Private View Thursday 30/03/17 19:00-21:00
Opening Times:
30/03/17 - 04/04/17 10:00-17:00
PARTICIPATING ARTISTS:
Mehrak Davoudi
Guido Salimbeni
Kuniko Maeda
Joo Park
Maya Amrami
Adam Hartnell
Sharron McLeod
Maxine Alexander
Vivian Leung
Jeremy Russo Ball
Chunliu Lin
Naima Bakar
Matous Hasa
Guido Salimbeni
Kuniko Maeda
Joo Park
Maya Amrami
Adam Hartnell
Sharron McLeod
Maxine Alexander
Vivian Leung
Jeremy Russo Ball
Chunliu Lin
Naima Bakar
Matous Hasa
Mehrak Davoudi
The reflected and manipulated object is that which
operates in and beyond space, inwards and outwards, inducing vertigo, engagement and distortions of perspective. Here is a sense in which one can lose oneself. These visual principles rise and cross through different points, carrying mysterious moments of memory, experienced repeatedly. Each occurrence inspires something puzzling, performative, yet stoic; an object which presents views from disparate angles that engages and manipulates the same viewer but in different ways. This object can appear to carry a multiplicity of emotions and infer struggle. The materials find themselves in an on going battle; in same ways defeated, in others victorious, recalling the resonance of a particular condition. Presenting itself as a distorted reflection which morphs into a completely liquid form, or is camouflaged in its environment, what is left is emptiness with no solidity.
Guido Salimbeni
I am fascinated how a trace can trigger the visualization of a subject in my mind. A fingerprint, a footprint on the sand, a shadow cast on a wall, they are not only forms of their own but they are also connected to the object they originated from. A footprint it is an object itself, because it is a dent in the sand, and it is also the image of the body, which created the mark. In my art practice, I am interested in exploring how a trace can create a link between the digital and physical artistic production.I produce bas-relief paintings and etchings that show traces of their digital conceptual origin and 3D printing process. I deliberately leave marks from the 3D printing process in the final artwork. They are traces of the typical layering of the 3D printing process that I would imagine are similar to the trace of fingerprints on paper.
I am fascinated how a trace can trigger the visualization of a subject in my mind. A fingerprint, a footprint on the sand, a shadow cast on a wall, they are not only forms of their own but they are also connected to the object they originated from. A footprint it is an object itself, because it is a dent in the sand, and it is also the image of the body, which created the mark. In my art practice, I am interested in exploring how a trace can create a link between the digital and physical artistic production.I produce bas-relief paintings and etchings that show traces of their digital conceptual origin and 3D printing process. I deliberately leave marks from the 3D printing process in the final artwork. They are traces of the typical layering of the 3D printing process that I would imagine are similar to the trace of fingerprints on paper.
Website: www.guidosalimbeni.it
Kuniko Maeda
I am looking at the different properties of a material, which give rise to the idea and the choice of material has determined the form. By exploring the possibility of materials and changing the scale, I will allow your materials to speak and embrace abstraction.
I am looking at the different properties of a material, which give rise to the idea and the choice of material has determined the form. By exploring the possibility of materials and changing the scale, I will allow your materials to speak and embrace abstraction.
Website: www.kuniko-maeda.com
Joo Park
In daily life, the common things easy to see
often seem to be interesting. Usually to me, it is my friends’ portraits around
me. I try to capture the beauty I met. I document
points where art and everyday labour merge. I also have taken a picture and
collected as well. I organize and categorize these photographs and exhibit them
or use them as a reference for my works. This is formally and conceptually the
most fundamental starting point in my work. My work has included not only diary
aspect but also the process of choosing and organizing. When I aid out the
photographs, I could notice which things I had selected to look at and where my footsteps had stopped. The portraits who I met either I
know them or not and with movement seem to have remained in my memory as a kind
of unknown oddness. Since then, I have worked with the theme ‘Improvise
collecting of my daily life.
Maya Amrami
My work is essentially
about Body – the presence of the body,
or rather, the fragments of its
presence; a physical body that is transformed and misplaced; locked into the
two- dimensional surface it is printed upon. The print is an energy that helps
it come to life, as it is neither alive, nor dead. It is a ghost. It is merely
a trace, autobiographical, inspired by its creator, just like Frankenstein's
monster. It is a Golem, an embodiment of human manipulation and technological
processes – a body amassed with technology. I concentrate on images created by current modern print
technology. For me print is an ongoing process of reproduction, and as such it
resembles a living body. The work process carries a DNA therefore each work has
traces of the previous one in form, colour, style and gestures.
Website:www.mayaamrami.com
Adam Hartnell
Inspired by past civilizations such as Egypt, Greece and Rome, Western and Eastern philosophies and art from around the world, I set out to create a visual language based upon the areas of interest in relation to my personal development.
Sharron McLeod
I am interested in combining printmaking techniques with glass
making processes. The result is a hybrid print fused onto numerous layers and
colours of kiln glass adding both texture and narrative. I print with enamels
and powdered glass primarily through silkscreens and linocuts. I also create
images on decals which can then be embedded within the glass. The enamel paint
is black and the colours in the wall panels are all achieved with glass.
For
me, the term Traces brings with it connotations of memories of what has been
before. A visual surviving mark of something on the landscape that hints at its
former existence and all the history tied up in it. It is this that prompts us
to consider what happened previously and in the case of buildings, how their
physical structure has evolved. This is one of the reasons why I was so drawn
to Brighton West Pier. It has a sculptural quality based on the residual left
behind of a building built in 1866. The pier was designed in its hay day for
pleasure and entertainment but through fire and lack of maintenance it has
become derelict. Brutal physical evidence of the forces of nature winning out
against mankind’s efforts to make their mark upon the landscape.
Website:
www.sharronmcleodglass.com
Maxine Alexander
My present practice looks at themes of ageing, memories, absence, loss
and connections, both as a metaphor and literally. My work is predominantly material and process driven. The present focus
being on copper and rope, two of the oldest materials used by humankind. I am
interested in altered surfaces using annealing to oxidise the metal. Oxidising
creates a sense of the bodily, a sense of our own ageing experience. Copper pipes are used primarily as a conduit for water.In esoteric symbolism water conveys emotion, the pipes being a conduit
for our feeling memories and experience. The interweaving and the knotting
conveys markers, and connections throughout our lives.
I’m a simple person with a complicated mind. I love organic shapes and patterns in a repetitive way. The complexity of the pattern looks intricate but in fact it is organized in a certain order. You can always find an order in a messy pattern. I tend to make complicated things in a simple way.
Jeremy Russo-Ball
The exchange of philosophy and visuality between the East and West is the fundamental foundation in my creative work. Through my painting methodology I activate interactions between the raw surface and the subsequent repeated applications of paint and ink, through the gestures necessary in order to facilitate this dialogue. I experiment with the qualities of the materiality of the paint and the painting surface, the degrees of control, intervention or chance.
Vivian Leung
I’m a simple person with a complicated mind. I love organic shapes and patterns in a repetitive way. The complexity of the pattern looks intricate but in fact it is organized in a certain order. You can always find an order in a messy pattern. I tend to make complicated things in a simple way.
Jeremy Russo-Ball
The exchange of philosophy and visuality between the East and West is the fundamental foundation in my creative work. Through my painting methodology I activate interactions between the raw surface and the subsequent repeated applications of paint and ink, through the gestures necessary in order to facilitate this dialogue. I experiment with the qualities of the materiality of the paint and the painting surface, the degrees of control, intervention or chance.
Chunliu Lin
Chunliu Lin comes from China where she studied oil painting and
traditional Chinese painting in Beijing. She was an editor of Star Art magazine and taught Chinese
traditional painting. She is interested in Western and Eastern culture and
researching these cultures through different techniques and content.
She is interested naturalistic portrait painting and her works are about
people living in London. Chunliu sees London as a widely welcoming, soulful
city which because of its size contains different cultures, religions and
nations which fascinate her. The children of the many nationalities grow up and
study in the city, which, according to Chunliu means they are both different
and the same. Hence the work entitled ‘Same and Different’. They are normal
people, just like you and me, but they are unusual people, just like you and
me.The work is based on Chinese traditional painting and uses natural colours
and ink. The colours in nature are stable and maintain their vibrancy for many
years. The silk is unusual as it is coated in gum and potassium alum and its
characteristic is colour which allows it to be painted on again and again, with
increasingly deeper and stronger colours.