Coleman’s work pushes at the limits of designed experience, bumping up against architecture, typography, signage and the decorative; reframing and making obvious the established edges of the aesthetic conditions that shape and reflect the societies, spaces and images that we move through.
012-2015 Postgraduate: Royal Academy Schools, London.
1993-1996 Ba Hons: Goldsmiths College. University of London.
Solo exhibitions include: “Axis Life” Uk Mexican Arts society, 2021, “My Sky” Chalton Gallery 2017, “Scrape”, Royal Academy, 6 Burlington gardens, “About Now: Henry Coleman”, Bloomberg SPACE, London, (UK) 2012; “Henry Coleman”, greengrassi, London (UK) 2004.
Selected Group exhibitions include: “The Peoples Mandate”, Metro Auditorio , Mexico city (MEX), “Telon” with Cristina Schiavi, Museo MACRO Rosario (ARG) 2009; “Perfect”, Balice Hertling At Home, Paris (FR) 2008; “Hollows of Glamour: Henry Coleman, Anselm Reyle and Pae White”, KIAD, Canterbury (UK) 2004.
Between 2019-2021 Coleman was curator of public projects for the Brent Biennial. In . 2016-17 Coleman co-curated Bloomberg SPACE’s Physical Information programme.He is the recipient of Arts Collecting Society Prize, Royal Academy Schools Sculpture prize and an awarded shortlist for the Arts Foundation Fellowship, “Art in the Urban Space”.
Statement about AOAP Submitted Artwork
After' is a series of works that builds around ideas of the portability and transferability of images, artworks and experiences. Originally produced as an open and ongoing set of vinyl interventions onto the surface of gallery and souvenir postcards, these works have been scanned from the altered originals and are presented here as photographic works, flattening the hand production and adding a further distancing layer.
Please do not bid on artwork in our Art on a Postcard auctions if you intend on selling the artwork after you have purchased it. This auction has been organised for charity and all artworks have been generously donated by the artists to raise money for the Hepatitis C Trust. When the work produced for the charity is sold on the secondary market it damages our relationship with the artist and prevents us from fundraising.