Simon Callery (born 1960 in London) is one of the Young British Artists (YBAs).

He was educated at Campions school, Athens, Greece, and gained a first class honours degree from Cardiff College of Art in 1983. He has worked in Turin, and is now resident in London. He first exhibited at the Whitechapel Open in 1989. He paints cityscapes which are abstracted to the point of making them conceptual images. In 1994, he was included in Young British Artists III at the Saatchi Gallery.

In January 1999, the Saatchi Gallery gave the Arts Council collection 100 works, including work by Callery. The collection is administered by the Hayward Gallery, which arranges loans to regional museums ' My ambition is to stretch open the moment at which the paintings are sensed physically and visually, and delay the speed at which they are captured and devoured.'

Simon Callery does not want his paintings to be understood, rather he wants them to be perceived, sensed in the same way that the play of light or a textured surface is sensed in the world beyond the gallery. He is driven by a desire to slow down the way we look at paintings, so that the experience of looking takes the form of a genuine physical response. Typically using muted colour, line, rhythm, luminosity and scale, he produces quiet paintings, which he hopes will delay the connection between eye and brain. For Callery, if the paintings are succeeding, they stall, even for just a fraction of a second, the mediated way in which we respond to a painted surface, and hold in check a convention of looking that can dull our senses. This moment is 'a very special moment, a very particular kind of state to be in. We are absorbing an experience rather than consciously ordering it. This appears to be close to the way I respond when I am outside in the world. Standing in front of art, we are determined to comprehend and process the experience. The more sophisticated we get the quicker we are able to do this. What I am trying to do is negate this kind of processing'. For Callery, the process of making and of looking at a painting are intimately related. Early on, he establishes a physical relationship with his materials. The dimensions of the canvas, for example, usually start from his body height and then expand or contract until the scale is right. He works close to the surface, applying layers of paint and lines drawn in oil pastel with a hand-held straight edge. Then he works the paint and the line with a scalpel. This is repeated until Callery feels the painting begins to have 'gravity'. His actions are furious, even violent, as he makes conscious adjustments to the 'faults' which he sees on the surface of the canvas. This process involves a constant movement to and from the canvas, which for the artist causes a form of amnesia: 'During the few seconds it takes to walk to the canvas, between deciding what needs to be done and knowing how to do it, I forget. The paintings become an attempt to counteract amnesia. They are the result of countless conscious decisions'. Callery feels that if the painting is working the viewer is also subject to the same 'amnesia'. He hopes that as the painting gradually unfolds, the viewer's experience will echo that of the artist in realising the work.

Callery has always been influenced by his environment. His paintings of the early 1990's were loosely related to the city as viewed from his then fifth floor flat overlooking the Limehouse Basin. They were not depictions of cityscapes, but generalised evocations of the fabric of the city, their luminosity suggesting the effects of light. In 1997 Callery's interest in light was brought into focus during a six-week Khoj workshop in North India. Participating artists were asked to rely solely on materials from the immediate surroundings. Using local pigments Callery produced a wall painting outside, in the shadow of a large tree. The makeshift paint created a rich, dark surface, but for Callery, the work became the slow, shifting play of light and shadow cast bythe tree over the area he had demarcated, light that could be perceived for its own sake.

The experience of working in India also led Callery to explore the question of how to convey the excitement of the studio in the formalised context of a gallery. For example, Spy, an installation exhibited at the British Council in New Delhi, invited the viewer to consider the tension between the private and public nature of making art in a city where the density of the population renders European notions of privacy absurd. The work comprised a constructed room containing the contents of his studio, which could only be viewed through a tiny peephole. The works were placed informally, as if the viewer were witness to the work in progress. For Callery, this piece points to how an awareness of process, the act of making, is central to understanding his intentions.

Callery has often looked beyond the realm of painting to develop and broaden the references of his visual language. In 1997 he took part in the Segsbury Project, supported by The Laboratory at the Ruskin School of Drawing and Fine Art, Oxford. Callery, in association with photographer Andrew Watson, conducted a systematic survey of an archaeological excavation at Segsbury Camp on the Ridgeway. The survey comprised 378 black and white photographs taken over a period of forty-eight hours, recording the surface of the dig at a particular moment. The images were exhibited in an archive of seven plan chests in the Great Coxwell Barn, Faringdon, and also assembled to give an overview of the site. The terminology and practice of archaeology connected with Callery's interest in pacing the flow of information in painting. Horizontality and verticality are key delineators in archaeological practice. A horizontal excavation reveals a layer of one period, whereas a vertical dig uncovers activity over a longer passage of time. Callery was interested in using line to slow down the pace of his work, which at the time was emphatically horizontal. His exposure to the tangible way in which time is perceived on the archaeological site led him to an awareness of how it can function in painting. His increasing use of vertical lines provided a means of slowing the viewer's experience of the work. Callery has observed: ' The horizontal line always creates a desire to find depth in a painting. The vertical line draws attention to what is happening on the surface.' At a certain point in the process of looking, the artist hopes that the eye might take a secondary role. He concludes: ' In our search to understand, it is ultimately the body that is able to convince us whether or not the subject of our perception is real'.

Callery’s paintings are rich, dense and delicate. The eye is held on a surface whose qualities are evidently the result of successive stages in which paint is laid on, scraped back, laid on again over other areas of painted incident, veiled thinly over what has been built up, scraped back once more and so on. Coming through the paint one also sees a number of vertical lines drawn in pencil. Their placement and spacing is not regular. It seems more intuitive than calculated. The lines do not so much divide the canvas into smaller portions as further articulate its entire area. Taking a lead from one of their titles – Flake White Entasis – we could say that they are white paintings. White is, after all, the predominant colour used. But it is not the only colour, and we should anyway beware that in thinking of them simply as white we might, say, ignore how the colour has been modulated by a patch of grey-green underpainting, or be tempted to overlook some of the delicacies of tone and of figuring. We might fail to notice the manner in which an area of dense working shades off near to the edge of the canvas, or might not be led to consider how that edge contains, without setting a limit to, the painting. These things are important and should not be overlooked.

All the paintings are large, in fact very large. Fabrik is nearly as wide as is possible to make it using the longest wall in Callery’s studio. Testing the limitations of his workspace in the other direction, Flake White Entasis is very tall, and Porch is about as tall as a canvas could be without him having to make a hole in the roof.We get a strong sense in looking at these paintings of how the meditations and internal conversations guiding Callery’s decisions during their making reflect the physical and cultural context within which he is working. Their scale is impressive, but it does not overwhelm us. As with Trench 10 and The Segsbury Project, rather, we become conscious of our own actions as we move in front of them, discovering the nuances of the paint surface, and working round to the sides where the solidity of their construction becomes visible. Callery’s paintings do not sit directly against the wall, but are instead held away from it by a sub-frame. This sub-frame has the same dimensions as the painting, but is assembled from various lengths of timber layered to produce the desired thickness. The wood forming this extra element is often bare, but in places there is a thin wash of paint over it. It is at one and the same time both part of and distinct from the painting proper.

Young British Artists or YBAs  also Brit artists and Britart  a group of conceptual artists, painters, sculptors and installation artists derived from the Sensation Saatchi Gallery Exhibition.

 

Simon Callery Rhomboid Painting on rolled canvas painted with artists acrylic paint. Hand painted copy.

30" x 40" canvas

R.R.P. £179.99

SALE Price £97

Simon Callery Pit Painting Art Sale on rolled canvas painted with artists acrylic paint. Hand painted copy.

30" x 40" canvas

R.R.P. £179.99

SALE Price £97

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20 tips on how to travel to Europe on a budget

Follow these easy steps and cut your travel budget in half while adding to your enjoyment.

If you've never traveled to Europe, you'll be pleasantly surprised to discover how cheaply you can eat, sleep, and see the best attractions.

1. RESEARCH YOUR TRIP AT HOME

Borrow travel guides from your public library. Focus on guidebooks for students. The best have titles such as "Lonely Planet," "Rough Guides," and "Let's Go Guides."

Read their advice and their warnings. For example, a cheap place to sleep isn't smart if it's in the wrong part of town.

When you find a guidebook that you like, buy a copy of it secondhand at a used bookstore, or online.

Don't carry the entire book with you as you travel; tear out the pages that describe the places that you intend to visit. As you travel, you will be able to double-check names, addresses, prices and hours of service for the places you want to go.

2. TALK TO PEOPLE

When you travel, talk to other tourists. Almost everyone you meet will recommend favorite places to stay or eat on a budget, or an attraction that is a must-see.

Talk to everyone, not just other tourists. You may become good friends with someone who'll invite you to share a lunch, or split a taxi fare.

Take the same precautions with strangers as you would at home. If someone seems a little "odd," steer clear of him or her.

But, with that in mind, talk with locals and other travelers. You'll often get great advice.

3. TRAVEL BY COACH INSTEAD OF BY TRAIN

In the U.S., people travel by bus when they can't afford anything better. In Europe, bus travel  is often called "coach service," and many people prefer a coach rather than the train or rental cars.

In addition, coach travel is often half the price of the same journey by train.

Check the schedules. Trains are often faster, but for short trips a coach may arrive only a few minutes later.

4. TRAVEL BY TRAIN INSTEAD OF RENTING A CAR

Rental cars are usually the most expensive way to travel. Between the rental fee, auto insurance, and the price of gasoline in Europe, train travel will save a lot of money compared with rental cars.

Also, Europeans drive less than Americans do. As a result, you can go almost anywhere in Europe without a car.

5. TRAVEL AT NIGHT

If your journey will take several hours, travel at night. Buses and trains are often designed with comfortable seats that you can sleep in. This saves you the expense of a hotel that night.

6. ASK ABOUT TRAVEL PASSES BEFORE YOU LEAVE HOME

Save up to 50% by purchasing passes instead of tickets for train and bus travel, and sometimes ferries, too. Usually, each pass allows you unlimited travel within a certain time period, such as three days or two weeks.

However, many bargain passes must be purchased outside of Europe. Check with a travel agent or look online, and buy your pass at home before you leave. Then, be certain that you know how, when, and where to use your passes.

7. EAT WHERE THE LOCALS DO

Most Americans are eager to experience the local culture. If you eat at least one meal a day where the locals do, you'll not only save money but also learn a lot about the area you're visiting.

Pubs and similar eateries may display TVs with local programming, or offer free entertainment. This is another way to enjoy regional culture.

8. EAT AT FAMILIAR FAST FOOD RESTAURANTS

You may be surprised to see familiar fast food restaurants throughout Europe. MacDonald's, Burger King, KFC, and Pizza Hut are just a few American eateries that are popular in other countries.

Fast food menus are nearly the same in Europe, and the prices are only a little more than what you'd pay for the same meal at home.

However, their ingredients aren't imported from the States. Your pizza in England may be topped with cheese that is richer and more flavorful than you've ever tasted in America.

Eat one meal a day at a familiar fast food restaurant, and it'll trim your expenses nicely.

9. SHOP AT GROCERY STORES

When you travel, shop at a grocery store for some of your meals. Bread, cheese, fruit, and wine can be a delightful and inexpensive meal, especially if you share it with a few friends.

In some countries, delicatessens offer gourmet-quality food at fast food prices. Ask for recommendations as you travel.

10. SLEEP AT B&BS, NOT HOTELS

Bed and breakfast establishments--called "B&BS"--are usually half the price of an average hotel.

However, always ask to see the room before paying for it. In some countries, if someone says that they are running a B&B, they get a tax break. Their "B&B" may be a dusty little room in the attic, and you have to climb down two flights of stairs to use the rest room.

One way that a genuine B&B will save you money is at breakfast. Your room fee includes a breakfast, and it's usually hearty.

While many B&BS offer breakfast cereals, most of them prefer to serve a large hot breakfast that includes eggs, meat, and at least one vegetable or fruit. In the U.K., your eggs and sausage breakfast may be accompanied by a baked tomato, cooked mushrooms, and baked beans.

A good, filling breakfast will last you into the afternoon, and if you eat a hearty early dinner (or a late lunch), you won't need a third meal that day.

11. SLEEP AT HOSTELS WHEN YOU CAN

Hostels--like buses--are very different in Europe compared with their American counterparts.

In the past, hostels were exclusively for students. Today, people of all ages enjoy hostels throughout Europe.

Many hostels offer smaller rooms, sometimes even single rooms, if you're traveling alone.

In most cases, a hostel will cost about half as much as a local B&B.

Generally, hostels can be warm and welcoming, and even more comfortable than an average hotel. Or, the hostel can be "no frills." Like B&BS, it's wise to ask to see the sleeping rooms before deciding to stay there.

In most cases, you'll enjoy hostels because you can meet so many people, ask questions, swap travel stories, and learn what to do (and what to avoid) at your next destinations.

Many hostels include breakfast in their nightly fees, while others allow you to use the kitchen to prepare your own money-saving meals.

A few hostels open late in the afternoon and close immediately after breakfast. This reduces their operating expenses. Ask about "lockout" hours, and what their rules are, if you plan to spend more than just a night at the hostel.

You can also buy an YHA membership at home, and your membership card will provide significant discounts at many hostels as you travel.

12. FIND OUT WHICH TOURIST ATTRACTIONS ARE FREE

In many European cities, some museums are free to visit. Some have free admission on certain days, or during just a few hours. This can save you considerable money.

Likewise, find out which museums allow you to take photos. In Europe, taking pictures in museums is far more popular than in the U.S., and those photos are far less expensive ways to remember the wonderful art that you saw, than buying post cards.

13. BUY SPECIAL TOURIST PASSES

Many tourist attractions offer special passes. You'll pay one fee and can visit several sites for far less than the price of individual admissions.

In some cities, the pass will admit you to a dozen or more different attractions. There may be a time limit on the pass, so that it's good for just one day, or three days.

Some countries offer passes that admit you to all of one kind of attraction, such as historic homes and related museums.

14. ASK ABOUT OFFBEAT EXTRAS

Sometimes, tourist attractions offer special tours or events that are not advertised ahead of time.

For example, if you're going to visit Ireland's famous Newgrange site, you can sign up for a lottery for admission to the eerie tunnels at dawn on the Solstices. That's a once-in-a-lifetime experience available only to a lucky few.

At other sites, you can pay just a little more than a regular admission price, and visit after hours when only a dozen or so people are let in.

15. GO TO CHURCH

If you are an enthusiastic churchgoer at home, be sure to attend church as you travel. You may discover new friends there, who will invite you to share a meal.

Also, ask your priest, rabbi, or minister about hospitality in the European countries you'll visit. Some churches have directories of members who open their homes to guests as a form of fellowship.

16. TAKE UP A NEW HOBBY

Instead of buying expensive trinkets made for tourists, take home different kinds of reminders of your trip.

Some people take photographs, paint, or sketch as they travel. Atravel journal may be your most valued reminder of a great vacation.

Or, learn to how to do rubbings before you leave on your vacation.

In the past, people used to create art using rubbings from ancient gravestones. Today, many of those stones are too fragile for rubbings.

However, in some European countries such as England, visitors' centers provide brass plaques and other items that are specifically created rubbings. Some are up to several feet long, and the rubbings can be framed and displayed over your fireplace or a sofa when you return home.

Other on-the-road hobbies can include collecting small, inexpensive items such as labels from beverages, stamped train tickets, matchbooks, and so on.

And, if you plan ahead, you can also enjoy hobbies such as letterboxing and geocaching. Learn about these international activities online before you leave. They may add an entirely new dimension to your travels. Even better, these are generally free hobbies.

17. USE THE INTERNET

If you stop at a cafe, hostel, B&B, or hotel that offers Internet access, you can stay in touch with friends and family at a fraction of the cost of phone calls.

Likewise, you can check the weather at your next destination, and change your travel plans quickly on the Internet. Most hostels have websites, so that you can see what kinds of rooms are available, what their prices are, and even change your reservations online.

Some trvel sites offer reviews by visitors. If you've heard that a hostel or restaurant is great (or terrible), you can check online reviews to see if they agree.

18. WALK WHEN YOU CAN

Throughout Europe, people walk. This saves you money because you won't be paying train, bus, or taxi fares. It's also a great way to stay healthy by getting exercise.

You'll meet people when you walk. Greet others on the street or path. Even if you're picking words out of a dictionary because the language is difficult, you'll soon find ways to communicate basic ideas. This can greatly enhance your travel experiences.

And, when you're walking you'll have time to appreciate sights and landscapes that you'd miss if you took a bus or other transportation.

19. TRAVEL LIGHT

When you travel, take as little with you as possible. Find asuitcase that converts to a backpack, and you won't need to tip porters or taxi drivers as you travel.

Pack clothing that you can wash by hand in your hotel or hostel sink, and it will dry overnight. This saves you laundry and dry cleaning bills.

If you need more clothes as you travel, especially sweaters, buy handmade items from local shops. For example, an Irish-knit sweater can be remarkably inexpensive, and it doubles as a wonderful memento of your holiday when you return home.

20. REMEMBER THAT THE BEST THINGS IN LIFE ARE FREE

Laughter and friendships, landscapes and brushes with interesting and different cultures... these are what make travel enriching and worthwhile.

Expensive hotels and fancy tours insulate you from the lands and people you are visiting as you travel. If you choose to stay in B&Bs and hostels, and eat where the locals do, you'll have a far more meaningful vacation.

Plan ahead, learn where the bargains are (and aren't), pack light, and explore every opportunity as you travel. Others who are doing the same will offer advice to make your trip even better.

The best European holidays are usually the cheap ones. Plan to have fun and save money, and you'll return home with great memories and lots of smiles.