'Modular Paintings' are parts which Loes puts together in various combinations, cropping them or using the complete form.
The use of copper and gold paint in her work makes the paintings vived and gives light its own dimension.
One of these series contains 16 parts that can either be shown together or in various smaller groups.
She is fascinated by the human longing for economic grow and their movement from the countryside to megacities worldwide, the tipping points in their lives and the happiness and disillusions that are getting side by side with these changes.
My digital art takes its inspiration from music and is produced in metal, metallic paper or perspex. One of the key elements of my art is the vibrant use of colours and the use of augmented reality, which helps bring the artwork to life by showing the stages of its creation with a soundtrack of the music that inspired it.
Teasdale’s work comes from a wide range of influences, including geometry and technology. Her
recent work reflects a longstanding fascination with pattern and textile design. She focuses on patterns
derived from both the natural and digital worlds and tries to highlight the order and beauty found
within them. Patterns have an underlying mathematical structure and can be seen as a search for
regularities. When we recognize these arrangements we have an emotional reaction that is deeply
rooted in our instincts and development. Sarah also believes in color psychology in relation to people’s
emotions and temperament. She focuses on using colors that I believe have positive effects and strives
to create works that is aesthetically pleasing to the eye.
Sarah has built this series of paintings from acrylic and in some cases spray paint on board with the occasionally addition of mica flake and/or iridescent pigments for additional shine and texture. The overall aesthetic of these colorful, pattern-based paintings is a blend of digital, modern, and ancient, and they have been compared to both video games and intricately patterned textiles.
Chantal van Houten
Everything changes around us over the years as we do.. moments of reconsideration and learning points. Over the years I hope that people learn that it’s of no importance how you look, where you are from or what you do for a living. The only thing of importance (from my own perspective) is truthfulness to yourself, and being able to give and share in life and being surrounded by the people that you want to be surrounded by.
So a mix of old and new, figures with a certain emotional load and will tell a colorful beautiful new insight. That’s what I’m trying to achieve with these series.
My work is archetypal: visually abstract but conceptually specific. I use symbols and associations of symbols that constitute a theme or narrative. Exploration of materials and ideas is a large part of my creative process, and I do not limit myself by tradition or habit.
My work is an extension of modernism with emphases upon new symbols used in new ways and with materials of myriad kind.The result is powerful: powerful form, color, style, content and a richness of material that, together, fuse the many currents – techniques, styles, materials – of modernism in the work.
As an artist with a focus in portraiture I am constantly interrogating the norms and boundaries of the figure painting genre. My painting practice entails equal parts of chance, improvisation, and calculated elements of realism combined to create humorous painting mutations. With determination, I strive to depict the variety of forms, both real and imagined, that the human and animal body can conform to. The work that I create has an affinity for the strange, awkward, and grotesque while always maintaining a strong sense of sincerity.
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.
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.
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.
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’.
These are all acrylic on canvas, 9” x 12” inches (except for Four Chairs), and depict chairs I’ve encountered in my travels. A young girl who saw these remarked, “you make the ordinary beautiful!” Yes, that is the point.
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.'
#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.
Chantal van Houten