming pop up solo exhibition at London’s Groucho Club. Her work was also printed in Professional Photographer magazine in the Special Gear November issue.

Read the article here – http://www.gq-magazine.co.uk/entertainment/articles/2012-10/12/gina-soden-retrogression-exhibition-groucho-club-london

This is the largest Open Art Competition in the UK. Gina was enormously proud to be the first recipient of the Emerging Artist of the Year Award. The Awards exhibition was officially opened by living legend Ronnie Wood and her award was presented by the much respected artist Gavin Turk.

Following on from The Spaces interview, CNN Style also featured the interview and some more images

Take a look below at the article –

CNN Interview

Gina Soden’s work has recently been acquired by The Groucho Club. Two works are now permanently on display in the newly refurbished Gennaro room. Located in Dean Street, Soho, The Groucho Club is London’s original arts and media private members club and is a second home to some of the greatest artistic talents working in the UK today. For over 25 years they have been building an incomparably diverse and unique art collection including works by Damien Hirst, Banksy, Tim Noble and Sue Webster, Ian Davenport, Marc Quinn, Michael Landy, Michael Craig-Martin and Rob and Nick Carter.

Some of Gina’s work was selected to take part in a prestigious exhibition at the K35 Gallery in Moscow.

She joined fellow artists including Franziska Klotz (Germany) and Marina Fedorova (Russia) in a group exhibition entitled “Filling the Void”. Curated by Maria Saava “Filling the Void” is an exploration of emptiness in modern day art.

Castle Piano © Gina Soden 2013

The Exhibition ran from 06th February 2015 – 15th March 2015

Below is a revision of the Press Release from the K35 Gallery that I have adapted for my UK audience. To read the original release in full, click on the image above.

“So evocative is the theme of desolation and abandonment that a philosophical interest in the portrayal of emptiness in art that began in the days of Plato continues to this day. There is a great variety of interpretations on this subject which has been demonstrated through the ages.

The theme of emptiness – as a symbol of neglect – was particularly popular among French painters in the 18th Century. On the canvases of the artist Hubert Robert, ruins of ancient temples hint at the transitory nature of all things. Fractured by time, his romantic images of palace halls and gardens act as a symbol of the eventual return of cultural creations to a natural state.

During the 20th Century the theme of desolation and abandonment continued. We can find references to this timeless metaphysical question in the abstractions of Malevich, the musical experiments of John Cage (composition 4’33) and in the work of Yves Klein and the classic American conceptualist Joseph Kosuth.  Among the Masters of figurative art stands Edward Hopper. An artist who was indifferent to Modernism and demonstrated his own vision of emptiness. The characters depicted in his paintings appear to be at the very mercy of time. Forever waiting for something in empty cafes, hotels, gas stations and even in their own homes. Hopper fragments their works in such a way as to give the viewer a sense of involvement in this empty, lifeless environment where only light reports this strange feeling of loneliness and detachment.

Continuing this timeless affair with emptiness, the artists presented in “Filling the Void” at Gallery K35 provide a modern interpretation on the theme of empty space. Each artwork on its own fills this void, or allows the viewer the opportunity to fill the canvas with their own thoughts, experiences and emotions.”