Ryan Hewett: The Garden
Housed in a converted 1920s propeller factory, Will Martyr's Deptford studio is spacious, naturally complementing the sunny scenes depicted in his monumental paintings.
Martyr’s latest exhibition, Fathoms, consists exclusively of circular tondos, necessitating the use of the words “clockwise” and “anticlockwise” whenever they are carefully taken off or hung back on the walls of his Deptford studio. These works are so large that they warrant having not one, but two collapsable scaffolding units at hand to assist access to the upper reaches of the canvases. The walls of his Deptford studio. These works are so large that they warrant having not one, but two collapsable scaffolding units at hand to assist access to the upper reaches of the canvases.
Martyr’s latest exhibition, Fathoms, consists exclusively of circular tondos, necessitating the use of the words “clockwise” and “anticlockwise” whenever they are carefully taken off or hung back on the walls of his Deptford studio. These works are so large that they warrant having not one, but two collapsable scaffolding units at hand to assist access to the upper reaches of the canvases. The walls of his Deptford studio.
Martyr’s latest exhibition, Fathoms, consists exclusively of circular tondos, necessitating the use of the words “clockwise” and “anticlockwise” whenever they are carefully taken off or hung back on the walls of his Deptford studio. These works are so large that they warrant having not one, but two collapsable scaffolding units at hand to assist access to the upper reaches of the canvases. The walls of his Deptford studio.