house property value uk

i love some urban myths, like the crocodiles in the sewers of new york i see the city has an immense, partlysubmerged, and old reptile, and we humans as just temporary guests, rumbling on over the scales, pecking on its back, here and there. rp browne's apex is an art project whichexamines the primal drivers of power, dominance and hierarchy, which liemotionless beneath the crisp urban crust. the project reflects upon the two mostprominent financial hubs of the western world,

london and new york. these cities arealso some of the most unequal in the world the project was shown in both cities in2015 i quite like the pictures it does look very good, and i really liked the crocodiles it's a completely different perspective from how i thought about big cities, and it brings out the behavioral patterns of the city, which i never thought cities has any behavior... i started "water" in the aftermath years of the big financial meltdown of 2008 which threatened society with some form of extinction.

this painting became the calling card of the project. looking at "water", the threat becomes apparent; what lies beneath, still an undisturbed, can dive at any moment and sink what's above. london is arguably one of the mostinteresting cities in europe, and only a century ago was the centre of the planet. london's origins though, are humble. it wasfounded in the first century on the swamps of the river thames by the romans. the original settlement look after the interests of the emperor in this remotecorner of the empire.

london was the capital of "the empire where the sun never sets" or equally, where there never was a sunrise. like most metropolises, london works onhundreds of juxtaposed layers. for centuries, the real power, the financial institutions, remained inthe shadows; but now its imposing presence is ever increasingly easy tospot, with dozens of corporate and speculative residential towers that arerapidly transforming the city skyline. thanks to the tourists, the old imperialcharacter is very much alive... like a phantom limb sensation, holding agrip on people's imagination.

in june 2015, rp browne's apex was exhibited in london, at the crypt gallery. the venue, is is great, i really like whatyou did with sound and so on, that really added to it as well the crypt of st. pancras parish churchlies in the central borough of camden, london it was designed and used for coffinburials from 1822, when the church was opened, until 1854. during both world warsthe crypt was used as an air raid shelter from the 7th of september 1940, to the 21st of may 1941, about 1 million houses were destroyed,and more than 20,000 civilians were killed. on each of the 71 major germanair raids, at least 100 tons of bombs

were dropped over the city. the crypt later became an art gallery in2002, and now hosts a range of exhibitions and events throughout theyear. the crypt gallery, with its low vaulted corridors, was literally beneath the urban crust; and it had a foggy, primal character. during my first visit, i knew once it was the right place for the show. i think it's very very interesting indeed. the way that you've managed to bring

the crocodile into the four elements very appropriately it seems to me, and also a lot of it seems to be new york but some of it is london as well "air" evokes the dutch tulip mania of 1637, one of the first financial collapses to be recorded. in amsterdam, right before the crash, a single tulip bulb reached higher prices than a house. ironically, the last giant bubble to burst was in the housing market. i think "earth" was my favorite piece

while painting "earth", my mind was onthe planet we inhabit. it gives us everything... protects us from roasting, and shelters us like a giant nest. the voracious system ruling the planet iseroding the pillars which sustain life. i just hope those pillars won't get toothin, or gravity will do the rest. i think my favorite one was "fire". i thought that was really powerful on the same page as "earth", "fire" depicts the exhausted urban planet.

in this dystopian painting,the creature's scales are the city blocks of manhattan; scorching ambers and ashes. the picture is an inquiry into the useof energy and resources, in particular the abuse of fossil fuels. the snake going as the thames i thought that was brilliant if there's one thing you can't find innature, well, that is money. and the other is the concept of time. it's very common to say or hear thattime is money,

but it really is the other way around, isn't it? money is time... your time, my time, everyone's time. ultimately, money is a human tool to harness, stash and trade time; human time. when you see this, you start to wonder... how the very few are able to own the timeof the billions? i thought it was really...moving

the public's response to the london showwas very positive, considering that the exhibition hadhardly been advertised. it only took two corner banners on euston road, to draw aconstant flow of visitors to the gallery. the artist valued the visitors diversityand their spontaneous reactions. i thought it was fascinating actually, it was open into a number of interpretations very evocative, quite unsettling as well...very mind subject matter yeah, very very relevant it was a little bit scary, but i think i was kind of...a good kind of scary.

like it was something that was positive; that it helped... rp browne is a painter, architect and designer. he was born in born in buenos aires, argentina, in 1970, and he moved to dublin in 2004, where he now lives. art runs prominently through his family; both his grandfather and his mother werepainters. the work of the artist has stretched forover two decades a long road which has often touched the topics of oppression and inequality. between 1999 in 2003, rp browneworked on "nn - the regime",

large acrylics on the subject of war, mechanization, an imposition of aglobally marketed society. very aware of the hidden implications of the so-called globalization, the artist delved into the darkest pools of the 20th century to retrieve a whole set of shocking imagery. the resulting series was a statementagainst our commercially militarized present. in february and march 2003, rp browne took part in the worldwide rally against the invasion of iraq.

as a demonstration placard, he took one of the triptychs, named "the conference of hamburg", out to the streets. months later, in november, the paintingswere shown in the holocaust museum of buenos aires. at the opening, the artist met some of the attending survivors of world war ii holocaust. unbeknown to the artist, but parallel tothe show, the museum was endorsing israelisettlements in palestine. once aware of this, he felt sad, and reflected upon his own naivety...

it would be years before he would consider showing work again new york was originally a dutchsettlement on native lands, and for a long time it was called new amsterdam. trade transformed the original swamp in a sequence of boom and bust cycles. today the city is a prime brand, selling itself over and over, in tons of movies, advertisements, and television shows. what london was a century ago, new yorkis nowadays, only a hundred times bigger, taller and faster.

new york both impresses you, and imposes upon you. underneath the glamour of "rags to riches"stories, lie only a few human fixations, with power, dominance and hierarchy. as an architect, i'm very familiar withskyscrapers as symbols of power, dominance and hierarchy. but i think there's more to them. something more primal... greatly summed up in the film king kong like a costly and useless attempt to escape from nature

and as well like a torn, unfulfilled wish to return to it the swamp series is a spin-off of the elements paintings the artist looked further into thepredatory nature of the urban world for this series he used ikea posters ofnew york city and turn them into acrylic swamps for the second leg of the project, the artist was invited to the argentinean consulate in new york. the consulate sits in a landmark building on 56th st just off 5th avenue, midtown.

and has a public art gallery. the new york space was the perfect opposite to the crypt in london... it was and large formal space, veryimposing with a high ceiling, and oak paneling on thewalls. it truly felt like a boardroom! i enjoyed the the exhibition in theboardroom, with the corporate characters andso forth. i loved...you know the ones with the animals,

who used the suits? i really liked that in november 2014, rp browne made a short trip to milan, and bought cuts of top-quality suit fabric. milano shows its past and present power pretty much everywhere with a robust and dominant architecture. back in his dublin workshop, he made the frames and carefully stretchthe fabric for his next series of paintings

"the boardroom" in between rp browne's london and new york shows, there was an incident involving air france's top executives and some company workers who had recently been fired the protesters broke into a board ofdirectors meeting, and tore off their clothes the images were so shocking, because inour daily lives we fail to see how such fabric can be torn so easily i remember the photo of the man, clearlya powerful man, clambering the fence in rags, looking likea fallen bird of prey... and now he looks scared, vulnerable, in shock himself,

as if some magic spell had been broken suits interests me because of the auraof power culturally assigned to them the boardroom is all about hierarchy.i made portraits of top predators mirroring their human counterparts... the predators seated within thisboardroom were carefully chosen. like a deck of corporate tarots, each canvas is full of symbolism. the main players and institutions at the apex of power are portrayed: hereditary based institutions like monarchies and aristocracies,

ceos and corporations, rulers of the law, either human or divine, and the media. although the original set was composed ofseven portraits, two remained veiled at the time of the exhibition: the entertainmentindustry and the military corporation walking around wall street feels to melike being in the belly of the beast. by the way, it doesn't feel too differentto city of london, or canary wharf. in fact, they look more and more like eachother... like a beast with two heads. some forms of life have been aroundway longer than our own species,

but unlike us, their blood is cold, which in human terms means no emotions, no empathy. according to science, one out of tenpeople can't feel empathy towards others, and no matter how well dressed or charming, one out of these ten, are really dangerous... that's 1% and you kind of felt around all those creatures, you felt very small... sort of like a "cat and mouse" you felt like a mouse,

you felt like the prey, wouldn't you, rather than the predator.. there's always the curiosity to as you go down on some of the dark ones you got really held just in case there's another apex on that corridor i enjoyed it quite a bit it was entirely unexpected i was justwalking down the street i was moved by the theme oh, the boardroom

i thought they were funny i really like what you did with the cloth, i thought that was an interesting medium i guess well i was really struck i think by "fire" and "water" it looked to me like the map of maybe the outer boroughs of manhattan you know manhattan is... i didn't live inmanhattan, i lived across the twin rivers because you don't make enough to live in manhattan unless you're... in the boardroom!

so akin has delivered all the paintings, along with lucia, his lovely daughter, from dublin, to london... safe and sound cheers perfect... holds the whole lot together!