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.
My paintings are about time and painterly actions. The time and actions are being put in paint. By repeating the painterly actions over and over again peculiar structures arise that transcend the experiences of paint.
My paintings arise from the hundreds or thousands of different paint layers. These are applied with brushes, paint rollers or other (homemade) painting tools. Throughout the painting process, the gesture is of great importance. The painterly actions are borne.
The actions and time are revealed and can only be read in the multiple layers.
Pale, distressed figures inhabit my large-scale oil paintings. There are several repeating themes in the paintings: loneliness, nostalgia, longing, melancholia and a search for a sense of place. There are often figures depicted doing mundane tasks, or caught in a state of hesitation or fear, in forlorn atmospheres. A specific emotional longing translates into a painting.
I was born and spent my childhood in St. Petersburg, Russia and memorable childhood experiences frame the core of my work. These memories symbolize isolated experiences and therefore have a strong emotional impact. The physical places I no longer occupy and they do not exist in the same state, as when I knew them, all is imagined.
Jamie Frost is a sculptor, painter, and a prolific draughtsman whose work reflects an intense relationship between the body and the individual. His works have a fascination with the corporeal- they are deliciously visceral and closely observed.
'Seeing' addresses the notion of inherent potential and the understanding of meaningful perceptions from chaotic environments.
It is rooted in a quote from poet and philosopher Paul Valery, “To see is to forget the name of the thing one sees.” When the viewer no longer sees a graphite line as only a graphite line, but instead appreciates its essence and perceives it as part of a greater whole, they have in a sense forgotten what it is they are seeing, and experience with fresh eyes. This phenomenology is what aesthetically drives my practice. Conceptually, it is rooted in the theory of gestalt – a theory of visual observation that studies our ability to acquire and maintain meaningful perceptions in an apparently chaotic world. While this body of work started as a purely aesthetic investigation of materiality and order, I have come to regard the choices that I make within my artwork as metaphors for the ways in which we as a society readily accept organization, rules, and control. My sensibilities are based in the social structures of control into which I was born and raised. Seeing Is has become a platform for me as an artist to directly address the subconscious implications of these systems.
I create paintings that examine the female perspective to redirect the male gaze and open up the conversation about sexuality in a jubilated light within the expanse of the internet age. I am declaring myself as the gazer or voyeur, giving an entry point to all, ultimately broadening my imaging of sexual experience to be a human one and not just limited to the second sex as object. My paintings contain several visual contradictions: they are aggressive yet calm, phallic but feminine, weighted but light. They combine a mixture of minute details and three dimensional assemblages that make up a language of release, its build-up and lull. My works serve as visual reminders about open ecstatic sexuality that rebukes the marginalization of the objectified gender. What I am attempting to mirror through my collaged paintings is our current cultural epoch and slow down the viewing process to shift female depiction and find its relevancy in its current millennial trajectory.
Sif Nørskov was born in Denmark and lives and works in London. She is currently undertaking her MA in Painting at Royal College of Art.
My works explore notions of landscape and narrative in-between abstraction and representation through the metamorphosis of materials. Inspired by literary fiction, they explore the idea that imagery, like words, can be assembled, repurposed and revived to create new worlds that might resemble or point at something other than what was originally intended.
Fragments from the fronts and backs of failed, old as well as new paintings are sewn together, pieces of canvas overlay each other as in traditional collage, whilst others are joined edge to edge and the thread itself becomes part of the work, acting as a drawing. This process reverts traditional methods of painting, as these works are made prior to being stretched onto a frame and are subsequently trimmed to fit the dimensions of the frame they are imposed onto.
My work's are a way for me to explore the idea of being nude both physically and psychologically. I'm always exploring the darker side of human nature and philosophical ideas as I am always contemplating these themes in my life.
I am interested in the intersection of the uncanny and the quotidian, how reality can coexist with the possibility of the supernatural. The paintings explore a menacing, paranormal, and esoteric search for answers. The anxiety that arises from the unknown is the motivation for these works. I’ve always seen oil painting as something that is slightly magical, and almost alchemical: taking simple organic materials and making something out of them that becomes more than its constituent parts. The end result can become an object that holds a mysterious charge; something more than what it appears to be. This is what interests me in painting as well as inexplicable situations and esoterica.
Liminality is soft. It is malleable, compliant, acquiescent, and supple. At its worst it is impressionable, submissive, gullible and feeble. At its best it yields empathy and patience. I find strength in liminality – in vulnerability.
Paintings featuring furniture and other household objects as a way to contemplate abstraction and representation. As their titles suggest, these paintings depict actual residences. These paintings balance an impulse to faithfully render the objects in these spaces against the emphasis on the hand of the artist. The coexistence of abstraction and representation, along with the liminal hybrid of the two, serve to orient the viewer, inviting them to construct their own narrative of the scene.
Javier Vivas is a plastic artist currently living in Merida Venezuela. His work is inscribed into contemporary painting discipline through which he investigates form, color, and the interaction of the plastic elements in the installative space, with a intimate and serene approach with all the elements that are present on his work (structure, space, matter).
I find it very satisfying and fulfilling to dig into the subconscious part of us by the methods art has to offer. There are so many hidden sides of life which can´t be reached by other means. Present day world insists constantly that we pay attention to big, noisy, phenomena of the advertising industry. There is no poetry in such things. Looking beyond that leads us to simplicity, poetry and new experiences of simple, daily things. During the day I do collect information which most people would hardly see as big news or important. Then I document these experiences on the canvas. Titles of individual works are most often born the same way.
Investigative paintings of popular Brazilian seaside architecture and structures by the São Paulo based artist.
Chantal van Houten