I’ve ironically used photography to convey absence - a media often, and almost automatically used to reframe memory. This project very much focuses on highlighting the loss of a relative, or their missing. As something physical and thus wishes to capture its essence.
I made new family albums from scratch with pictures I'd edit so they'd be more accurate in telling the story of our life. I aim to create a visual discomfort by recreating in a way, pictures I grew up with. By materializing the absence one is undeniably transforming it into an actual physical form. One might forget features of a face but remembers the loss or sentiment of emptiness. Dads is a blunt testimony of absence, a disturbing hole in the most powerful piece of evidence. You can’t forget what you’ve never known but can choose to remember its absence.
Hedley Roberts makes paintings of lovers, friends, family, acquaintances and strangers using images gathered from social media and in communication with his subjects. Through a process of over-painting the subject is obliterated and re-imagined, generating a complex dialectic in the space between the subject and object; paint and image, artist and the portrayed. As portraits, the paintings themselves have a powerful ‘selfie’ agency in their outward gaze to the viewer, the eyes and mouths operating as indexes to an interior life and a mysterious new presence and identity. The characters depicted have a fragility that is overwhelmed by the tension in the paint application and colour, which varies from thin washed layers and lyrical touches to fervid, violent gestures and impasto application of deep colour.
My work began with an interest in mechanical diagrams and technical manuals. I would replicate them with red oil. This combination of subject and medium reminded me of anatomical drawings and cadaver studies. Stumbling upon an old technique applied to modern objects, I immediately became captivated by this kind of visual dissection.
As I looked deeper into the physicality of objects and organisms, layers of meaning and associations became impossible to ignore. My interest had shifted from a purely visual examination of objects to an anthropological excavation and assessment of my personal environment.
The results are unpredictable and ever-changing. But that’s the point. I’m not looking to prescribe answers of guidance. My goal is to catalogue – to investigate, dissect and examine – to provide access and insight to the fleeting moments of the present and recent past.
The series 'unapologetic paintings' is a collection of installations, street art pieces and realistic paintings and drawings of wrapped objects. In this series the object is hidden and the only thing showing it is it’s skin or it’s wrapping and it can only be revealed by the user’s imagination. What the viewer sees is a "skin" that summarizes the object's geometry creating a new one.
Mid Anatol is a series about the aesthetics and socio-cultural dynamics of Çankırı, Ankara and Yozgat; which are some of the most characteristic cities in Middle Anatolia. The series is named Mid Anatol -which stands for the shortened version of Middle Anatolia- as I believe that these three cities reflects their region in a nutshell. Also, the reason I chose this area is because of the fact that it sets the norms in all of Turkey regarding politics and culture.
Here you can see paintings in oil and bleach on glass, linen and paper. I am always compelled to try out new techniques. Alongside painting I work in ceramics, audio, silverpoint, charcoal, cyanotypes while also making short films all based around the imagery and data collected around nuclear explosions. My work deals with the sinister pageant of man’s attempt at dominance, when the honour of victory is denatured into a manifestation of nihilism.
Moments from a Chinese government’s propaganda film are isolated in the works on paper. Here bleach is used as an oxidising agent, the mark making eradicating the colour and only becoming fully visible minutes after the brush has left the paper.
In my largest piece to date Test -No.6, China's first H-Bomb is depicted with every square inch of the painting representing a thousand tons of TNT. The work is my meditation on this fleeting moment, a durational recording of the iconic symbol of ultimate power and destruction that could never be painted from life.
This project is a narrative of colours which they can tell some charming story without any purpose. It's like we find some things, or listen sounds, that can be smoothly combined and make you imagine in any possibilities.
I am inspired by industrial tools, knots and rope, animal hide and twine, steel and copper, natural materials and layers of dirt. Drawn to the materials one would normally manipulate with thier hands – wood, stone, metal, woodworking, ceramics, welding, construction– I use flat representations of them. Sometimes I abstract them completely or reinforce with abstract and bold color shapes.
Making these collages by hand with razors and glue helps structure my process. I am forced to find new colors and textures and the physicality of the work informs how I approach each shape, each blank page.
I find that the matte paper and styling of art, lifestyle and fashion publications to be the best. After exploring magazine shops for a variety of fresh material, I put each image on trail after cutting, and slowly arrange the fragments in a chaotic dance.
This series is called Vessels.
I am interested in exploring our perception of the outside world as a manifestation of the representations of our consciousness.
My paintings are composed of collective fragments of objects emphatically associated with memories, which rely on a rational re-interpretation to complete a reconstruction of an event and space.
The state and relationship between objects in my paintings represent the phenomenon and circumstance of a person in that space. This space is reconstructed by fragments of a person’s sense of time and stream of consciousness and is divided by segments of our perception of life and the integrity of time, leading to more of a sense of alienation and exile. Thus, our perception of the external world is an imposition of person’s consciousness, rather than the ‘thing-in-itself’.
Start to photograph by myself, on the threshold of 40 years.
I prefer the proximity explorations , the human landscape, his functions.
The camera gives me a chance to regain possession of the usual as
extraordinary, access to a More Profound experience of Reality,
in a peaceful struggle with time.
I live in Tuscany, not too far from the sea.
In the ongoing Series [S]lowseason i explore the Tirenean coast of Tuscany.
Debora Van Der Vliet
'Window' by Nick Sellek
László Gábor Belicza
20 Jan - 25 Feb
NEW WORK | Frank Kent
FOLD Gallery is pleased to present an exhibition of new work by Frank Kent, his first solo presentation in the gallery.
14 - 28 Jan
Peter Kettle: On Meadow and River
Sarah Wiseman Gallery
In January 2017, Sarah Wiseman Gallery presents brand new work by acclaimed young landscape painter Peter Kettle.
14 Jan – 4 Feb
The Dark Wood
Transition Gallery, London
Amelia Barratt / Sara Berman / Laura Davis / Johnny Höglund / Dean Melbourne