GROUNDED

JOHNNY MORANT

5 B PA L L M A L L . S T J A M E S ’ S . L O N D O N S W 1 Y 4 A N
+44 (0) 207 930 8069

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2–6 DECEMBER
ST JAMES’S

10AM – 7:30PM
PARK

W W W. J O H N N Y M O R A N T. C O M
+44 (0) 7887 480 643
johnnymorant johnny.morant

Copyright © 2019 Johnny Morant Studio Photography by Chris Ison Design by nealgalligandesign.com
 GROUNDED
JOHNNY MORANT

2–6 DECEMBER 2019

ROYAL OPERA ARCADE GALLERY . 5B PALL MALL . ST JAMES’S . LONDON . SW1Y 4AN

Work can be viewed and reserved prior to the exhibition.

Images of all the works in the exhibition may be viewed at

W W W. J O H N N Y M O R A N T. C O M

johnnymorant johnnymorant
This collection of Morant’s
latest work shows an artist
driven by the urge to create
and a powerful story to tell.
On Christmas Eve 1968, Apollo 8 astronaut
Bill Anders rounded the dark side of
the moon and emerged into the light.
The view that greeted him would change
our relationship with the earth forever:
“Earthrise” captured the fragility of our
planet and sparked a new age of global
awareness.
Viewing the earth as a “pale blue dot” in
the vastness of space was a profoundly
moving experience. Astronauts witnessed a
shift in perspective as they saw boundaries
blur and felt divisions diminish; they
acknowledged the overarching imperative
to protect planet Earth.
This enlightened state has been called
“the overview effect” and has led some to
imagine how world leaders and decision
makers might be inspired by experiencing
this phenomenon at first hand.
Over the past fifty years we have become
increasingly aware of the perilous state of
our habitat and with GROUNDED Morant
aims to pull together multiple strands of
our constantly evolving understanding of
human impact. He attempts to explore,
rather than judge, our relationship with the
planet and the symbiosis between man and
nature.
Some of the larger paintings focus on the
early pioneers of space exploration as
symbols of our ability to meet challenges
and unite society. These modern day
heroes find themselves grounded in earthly
settings and historical scenes immediately
at odds with our familiar reality.
In contrast to these confrontational works,
Morant has drawn our attention to a less
conspicuous mark of our impact; biodiversity
indicates the health of our surroundings,
non-native flora pose a particular paradox.
Each species has an entangled tale to tell;
they have migrated, adapted and thrived
in hostile environments often as a result of
human interference.
In these paintings Morant highlights this
fragile balance and expresses optimism for
an enlightened future.
 Bamboo forest,
90x100cm, oil on canvas,
£3700

Symbiology
50x50cm, oil on canvas
£1800

Remove before Flight

30x40cm, oil on canvas
£1400
 Collision Course
100x100cm, oil on canvas
£3800

Rosa Multiflora
62x62cm, oil on board
£2500
 The Bigger Picture
160x160cm, oil on canvas
£5800

The Bigger Picture demonstrates a whimsical application

of the overview effect in relation to our understanding of
historical significance. In this appropriation of Jacques-Louis
David’s famous painting, Napoleon’s Marengo carries
a triumphant Buzz Aldrin, reflecting the folly of warring
nations when observed from an enlightened state of mind.
Until this mental shift takes hold we will remain consumed
by threats of conflict and smouldering rainforests.
Allegory of Hubris
100x100cm, oil on canvas
£3800

This work pays homage to Rubens’ equestrian portrait

of the Duke of Buckingham. A divisive character, the Duke
commissioned self-dramatising portraits to promote his political
career. In an act of “arrogance and caprice”, he requested to
be looked up to by Neptune to suggest his dominion over
the sea. Overhead, a winged allegory of Fame signals victory
(which evaded the commander in real life) with trumpet in hand.
The curiously proportioned horse is a Spanish jennet, a breed
the Duke introduced to Britain.
With this contemporary interpretation we see the
Duke reappointed as an Apollo astronaut, challenging
our understanding of influence and accomplishment.
The Duke was later assassinated and where his powerful
fleet was once depicted we see signs of contemporary conflict.
 A greener future
130cm x 130cm, oil on canvas
£4700

Epiphyte
62x62cm, oil on canvas
£2500
 The Anthropocene
160x160cm, oil on canvas
£5800

The word Anthropocene has entered literature as a vivid

expression of environmental change caused by humans.
Here we see a cosmonaut exploring fragments of what should
be a familiar and safe environment. Elements of the work are
evocative of the Rococo artist Jean-Honoré Fragonard and
question the stability of a world we take for granted.
 Citrus Garden of the Hesperides
60x42cm, oil on board 80x60cm, oil on board
£1800 £2850
 Balsam Bashing Drifter
25x25cm, oil on board 25x25cm, oil on board
£800 £800

Japanese Knotweed
100x100cm, oil on canvas
£3800 Ponticum Jumping Jack
25x25cm, oil on board 25x25cm, oil on board
£800 £800
Lunar Rover Rhododendron
62x62cm, oil on board 50x55cm, oil on board,
£2500 £1950
A New Eden
130x130cm, oil on canvas
£4700

Ornamental Interloper
50x55cm, oil on board
£1950
Victorian Exotica Pollinator
27x27cm, oil on board 25x25cm, oil on board
£850 £800

Allium Triquetrum Water Primrose Kaleidescope

33x33cm, oil on board 25x25cm, oil on board 62x62cm, oil on canvas
£1200 £800 £2500
Q&A WITH JOHNNY MORANT
This new collection appears to be a departure from your last exhibition.
Does this mark a new style and direction for your work?
With regards to the subject matter, many will recognise the botanical elements
from my Mare Nostrum exhibition and recent commissions: the astronauts may
come as a surprise but to me make perfect sense; grounded physically and
metaphorically and prompting questions on symbiosis and our responsibility
for the planet’s resources.
I think that cultivating and settling into a deliberate style would look, and feel
to me, artificial. As each piece is conceived and executed by my hand, it can
ultimately only “look” like my work – especially when viewed from a few years
down the line.
GROUNDED is created, curated and hosted by yourself, why did you
decide not to follow the traditional path of gallery representation for this
show?
Johnny Morant (b.1982) is a visual artist exploring themes
of sustainability and social awareness influenced by his
travels and experiences.
He is rapidly gaining recognition for his thought-provoking,
accomplished paintings, and his work resides in a growing
number of corporate and private collections including
Smith & Williamson, Standard Chartered Bank, Prudential
plc, Old Mutual plc and P&O Cruises.
Morant attended art school in Bristol and Bournemouth and
has lived and worked in London, Wiltshire and Amsterdam.
Past solo exhibitions:
2017 The Rountree Tryon Gallery London, Mare Nostrum
2013 The Rountree Tryon Gallery London, Going Places
2011 The Tryon Gallery London, A Closer Look
2009 The Tryon Gallery London, Out and About

Mounting this show independently and therefore being solely responsible for
Selected group exhibitions
every aspect has been challenging but has allowed me total freedom to let my
work develop without restraints. Affordable Art Fair
Gallery representation involves certain pressures; they are representing you, 20/21 International Art Fair
but you are also representing them. In hindsight you forgo a great deal of New English Art Club, Mall Galleries
support and promotion, and while it has been an invaluable opportunity to Royal Institute of Oil Painters, Mall Galleries
develop my work, the organisation required has been an eye opener.
Royal Society of Marine Artists, Mall Galleries
Royal Society of British Artists - Mall Galleries
Tell us about your process and the materials you use.
The Society of Botanical Artists, Mall Galleries
The preparatory stages involve a lot of sketching, photography, digital collage,
Chelsea Art Society Annual Exhibition
and oil studies. In most cases I develop a clear plan before oil meets canvas
-at which point most plans morph back and forth between the original idea Guggleton Gallery Winter Exhibition, Somerset
and new ideas along the way. The most common question is ‘how long does Green & Stone Gallery, Summer Exhibition
a painting take you’ and as most artists know, there is no single answer. I find Art For Youth, Royal College of Art
that the most successful paintings can be accounted for in days, rather than
weeks or months, unless it is a particularly large and complex undertaking. I
go to great lengths to ensure all of my materials are of the highest quality and
prepare my canvases with longevity always in mind.