I’m interested in explore the relation between spaces and the human body, assuming situations of ruin, deconstruction, abandoned places or even landscapes, and presenting them has final composition for the spectator to explore and take advantage of new paths and realities. This way, my artistic path is directed to a crossing of situations between a reality that is familiar to the human being and another that exists after a manipulation of the same through Drawing.
'Goodbye, Blue Monday' investigates symbols of age and mortality in the world around us. The book was shot over a year, which coincided with me leaving my job to go freelance as an artist. This change made me hyperaware of time, in that my time was all my own, and I increasingly began to notice symbols of death in the world around me. Death is the full stop to your time and, once you become aware of that, the question becomes how are you going to make the most of it?
These paperworks mainly explores my own domestic interiors and their inhabitants. My focus is variations of absence and presence in family relations - the slight shifts between closeness, tendeness and intimacy and distance and isolation in everyday life. In this context the blank abstract spaces is as significant as the figurations. As is the physical presence of the work, the textures of the different kinds of paint and the imprints of the pencil on the coarse surface of the paper.
I've been exploring the relationship between man and nature. In terms of content I've always had a strong affinity for natural science illustration and portraiture. Stylistically my work is pretty much all line based. I've always loved the graphic nature of linework and how contrasting bold graphic lines with thin delicate lines can give you an ever-expanding range of tools to work with, and it's the use of these tools I look to explore.
I make small enclosed collections by which I am turning my attention to my surroundings and by which I am trying to catch affected human destinies with as much sympathy as I can give. I try to make my photographs visually simple, non-stylized and functional. I want my photographs to be only whispering to the audience, not shouting to them.
This series is called 'Friends', a series where Kateřina digs out forgotten clothes and creates figurines out of it to keep her company.
I don't write about my work specifically for the purpose of allowing the work to speak for itself. These pieces hold meaning and significance that is unable to be conveyed through the constricting confines of written language. Words interfere with the experience. I am a painter. I am not a writer.
'The primary emotion that comes through the work is anxiety. These paintings are a way to transform my feelings of dread and insecurity into something physical, tangible, and beautiful. I connect to the world through beauty.'
For this series of images, I got as close as I could to the essence of the process, using only water and ink. Same material as for the japanese pantings that are an endless source of inspiration to me. I worked on 16 wild animals. All photographed on the move. The mix of this bare technique with my use of spots and drops seemed like a good fit for the sometimes brutal, sometimes peaceful attitude of the animals.
#barrioPOP is an amalgamation sprung by characters, colors & street phenomena that is my life emerged in popular border town culture, expressed through multimedia such as painting, collage, photography, assemblage, digital collage, image transfer & music.
My tendency has always been to want to dismantle things in order to make sense of the world around me, and I think that is essentially what art is: dismantling and rearranging with the hopes of gaining insight into the raw materials you began with. I love realist art that manages to please the senses, capture the tangible world and illuminate all it’s wonderful subtleties. I also appreciate art that forgoes direct representation and instead uses abstract shape and color to communicate a strong concept.
Juan Rodriguez Morales
Mireille Es Paechberg
31 Aug - 10 Sep
Rewind - Julie Umerle
Art Bermondsey Project Space
Julie Umerle’s approach to art has recently been described by New York Art Magazine as a new way of thinking with abstract painting. At Rewind, Art Bermondsey Project Space presents a solo exhibition of her latest works: four large-scale paintings, a series of smaller canvases and works on paper.
27 Aug - 2 Oct
Aidan Koch. Iris
Women discuss a mysterious game, fragmented faces gaze across a maze, a ladder leads over a short wall. Abstracted foreboding and ambiguity pervade the drawings and objects, mirroring the mental walls and corridors of the characters' consciousness.
27 Aug - 2 Oct
Hundred Years Gallery
HYG Editions presents a collection of affordable new work by artists who regularly collaborate with the Gallery.