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Group Exhibition on View
NEW ERA
23d February - 23d March 2021
Exhibitors:
LORETTE C. LUZAJIC, CANADA / CHRISTOPHER MACNEIL, USA / ANASTASIA KOLOSNITSYNA, RUSSIA / SUSAN HENSEL, USA / EKATERINA KUZMINA, RUSSIA / ELISE MENDELLE, UK / EVA ANGELAKA, GERMANY / ZAKIRIA TAHIRIAN, AUSTRALIA / BINGQIN ZHANG, CHINA / ANJA BAMBERG, GERMANY / YAWEN ZHENG, CANADA / ANA ROCHA, BRAZIL / BORA GUNEY, TURKEY / HYUNSUN YOO, AUSTRIA / DANIEL WILLE, AUSTRIA / DARIA PROZOROVA, RUSSIA / JAKUB PASIERKIEWICZ, UK / SVENJA MICHELLE BEHLE, GERMANY / SONIA BEN ACHOURA, UK
This is not the end
It just the start.
A start to a new era.
To a new life,
And probably to a new world.
Hyunsun Yoo
HYUNSUN YOO
UNTITLED, 75*105cm, oil on canvas
The long standing theme of my work is “human”. In other words, when I reflected on my curiosity and interests, “human” is always there. When I am among people, I start to think “what is human and human nature?”
While thinking about that, I looked at the place where people were gathered. It was on the calm water surface of a lake that was a full of sea weed, it was between the space dancing waves, it was under blazing the sun. It was on the grass where was full of spirit of spring and it was the moment of an ecstatic sunset before a darkness.
People unite and share their emotion through their common interest in nature. It happen very naturally that is possible without any artificial effort. I observe them all and try to express the composition and order that they make. I hope people not only to see ‘human’ in the beautiful scenery, but also to discover where human comes from what they are in my works.
The long standing theme of my work is “human”. In other words, when I reflected on my curiosity and interests, “human” is always there. When I am among people, I start to think “what is human and human nature?”
While thinking about that, I looked at the place where people were gathered. It was on the calm water surface of a lake that was a full of sea weed, it was between the space dancing waves, it was under blazing the sun. It was on the grass where was full of spirit of spring and it was the moment of an ecstatic sunset before a darkness.
People unite and share their emotion through their common interest in nature. It happen very naturally that is possible without any artificial effort. I observe them all and try to express the composition and order that they make. I hope people not only to see ‘human’ in the beautiful scenery, but also to discover where human comes from what they are in my works.
HYUNSUN YOO
UNTITLED, 50*59cm, oil on canvas
Lorette C. Luzajic
LORETTE C. LUZAJIC
Pretty Time Machine, 30x40 inches,mixed media on gallery canvas.
Every technical and philosophical facet of my art is committed to the application of mixed media, redefining the term to include concepts and ideas as well as tangible physical materials. This cross-genre pasticcio is born from and dependent on collage, which naturally experiments with subliminality, intercontextuality and the unexpected narratives that emerge from both playful and planned juxtapositions. Each work is assembled from an unlimited assortment of tools, themes, genres, and inspirations. A work may be created from acrylic paint, gouache, found papers, chalk pastels, oil sticks, wax crayons, graphite, spray paint, poetry, overheard dialogue, religious ritual, music, mythology, television, and etymology. My expression springs from my insatiable curiosity, bent humour, the intersection of the sacred and inane, and enchantment with the fruits of human innovation and creativity. To this end, an ongoing lifelong study of visual art history, the arts, and the humanities, is essential to my work. From serene, minimalist abstractions to frantic pentimenti imbroglio, my work embraces appropriation and challenges constructs of genre, colour orthodoxy and technical craftsmanship. But the traditional importance of beauty in millennia of art history is a conviction I share. To obtain beauty in every work, I strive to evoke emotion, achieve mastery of composition, and discover new ways of seeing and defining what is beautiful.
Every technical and philosophical facet of my art is committed to the application of mixed media, redefining the term to include concepts and ideas as well as tangible physical materials. This cross-genre pasticcio is born from and dependent on collage, which naturally experiments with subliminality, intercontextuality and the unexpected narratives that emerge from both playful and planned juxtapositions. Each work is assembled from an unlimited assortment of tools, themes, genres, and inspirations. A work may be created from acrylic paint, gouache, found papers, chalk pastels, oil sticks, wax crayons, graphite, spray paint, poetry, overheard dialogue, religious ritual, music, mythology, television, and etymology. My expression springs from my insatiable curiosity, bent humour, the intersection of the sacred and inane, and enchantment with the fruits of human innovation and creativity. To this end, an ongoing lifelong study of visual art history, the arts, and the humanities, is essential to my work. From serene, minimalist abstractions to frantic pentimenti imbroglio, my work embraces appropriation and challenges constructs of genre, colour orthodoxy and technical craftsmanship. But the traditional importance of beauty in millennia of art history is a conviction I share. To obtain beauty in every work, I strive to evoke emotion, achieve mastery of composition, and discover new ways of seeing and defining what is beautiful.
LORETTE C. LUZAJIC
A Friend Indeed, 24x24 inches,mixed media on gallery canvas
ELISE MENDELLE
ELISE MENDELLE
Lost in Thought, Oil on canvas, 51 x 76 cm.
I paint in a loose, rhythmical style, stripping back my subjects to reveal only what is necessary for the viewer to interpret the presented scene. My paintings are primarily of women, capturing a private moment in time and posing the question 'what happens next?'. Using textured oil paint creates a connection between the imagined and real world, where people can get lost in my paintings as I offer a window through which to escape and dream.
I have embraced painting throughout lockdown, the challenge of looking inward, as well as forward towards an unknown future. I wish to give people compassion, empathy and understanding through the experience of my art, pushing them to look deeper to see what will emerge. I use my art to draw intensity from simple moments and create beauty from the mundane.
I paint in a loose, rhythmical style, stripping back my subjects to reveal only what is necessary for the viewer to interpret the presented scene. My paintings are primarily of women, capturing a private moment in time and posing the question 'what happens next?'. Using textured oil paint creates a connection between the imagined and real world, where people can get lost in my paintings as I offer a window through which to escape and dream.
I have embraced painting throughout lockdown, the challenge of looking inward, as well as forward towards an unknown future. I wish to give people compassion, empathy and understanding through the experience of my art, pushing them to look deeper to see what will emerge. I use my art to draw intensity from simple moments and create beauty from the mundane.
ELISE MENDELLE
In the Light of Day, Oil on canvas, 61 x 72 cm
BORA GUNEY
BORA GÜNEY
"P No:005", 2020, 21 x 30 cm, Lambda C-Type Print, Edition of 4.
Times change but people rarely do so. With curfews and a deadly disease around the corner; “The New Era” we live in, we stay home and detached.
Thanks to the internet maybe we are even more “outside” than ever before. Travelling through human history and creations of all times. In an era like this, I started to capture visuals that depict human technology in a more familiar way, a way of material nostalgia. Virtual space photography, as a drastically different medium to me, I aimed to capture the spirit of our world and people. Collection of fragments from anyone's memory.
Intimate but non personal photographs, captured in the virtual spaces, aspires viewers to remember and re-experience each and every human emotion they are capable of.
Times change but people rarely do so. With curfews and a deadly disease around the corner; “The New Era” we live in, we stay home and detached.
Thanks to the internet maybe we are even more “outside” than ever before. Travelling through human history and creations of all times. In an era like this, I started to capture visuals that depict human technology in a more familiar way, a way of material nostalgia. Virtual space photography, as a drastically different medium to me, I aimed to capture the spirit of our world and people. Collection of fragments from anyone's memory.
Intimate but non personal photographs, captured in the virtual spaces, aspires viewers to remember and re-experience each and every human emotion they are capable of.
BORA GÜNEY
"P No:003", 2020, 21 x 30 cm, Lambda C-Type Print, Edition of 4
EVA ANGELAKA
EVA ANGELAKA
Aphrodite summer sun Goddess, 2020, hand print and ink,
75x105cm.
To me, painting is a language, one that is necessary to create meaning where words end and give life a deeper perspective. Everything I create needs to come out as if I had to encounter it and what happens between me and the canvas is something spontaneous, happening in a miracle space that I’m still trying to understand and which leads me to the next piece, every time. It makes me content to be able to communicate to the viewer through my visual language and without further explanations. After all, I consider this a deepest and more sincere way of communication.
In this context, my political position or personal revolution is the creation of positive narratives and mesmerizing spaces against the everyday ugliness projected through the sensationalist media. I am not interested in repeating the problem, but in proposing solutions and giving a positive response to my surroundings; or emphasizing the continuation of life even in dystopia. This creation involves processes of rebirth, which more often than not succeed some kind of destruction and exist in almost every religion, narrative, fairytale and myth. I examine and experience these processes of destruction and rebirth, as my own spiritual practice through painting.
I aim to present the idea of sensitivity and compassion, contrary to a systematized, digitalised and automated society. This is approached by reflecting on childhood and exploring otherworldly, larger than life experiences while the concept of wabi-sabi - the transience and imperfection of things, which also includes some kind of wreckage - runs through all the artworks.
Inevitably, my past studies (MSc in Asian studies) and life experience in Japan and Sweden inform my personality, aesthetics and way of working. As for the future evolution of my research and art, it unequivocally goes along with my personal evolution as a human and artist. However, I am interested in exploring more mediums, such as installations, performance and virtual space.
75x105cm.
To me, painting is a language, one that is necessary to create meaning where words end and give life a deeper perspective. Everything I create needs to come out as if I had to encounter it and what happens between me and the canvas is something spontaneous, happening in a miracle space that I’m still trying to understand and which leads me to the next piece, every time. It makes me content to be able to communicate to the viewer through my visual language and without further explanations. After all, I consider this a deepest and more sincere way of communication.
In this context, my political position or personal revolution is the creation of positive narratives and mesmerizing spaces against the everyday ugliness projected through the sensationalist media. I am not interested in repeating the problem, but in proposing solutions and giving a positive response to my surroundings; or emphasizing the continuation of life even in dystopia. This creation involves processes of rebirth, which more often than not succeed some kind of destruction and exist in almost every religion, narrative, fairytale and myth. I examine and experience these processes of destruction and rebirth, as my own spiritual practice through painting.
I aim to present the idea of sensitivity and compassion, contrary to a systematized, digitalised and automated society. This is approached by reflecting on childhood and exploring otherworldly, larger than life experiences while the concept of wabi-sabi - the transience and imperfection of things, which also includes some kind of wreckage - runs through all the artworks.
Inevitably, my past studies (MSc in Asian studies) and life experience in Japan and Sweden inform my personality, aesthetics and way of working. As for the future evolution of my research and art, it unequivocally goes along with my personal evolution as a human and artist. However, I am interested in exploring more mediums, such as installations, performance and virtual space.
EVA ANGELAKA
Japan 1, 2020, ink print, 20x30cm
YAWEN ZHENG
Eating Fish in front of Fish I, 22" x 12", Digital Inkjet Print.
As an artist, I get inspirations from nature to explore the relationship between nature and human beings, and expresses environmental concerns and animal rights. Living in the alluring earth, I believe that we have responsibility to find a sustainable way to take care of this planet. I hope that my work can help others be more respect nonhuman species and nature.
As an artist, I get inspirations from nature to explore the relationship between nature and human beings, and expresses environmental concerns and animal rights. Living in the alluring earth, I believe that we have responsibility to find a sustainable way to take care of this planet. I hope that my work can help others be more respect nonhuman species and nature.
YAWEN ZHENG
Eating Fish in front of Fish II,14" x 22", Digital Inkjet Print
YAWEN ZHENG
DANIEL WILLE
On the stage, mixed media, 80x90cm.
In art I always was seeking for the opportunity to make the viewer feel the picture as something alive, to feel the presence. But not only with the help of classical techniques, or not only with the help of it, but more through associative, subconscious or intuitive.
Using various objects, fabrics, textures, you can create something you can touch to change, something that is exposed to the environment, natural and aging. And that can revive the canvas.
It was always paradoxical for me to feel impressionism more alive comparing to classical realism, I found the key to this answer in Alla prima techniques emotions and admiration are instantly imprinted on the canvas.
Therefore, I try to create work as quick as possible so as not to move out to another environment. To create a good picture you have to live it, survive it.
Even if the picture is not completed, then it will provide an opportunity viewer's imagination.
Everything you can imagine is real.- Picasso.
At recent moment I am working on a new direction "Anrealism".
Style contains old masters fresco painting techniques and contemporary vision. Half sculpture ,half painting.
In art I always was seeking for the opportunity to make the viewer feel the picture as something alive, to feel the presence. But not only with the help of classical techniques, or not only with the help of it, but more through associative, subconscious or intuitive.
Using various objects, fabrics, textures, you can create something you can touch to change, something that is exposed to the environment, natural and aging. And that can revive the canvas.
It was always paradoxical for me to feel impressionism more alive comparing to classical realism, I found the key to this answer in Alla prima techniques emotions and admiration are instantly imprinted on the canvas.
Therefore, I try to create work as quick as possible so as not to move out to another environment. To create a good picture you have to live it, survive it.
Even if the picture is not completed, then it will provide an opportunity viewer's imagination.
Everything you can imagine is real.- Picasso.
At recent moment I am working on a new direction "Anrealism".
Style contains old masters fresco painting techniques and contemporary vision. Half sculpture ,half painting.
DANIEL WILLE
Holding yesterday, mixed media, 86x69cm
DANIEL WILLE
Christopher MacNeil
CHRISTOPHER MACNEIL
Onem, Digital Mixed Media, 25x16in.
My work touches upon a variety of themes related to self reflection including issues of self denial and confusion. However it also elucidates actualization and the personal growth that occurs through turbulence.
I created this series after a major career and life change fell apart and I made the decision to go forward in life as an artist. Over the span of a year, I focused my attention on creating this series of over 130 individual pieces in my "Reverse Painting" method while contemplating the next step in my professional life which was largely in disarray. These pieces reflect the shifting emotional and mental state that occurs in times of confusion and uncertainty, and ultimately speak to the emotional expansion and artistic awakening that occur in the process of blooming as an artist.
My work touches upon a variety of themes related to self reflection including issues of self denial and confusion. However it also elucidates actualization and the personal growth that occurs through turbulence.
I created this series after a major career and life change fell apart and I made the decision to go forward in life as an artist. Over the span of a year, I focused my attention on creating this series of over 130 individual pieces in my "Reverse Painting" method while contemplating the next step in my professional life which was largely in disarray. These pieces reflect the shifting emotional and mental state that occurs in times of confusion and uncertainty, and ultimately speak to the emotional expansion and artistic awakening that occur in the process of blooming as an artist.
CHRISTOPHER MACNEIL
Native, Digital Mixed Media, 12x20in
Zakiria Tahirian
ZAKIRIA TAHIRIAN
Untitled, 22 x 29in, Watercolor and Ink on paper.
What is the situation in everyone’s life these days? Why everyone fights a war with their own? Why we can’t understand the roll of us in life easily? The series of art works that I’m making is to put light on someone’s daily life, social life, personal life, the reason of everyone’s living on their own surrounding, their own bubble.
The challenges that they are facing, the decision they are making to put themselves on a surrounding and the act of others on their lives.
So I call it ( ME ), the similarity of me and others are the same as my point of view. I’m suffering the same hardship as others, I feel the joy as others but what is not common in between is a question. I tried to focus on that and through the pieces I’ll answer some of them.
What is the situation in everyone’s life these days? Why everyone fights a war with their own? Why we can’t understand the roll of us in life easily? The series of art works that I’m making is to put light on someone’s daily life, social life, personal life, the reason of everyone’s living on their own surrounding, their own bubble.
The challenges that they are facing, the decision they are making to put themselves on a surrounding and the act of others on their lives.
So I call it ( ME ), the similarity of me and others are the same as my point of view. I’m suffering the same hardship as others, I feel the joy as others but what is not common in between is a question. I tried to focus on that and through the pieces I’ll answer some of them.
ZAKIRIA TAHIRIAN
Untitled, 22 x 29in, Watercolor and Ink on paper
Susan Hensel
SUSAN HENSEL
Chromatic Wave 1, Digital embroidery, 12 x 25 x 1 inches
30 x 63 x 3 cm.
I make sculptural textile works from a feminist perspective in order to transform personal experience, private and public spaces, and notions of beauty, through the alchemy of color, scale, lighting and placement. I combine mixed-media practices with fabric and embroidery across digital and manual platforms. As an established artist with a 50-year career, I am called to use my time and talents in the service of transformation – both my own as an artist, and as a catalyst for viewers of my work. Through my work, I aim to ignite a sense of “radical beauty” which I extend to the viewer as an invitation to communicate wholeness and unity through a positive felt response and held memory.
At the center of my technical process is digital embroidery: designing in the computer and stitching out on a computer-aided machine. Digital machine embroidery is not a substitute for, nor a speedier version or imitator of, handwork. For me, its use is a mindset as well as a media choice. Historically, flatness is a key characteristic of most embroidery, with occasional low-relief techniques employed. My work breaks ground by engaging both sculptural and cultural space. I design the work to be permanently folded, making art that can be manipulated and performed, containers that can be moved to create a sense of place, free-standing sculpture, installations and large-scale wall works that claim space and define it. I am not imitating fashion, quilts, or hand embroidery. Rather, I am using thread and fiber techniques to shift light and perception through structures and forms in the real world. By doing so, I am bringing digital embroidery out of the industrial and applied art realm into the fine art space.
Embroidery thread is trilobal in structure. It bends light in multiple directions. Since all color is reflected light, when the angle of reflection changes, so does the perception of color. The finished works dance in the fields of color perception while demonstrating process and movement in otherwise static forms. I aim to explore size and three-dimensionality, from tabletop to architectural scale.
Digital embroidery lends itself to hard-edge geometry as well as biomorphic form. The combination of high-tech with what historically has been considered "women's handiwork" provides a holistic contrast of hard/soft, nostalgic/current, objective/subjective. It also lends itself to modular repetition and re-combinations. Themes can be played out quickly in the computer and then stitched and sampled ever so-slowly on the machine – combined with and without mixed media in a wide-ranging exploration of forms in space.
I situate my art within a history of women artists whose work received art world recognition later in their careers – starting with Judy Chicago, who struggled for decades to place the world-famous Dinner Party (1974), comprised of multi-media artwork of hand-painted china, ceramics and embroidery (finally bought in 2002 and housed at the Sackler Feminist Art Center at the Brooklyn Museum). Other textile artists working in sculptural forms, such as the late Ruth Asawa, worked and taught, like me, for decades before major institutional and art world recognition. Indeed, the work of women's crafts has only recently been positioned within contemporary art history, as showcased in the 2015 Museum of Arts and Design's Pathmakers: Women in Art, Craft and Design, Mid-Century and Today. My foremothers and contemporaries are many: Sheila Hicks, Polly Apfelbaum, Anne Wilson, Lenore Tawney – artists who all stretched the definitions of how fiber “should” be understood. I am now well positioned to contribute to this growing field of women's art history, as well as to contribute more widely to the interdisciplinary practices of craft, design and fine art.
30 x 63 x 3 cm.
I make sculptural textile works from a feminist perspective in order to transform personal experience, private and public spaces, and notions of beauty, through the alchemy of color, scale, lighting and placement. I combine mixed-media practices with fabric and embroidery across digital and manual platforms. As an established artist with a 50-year career, I am called to use my time and talents in the service of transformation – both my own as an artist, and as a catalyst for viewers of my work. Through my work, I aim to ignite a sense of “radical beauty” which I extend to the viewer as an invitation to communicate wholeness and unity through a positive felt response and held memory.
At the center of my technical process is digital embroidery: designing in the computer and stitching out on a computer-aided machine. Digital machine embroidery is not a substitute for, nor a speedier version or imitator of, handwork. For me, its use is a mindset as well as a media choice. Historically, flatness is a key characteristic of most embroidery, with occasional low-relief techniques employed. My work breaks ground by engaging both sculptural and cultural space. I design the work to be permanently folded, making art that can be manipulated and performed, containers that can be moved to create a sense of place, free-standing sculpture, installations and large-scale wall works that claim space and define it. I am not imitating fashion, quilts, or hand embroidery. Rather, I am using thread and fiber techniques to shift light and perception through structures and forms in the real world. By doing so, I am bringing digital embroidery out of the industrial and applied art realm into the fine art space.
Embroidery thread is trilobal in structure. It bends light in multiple directions. Since all color is reflected light, when the angle of reflection changes, so does the perception of color. The finished works dance in the fields of color perception while demonstrating process and movement in otherwise static forms. I aim to explore size and three-dimensionality, from tabletop to architectural scale.
Digital embroidery lends itself to hard-edge geometry as well as biomorphic form. The combination of high-tech with what historically has been considered "women's handiwork" provides a holistic contrast of hard/soft, nostalgic/current, objective/subjective. It also lends itself to modular repetition and re-combinations. Themes can be played out quickly in the computer and then stitched and sampled ever so-slowly on the machine – combined with and without mixed media in a wide-ranging exploration of forms in space.
I situate my art within a history of women artists whose work received art world recognition later in their careers – starting with Judy Chicago, who struggled for decades to place the world-famous Dinner Party (1974), comprised of multi-media artwork of hand-painted china, ceramics and embroidery (finally bought in 2002 and housed at the Sackler Feminist Art Center at the Brooklyn Museum). Other textile artists working in sculptural forms, such as the late Ruth Asawa, worked and taught, like me, for decades before major institutional and art world recognition. Indeed, the work of women's crafts has only recently been positioned within contemporary art history, as showcased in the 2015 Museum of Arts and Design's Pathmakers: Women in Art, Craft and Design, Mid-Century and Today. My foremothers and contemporaries are many: Sheila Hicks, Polly Apfelbaum, Anne Wilson, Lenore Tawney – artists who all stretched the definitions of how fiber “should” be understood. I am now well positioned to contribute to this growing field of women's art history, as well as to contribute more widely to the interdisciplinary practices of craft, design and fine art.
SUSAN HENSEL
Chromatic Wave 2, Digital embroidery, 11 x17 x1 inches
28 x 43 x 3 cm
28 x 43 x 3 cm
ANA ROCHA
SURVEILLER ET PUNIR
Reconstruction Series
Acrylic on canvas, 100cm X 100cm.
The artworks presented are from the Reconstruction Series. This series, all in acrylic on canvas and started in 2020, is about the constant renewal we make of ourselves throughout the journey. A sequence of deconstructions for later Reconstructions, choosing and fitting the "pieces" of life, in search of meaning. A cycle that is perpetuated as we go beyond and take possession of our best versions, our best "pieces",
In Geometric Abstraction I have the affective memory of when my mother was a university professor of Geometric Design. The works of her students enchanted me as a child and permeate my imagination until today. It is in this way, playing with this language, through painting, that I found a way to make a childhood rescue; to unite Art with my studies in Philosophy; to move between these two worlds and to travel in time.
The aim of my work is to emphasize the importance of the process of self-knowledge and, at the same time, to create an approximation of classical philosophical concepts, wich have been very restricted to scholars, with the general public. It is based on this deepening in myself and this inevitable connection with Philosophy, that my art takes shape and starts to make sense in my life.
Reconstruction Series
Acrylic on canvas, 100cm X 100cm.
The artworks presented are from the Reconstruction Series. This series, all in acrylic on canvas and started in 2020, is about the constant renewal we make of ourselves throughout the journey. A sequence of deconstructions for later Reconstructions, choosing and fitting the "pieces" of life, in search of meaning. A cycle that is perpetuated as we go beyond and take possession of our best versions, our best "pieces",
In Geometric Abstraction I have the affective memory of when my mother was a university professor of Geometric Design. The works of her students enchanted me as a child and permeate my imagination until today. It is in this way, playing with this language, through painting, that I found a way to make a childhood rescue; to unite Art with my studies in Philosophy; to move between these two worlds and to travel in time.
The aim of my work is to emphasize the importance of the process of self-knowledge and, at the same time, to create an approximation of classical philosophical concepts, wich have been very restricted to scholars, with the general public. It is based on this deepening in myself and this inevitable connection with Philosophy, that my art takes shape and starts to make sense in my life.
ANA ROCHA
RES EXTENSA
Reconstruction Series
Acrylic on canvas
60cm X 140cm
Reconstruction Series
Acrylic on canvas
60cm X 140cm
Ana Rocha
BINGQIN ZHANG
Do Not Do Gentle into That Good Night 03
Inkjet Print 19 X 28.5 inches.
“Do not go gentle into that good night” is a poetry by Dylan Thomas. The poem expresses the anger about death. Night is like a metaphor for death in his view. Some people see noise in the night, some people see danger in the night, some people see ghosts in the night, and I see myself in the night. I think the feeling of looking at the night is same as looking into my heart. People need to learn to get along with themselves in life. Being with oneself is a lonely process, accompanied by change and thinking. These photographs convey the inner emotions when I am alone, and these emotions will be different with the change of experience and mood. In this period, I have been in the stage of self-doubt, so I feel that I am looking at myself and doubting myself. The night and the day are like two sides of the same person. The day is shown to the world, and the night is left for itself. The empty streets and the intricate light and shadow at night are like the complicated thoughts of the same person. Relaxation, doubt, calmness, etc., are all things we may feel. This set of pictures plan to convey the different feelings when I look into my hearts by using color, light and shadow.
I chose to shoot at twilight and night. The time between day and night is like the change of the human mind. The unknown contained at night is like the inside of a person. Under the dark background, the color will be more prominent and attract us to see the black part. I referenced some famous photographers like Gregory Crewdson and Todd Hido who shoot pictures at night to express feelings.
Inkjet Print 19 X 28.5 inches.
“Do not go gentle into that good night” is a poetry by Dylan Thomas. The poem expresses the anger about death. Night is like a metaphor for death in his view. Some people see noise in the night, some people see danger in the night, some people see ghosts in the night, and I see myself in the night. I think the feeling of looking at the night is same as looking into my heart. People need to learn to get along with themselves in life. Being with oneself is a lonely process, accompanied by change and thinking. These photographs convey the inner emotions when I am alone, and these emotions will be different with the change of experience and mood. In this period, I have been in the stage of self-doubt, so I feel that I am looking at myself and doubting myself. The night and the day are like two sides of the same person. The day is shown to the world, and the night is left for itself. The empty streets and the intricate light and shadow at night are like the complicated thoughts of the same person. Relaxation, doubt, calmness, etc., are all things we may feel. This set of pictures plan to convey the different feelings when I look into my hearts by using color, light and shadow.
I chose to shoot at twilight and night. The time between day and night is like the change of the human mind. The unknown contained at night is like the inside of a person. Under the dark background, the color will be more prominent and attract us to see the black part. I referenced some famous photographers like Gregory Crewdson and Todd Hido who shoot pictures at night to express feelings.
BINGQIN ZHANG
Do Not Do Gentle into That Good Night 12
Inkjet Print 19 X 28.5 inches
Inkjet Print 19 X 28.5 inches
BinGQIN ZHANG
ANJA BAMBERG
Dl #10, Oil and Acrylic on canvas, 115x160cm.
Anja started a collaboration with a photographer from Dubai in 2018. The work is of these two artists, who grew up in different countries with different cultural backgrounds, almost 5,000 km far away from each other.
However their artistic exploration is thematically very similar.
The way of their expressions let them diverse themselves from each other.
If you look at the pictures side by side, this becomes particularly clear.
Each of them sees a scene or a place with variant eyes, captures the moment and the feeling, which also expresses his/her interpretation. The artistic point of view of one artist influences the artistic engagement of the other.
Anja started a collaboration with a photographer from Dubai in 2018. The work is of these two artists, who grew up in different countries with different cultural backgrounds, almost 5,000 km far away from each other.
However their artistic exploration is thematically very similar.
The way of their expressions let them diverse themselves from each other.
If you look at the pictures side by side, this becomes particularly clear.
Each of them sees a scene or a place with variant eyes, captures the moment and the feeling, which also expresses his/her interpretation. The artistic point of view of one artist influences the artistic engagement of the other.
ANJA BAMBERG
Dl #9, Oil and Acrylic on canvas, 160x115cm
Anja Bamberg
JAKUB P.
JAKUB PASIERKIEWICZ
The inverted world I, Photography on aluminium Dibond, 120cmx90cm.
The photographs present abstract coastal landscapes, which I captured in different regions of the world.
The variation of the flora's shapes, which appeared in front of my camera, became an inspiration to explore human relationships and identity.
By creating these diptychs, which are the combination of positive and negative of the same capture, I wanted to emphasise potential opposite elements of the same subject. For me, it also symbolises the duality of human character with its complex nature which constitutes our psychological portrait which is woven from different experiences and emotions such as depression, anxiety, happiness, joy or calm.
I also observed another aspect of these compositions. I realised that they display the connection between the currently existing world and something new, which can appear in the future and constitute the outcome of our deconstructive activity on our planet.
The photographs present abstract coastal landscapes, which I captured in different regions of the world.
The variation of the flora's shapes, which appeared in front of my camera, became an inspiration to explore human relationships and identity.
By creating these diptychs, which are the combination of positive and negative of the same capture, I wanted to emphasise potential opposite elements of the same subject. For me, it also symbolises the duality of human character with its complex nature which constitutes our psychological portrait which is woven from different experiences and emotions such as depression, anxiety, happiness, joy or calm.
I also observed another aspect of these compositions. I realised that they display the connection between the currently existing world and something new, which can appear in the future and constitute the outcome of our deconstructive activity on our planet.
JAKUB PASIERKIEWICZ
The inverted world II, Photography on aluminium Dibond, 120cmx90cm
SVENJA MICHELLE BEHLE
Abstract on Wood II, Print on Tissue Paper on Wood (consists of two pieces) , 39.5 x 60 x 0.5 cm
My work builds around the abstraction of a dystopian reality through patterns. The print and mixed media pieces resemble polluted landscapes and our contaminated environment through the distortion of imagery from my memory and my photography. With this work I explore the value that can be found in waste materials, and the beauty of a more realistic and less idealised view of our current environmental state, while at the same time minimising waste production and moving towards a zero waste practice. An extended stay in South East Asia of 3½ years and witnessing the devastating and very visible effect of waste pollution has manifested this low waste and repurposing approach in my creative process. I'm inspired by the japanese Wabi-sabi 侘寂, Kintsugi 金継ぎ / Kintsukuroi 金繕い and the Taiwanese Father of print Liao Shiou-Ping.
My use of second hand and waste materials, as well as repurposing the scraps and rubbish that accrue within my practice, gives leftover everyday objects new meaning as something beautiful and treasurable. Incorporating what can be gathered in my immediate surroundings and what the natural and manmade environment leaves to decay is used to generate the work, it furthermore inspires the colour palette, shapes and patterns found in my abstract pieces.
I generate the various patterns by working into the colour layer or layers of Lino ink with a variety of tools and printing on tissue paper I dye myself. These prints are the center of my pieces and represent the messy beauty, rubble and pollution encountered in realistic environments (specifically in SEA). My work discusses ways to combat waste pollution and its effects using art as the middleman between a dystopian reality and the thrive for a greener future.
My work builds around the abstraction of a dystopian reality through patterns. The print and mixed media pieces resemble polluted landscapes and our contaminated environment through the distortion of imagery from my memory and my photography. With this work I explore the value that can be found in waste materials, and the beauty of a more realistic and less idealised view of our current environmental state, while at the same time minimising waste production and moving towards a zero waste practice. An extended stay in South East Asia of 3½ years and witnessing the devastating and very visible effect of waste pollution has manifested this low waste and repurposing approach in my creative process. I'm inspired by the japanese Wabi-sabi 侘寂, Kintsugi 金継ぎ / Kintsukuroi 金繕い and the Taiwanese Father of print Liao Shiou-Ping.
My use of second hand and waste materials, as well as repurposing the scraps and rubbish that accrue within my practice, gives leftover everyday objects new meaning as something beautiful and treasurable. Incorporating what can be gathered in my immediate surroundings and what the natural and manmade environment leaves to decay is used to generate the work, it furthermore inspires the colour palette, shapes and patterns found in my abstract pieces.
I generate the various patterns by working into the colour layer or layers of Lino ink with a variety of tools and printing on tissue paper I dye myself. These prints are the center of my pieces and represent the messy beauty, rubble and pollution encountered in realistic environments (specifically in SEA). My work discusses ways to combat waste pollution and its effects using art as the middleman between a dystopian reality and the thrive for a greener future.
SVENJA MICHELLE BEHLE
Abstract on Wood III (double sided), Pen Drawing & Print on Dyed and Spray Painted Tissue Paper on Wood (with hooks and strings so it can hang freely), 38.3 x 47 x 1.7 cm
Svenja Michelle Behle
Anastasia Kolosnitsyna
ANASTASIA KOLOSNITSYNA
Two-faced,100x70cm, oil on canvas
As a child, I loved drawing, like most children, but even in those early years, I knew that I would devote my life to it, that it would become not just a hobby, but the meaning of life! And so it turned out. Creativity brought me to the most difficult and difficult emotional States, when it was hard to accept the reality that hurts... sitting down to paint a picture, everything went by the wayside. I had a dialogue with the painting... we understand each other ... creating our own surreal world filled with secrets , signs, symbols , magical creatures.
As a child, I loved drawing, like most children, but even in those early years, I knew that I would devote my life to it, that it would become not just a hobby, but the meaning of life! And so it turned out. Creativity brought me to the most difficult and difficult emotional States, when it was hard to accept the reality that hurts... sitting down to paint a picture, everything went by the wayside. I had a dialogue with the painting... we understand each other ... creating our own surreal world filled with secrets , signs, symbols , magical creatures.
ANASTASIA KOLOSNITSYNA
I am light, open-air self-portrait 35x25cm, oil on canvas
Sonia Ben Achoura
SONIA BEN ACHOURA
Light in the Darkest Hour
Mixed Media on canvas with deep edges
H87 x W92 x D4 cm
French artist and psychologist Sonia Ben Achoura generates innovative works of art at the intersection between art and science. She depicts her insights into the psyche onto canvas. Her fascination with human nature at the present stage of evolution (characterised by pervasive interaction with technology) manifests in geometric compositions with futuristic overtones.
Captivated by abstraction, her art nevertheless lies between the abstract and the figurative. The artist shapes light and colour as the basis for her compositions. Like intimations of perfection, her paintings are born out of an interplay between light and colour. She creates a world of vivid colour, dynamic forms, and geometric perfection. Her concern for the environment transpires throughout her body of work, as she contemplates future outcomes through her art. The potential for a partnership between mankind and nature is envisaged as she weaves organic forms over the fabric of robotic geometry.
Mixed Media on canvas with deep edges
H87 x W92 x D4 cm
French artist and psychologist Sonia Ben Achoura generates innovative works of art at the intersection between art and science. She depicts her insights into the psyche onto canvas. Her fascination with human nature at the present stage of evolution (characterised by pervasive interaction with technology) manifests in geometric compositions with futuristic overtones.
Captivated by abstraction, her art nevertheless lies between the abstract and the figurative. The artist shapes light and colour as the basis for her compositions. Like intimations of perfection, her paintings are born out of an interplay between light and colour. She creates a world of vivid colour, dynamic forms, and geometric perfection. Her concern for the environment transpires throughout her body of work, as she contemplates future outcomes through her art. The potential for a partnership between mankind and nature is envisaged as she weaves organic forms over the fabric of robotic geometry.
SONIA BEN ACHOURA
God Within
H60.79 x W91.3 x D3.5 cm
Acrylic on canvas with deep edges
H60.79 x W91.3 x D3.5 cm
Acrylic on canvas with deep edges
DARIA PROZOROVA
Golden Apples, oil and metal leaf on canvas, 80x90 cm
In her work, Daria Prozorova explores transitional states in nature, the emotional state, the world around and people. Painting in mixed media helps her with each work to create a feeling of a transitory, and at the same time a magnificent moment, the eternal variability of nature, people and events. She combines oil painting techniques with modern materials such as metal, polymers, minerals, natural objects to get the viewer fully immersed in the image.
In her work, Daria Prozorova explores transitional states in nature, the emotional state, the world around and people. Painting in mixed media helps her with each work to create a feeling of a transitory, and at the same time a magnificent moment, the eternal variability of nature, people and events. She combines oil painting techniques with modern materials such as metal, polymers, minerals, natural objects to get the viewer fully immersed in the image.
DARIA PROZOROVA
Aurora Symphony, oil and metal leaf on canvas, 50x70 cm
DARIA PROZOROVA
EKATERINA KUZMINA
Gamayun speaks, canvas, tempera, 120x80cm
In creativity, what attracts most of all is the opportunity through symbols to show some feelings and sensations that are understandable to everyone.
In creativity, what attracts most of all is the opportunity through symbols to show some feelings and sensations that are understandable to everyone.
EKATERINA KUZMINA
Bombay dream, hardboard, tempera, 60x40cm
EKATERINA KUZMINA
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