Timothy Hull is known for capturing material traces of ancient civilizations in laborious, layered drawings and paintings; this is not to say his work is stuck in the past, but exists to help us see how this world becomes translated and understood in our present. Rather than attempt to tell a complete story, Hull brings humor, poetry, and irreverence to his work to point to the subjectivities within each historical position.
For this exhibition Belgian artist Stevie Dix has created a new series of oil paintings. With these works, Dix has captured the intangible space in-between figurative meaning, shape and composition. Treated on their own terms, allowing form to take over any figure so as to catch-out both viewer and creator. Her work shows a raw, yet determined painterly quality, where anthropomorphic objects leave residues of human activity and they obtain a personality of their own.
The artistic research of Alice Browne is aimed at the organization of pictorial structures and sculptural objects that expand the discussion of the connection between individual, past and social forces within the real and mental space. Using the visual ploy of the rock-paper-scissors and then exploiting the symbols that animate the essence of the game, Browne broadens the discussion of the me- aning of images and structures that surround the human being, explaining its fragility and instability and at the same time its durability and strength. Associations and meanings collide in unexpected forms, as well as the evidence of the solidity of the rock, beaten in the rock-paper-scissors game, by the fragile paper. And the game is still to offer similarities between the mimicked gestures of the hands and the symbols of revolt or coercion that they can represent. The artist's research opens a chapter on the power relations between different social forms that are the basis of the relationship between groups of individuals. The forms and functions of power and authority, from the Neolithic until the early industrial revolution to the present day, have continuously changed, so much so that in recent decades capitalism, nation-states and globalization have helped to create new sources of con ict in the masses which in fact resulted in anger and revolution in various parts of the globe. Such contrasts are the basis of conflicts between individuals and ideologies, meanings that create symbols, synthesized for Browne in scissors, paper and rock.
A du-rag, typically wrapped around the head to condition hair overnight and establish natural waves, is stretched, distorted and hung on the wall in conversation with a necktie. The utility of the du-rag as hair product, or wave cap, is contrasted by disparate affiliations of thuggery and respectability, ultimately criminalizing its use. In 2001, the du-rag was banned by the NFL, compelling alternate designs of the skull cap by brands such as Nike, Under Armour, and formerly retired NFL player Marshawn Lynch’s apparel line “Beast Mode”. Lynch, a running back known for his agility and brute force, utilized his position in the public eye to destabilize stigmas often fed by the media in an attempt to regain control over his own narrative.
I’m working with painting as a tool for (indirectly) giving obscured areas and domains visual appearance. The non-linear qualities connected to the medium, and the possibility to closely utilize intuition — intuition as a form of knowledge just not accessible through the spoken or written language — makes painting a way to nuance such areas. And as painting can activate a kind of dynamic seeing in the viewer; addressing the body, memories, experiences, tacit knowledge, intuition etc. i find that we are sensitive receptors to hidden messages, peripheral areas and other unspeakable things.
Fake news. Alternative facts. A strange new discourse has begun to infiltrate contemporary America with the arrival of the Donald J. Trump administration. In January, as President Trump ascended to power, George Orwell’s seminal dystopian novel 1984climbed to the top of the New York Times bestseller list in an eerie foreshadowing of events. As readers opened their prim copies, the first lines seemed to herald an era of the New Normal: “It was a bright cold day in April, and the clocks were striking thirteen.”
Attitudes In Painting aims to highlight and unify contrasting and complimentary approaches towards painting. With a central focus on ones attitude towards paint handling, the exhibition showcases alternative voices and individual definitions of what defines abstraction.
Wolowiec explores the worlds enabled by digitization, social media, and the darker corners of cyberspace. She also enlivens an old, tactile form through weaving her works on a wooden floor loom. The irony is entirely intentional and profoundly conceptual. The term “Luddite,” which refers to a person opposed to machines and new technologies of all kinds, originates from the early 1800s when bands of English textile workers destroyed the first automated punch-card looms as a form of protest.
How to find a balance, how to find the happy medium? One that falls between objectivity and subjectivity, between temporality and timelessness? Where lies the limit between a natural space and an urban space? Pedro Matos’ work oscillates between these concepts and these interrogations. In his canvasses, the artist references nature, the ocean. He imprints images, uses photography, resorts to technology – Photoshop and projection – to create these abstract artworks we are given to see. Inspired by random textures seen close to the sea or during his urban strolls, he draws us into his universe which, to us, seems at once familiar and completely alien.
CLOSING is comprised of three objects. The first is a sculpture of a hand cast in pigment, with bent copper dowels puncturing the fingers in order to suspend coins between digits. The second object is a safe door from the 1860s that has been turned around to display a painting of a bucolic landscape on its interior, a typical feature of manufacture at the time. The third is a photograph of the safe’s empty interior taped to the inside of the gallery’s glass door.
Vieux’s work explores the optics of the computer screen and the implications of light on abstraction, through digital reproductions of material surfaces. Images of holographic and translucent paper are captured and altered digitally via layers of warping and repetition, then printed on to microfibre fabric. Lines of airbrushed acrylic paint are added, alluding to “a needle threading the surface (into) other realms.” The artist’s process highlights the layers in each piece, shifting between actuality and re-digitisation; before finally being absorbed into the finished ‘holistic piece.’
In an evocative balance between minimalism and symbolism, and closely linked to a sophisticated and harmonious development of elements, the work by the multifaceted Anne Laure Sacriste focuses on the ontological matter of painting and on the visual perception that we generally have of it, creating an eccentric visionary repertoire that unfolds between nature and fantasy. This specific pictorial research is essentially based on an observational activity, first of reality and then of figurative abstraction, in which the relationship with space is as fundamental as the one with gestures and the intuition of forms. The artist’s work displays predominant characteristics that reveal her classical education: clarity, logic and order.
Working within the vein of assemblage, Wadden’s large-scale works are conceived by piecing together his handwoven weavings, thereby transforming, smaller process-based pieces into larger, hard-edged, geometric abstractions. Wadden culls his used fibers from other weavers, estate sales and the internet, adding an element of unpredictability and improvisation to his compositional process.
HALF-EARTH is a solo exhibition by Emily Jones, on view at the gallery from March 25 - May 15, 2017. HALF-EARTH is a name transferred from scientist E.O. Wilson’s proposition to devote half of Earth’s surface to nature without humans. Inside, a 1:3 scale ball-jointed doll sits facing the exhibition space. She dangles her legs from the concrete ledge, witnessing the situation, shifting positions over time. Nests made of chewed bread hold onto the plaster walls. A tile mosaic occupies most of the back wall of the gallery; it depicts four fish at its corners and reads, “They were eating out f our hands.” A hole through part of the mosaic exposes another gallery.
Lisbon is trending and not just in its ever-growing tourist numbers. There is a feel of positivity in the city and country, as well as brand new interest in all things Portuguese - including our contemporary art scene and artists. With some very interesting galleries opening up shop in Lisbon, Aujourd’hui presents its updated Gallery Guide to the city, helping locals and visitors alike to know more about the art stops in this iconic, but also exotic, destination. With more to be lauded than just its street canvas always waiting to be photographed, these are the galleries that we visit, follow and love.
In the recent book ‘Cannibalism: A perfectly natural history’ by American researcher Bill Schutt we can read that cannibalism is not that unusual as one would expect. Humans consumed each other for centuries and not only on some far away exotic island but also here in Europe. And the reason of doing so was not only overpopulation or starvation which makes it even more odd. But also in the natural world animals from every class eat each other. Bill Schutt sums up numerous of examples like sand tiger sharks or the banana slug. But let’s not go too deep into the history or the rituals of cannibalism as we don’t have any cruel intentions.
This exhibition is called “The Charm…” because it is the third one. It does not mean that the two former ones were not good. They were what they were and this one is “The Charm…”. For this third exhibition at the gallery, I am going to show paintings. Some of these paintings are oil on canvas, others are oil on paper, and a few are oil on wood, which is a new thing. I am really excited for it is the first time that I am actually putting together a strict painting show in Brussels which is my hometown.
This is an exhibition of new works by Swiss artist Gina Folly, marking her second solo show at the gallery, in the new space of Ermes-Ermes in Vienna. Folly’s practice has focused on a multitude of cultural and social phenomena. Society, plants, animals, as well as everyday objects and situations play a vital role in her work.