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Integrity Painting Prize 2015 - Text by Sam Bellacosa

It's a given that prizes are hard to get, but it's often harder to get why prizes are given.

Exhibition of big paintings by

Hannah Bays - Landmark Prize
To evidence trajectory in painting by painting isn't simply going through the motions. The trajected painting is a surface cutting a family of curves at a constant angle: and here Bays is, ahead of the curve. Acid separates, pink mould (Serratia Marcescens), BBM, alien Middlesex. Today an artist traces in the tradition of Wu Tang Clan's Staten Island/Shaolin imaginary. A baize of snooker green. We were bares cotching in a landscape. The whole kerbic scenario re-cast. A laser survey of twinkly wreckage. Sticky zip lines. Light transit. Hold your breath under the arch, this is the Landmark Prize. Welcome to Great.

Max Prus - Dove Men+Care “Care Makes Us Men” Award
Personal space and painting; the care of man. Strangers in the night, exchanging glances, little did we know. Sharing but also holding back from one another. Circumspection. Turning away from recognition. People fall, people call, people cry, people die. Life's inscrutable until you stop to smell the roses. And as for illusion, in the realm of the senses, “It is a small bit of nature that amuses itself by giving us pleasure through evaporation” (J. Joubert, 1789). The Dove Men+Care & Integrity Painting Prize Partnership cordially award Max Prus our premier Walter Bendix S. Benjamin Memorial ‘Care Makes Us Men’ Award, 2015.

Ross Little - The Didact Prize for Meaning
Slowness and labour, the solitude of the studio, a good book-on-tape. What a scene! A finger scratching, poking, rubbing – applying, essaying with a teasing brush. Painting is a never-easing practice. It has never been easier for a painter. The stress in the statement is where you put it. “I was using paint, but not painting – in the same way as using a log” says Little. In unventilated space, stuporous knowledge of the fact takes hold: Neo-Delphic pronouncements engendered by the task at hand “when I am oppressed by anxieties that demand all my philosophy” (T. De Quincey, 1821).

Florrie James - The Hubris Prize
Can the pursuit of practice lead us to the goddess Nemesis? James has continuously traveled the globe for new modes rich in demonyms (ie what-do-you-call-someone-from), having received ideas in recent years from various Cubans, Syracusans and Orcadians, amongst others, in order to lead collaborative works and cross-showings principally in film & text, in contrast to painting, James' trained field, which James symbolically exited upon completing a weaving of Ludwig Wittgenstein's face (Ludwig Wittgenstein, 2010). James works at a remove, reservedly. This is big-game, safari shirt practice, with drinks out back after sundown. Painting is no big deal. The Hubris Prize is.

Francesca Blomfield - The Preternatural Flow Award
Painting shows us that light works better in real life. Blomfield's paintings are embarking on a year-long journey of support; Blomfield consults each painting up to five days a week, charting progress. Group sessions remain key, using mantric recitation of the three letters ‘UFO’ as a centering technique. The paintings are instruments, in the way a conductor's baton might actually be a wand, like a credit line played in time, first racked and signed, but nowadays waved and ripped. Access arcana, access success.

Giovanni Giacoia - Zones Medallion
Painting and teaching in Boston – bridging cities of rivers – parallelisms – nationalistic considerations – so fictional, with a story behind every one – a vignettist too, of scena, on Vimeo. Painting's a homologous story now, the way a flipper isn't an arm, everybody can Instagram a good vedute or two. Who hasn't seen a lil’ capriccio? But by looking at Pannini's best-known work we see where this kind of image-making leads – into carceri d'invenzione.

Rudolfo Brito - All City Prize
Faux-naïf decorativism & delineated patterning of New Toy Style (a style that regards spray-can graffiti's Wild Style origins as arriving from the hands of beginners) – meritocracies, fresco traditions – and contemplation of the throw-up from a distance, the ‘big ups’ – reaction to curvilinear Cope2 aesthetic bombing, NYC – contemplation of the throw-up – stations of the elevated, to borrow from the 1979 of the same name – an ecumenical art – ALL CITY – une vie aux murs des villes -

Tom Marshallsay - Laity Fellowship (Outstanding Achievements in Unease with Symbolic Infinity)
The big dumb space of the Cloud, our subconscious, which each thinks to be so owned, is baser than we imagine ourselves to be (highly prized, that is). spooky action at a distance is at play here. It is with great pleasure that we celebrate Marshallsay’s outstanding achievements in unease with symbolic infinity.


Left: F. J, Untitled. Right: MP

Left: HB. Centre:FB. Right: GG


Left: RL. Centre: RB. Right: HB

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