I am undertaking a PhD in Fine Art to focus my research and painting on my specific area of interest in the anxious uncanny and the anxious space. This will be a long journey of investigation not only within my own psyche but also within the psychological space of others along the way. My interest lies with the idea of ‘anxious encounter’ within space (both physical and psychological). There is a blurring of boundaries between this self and other, in both a physical and mental space.
I am awaiting feedback on my initial proposal with the hope that it will be cleared to go before the UAL (University of the Arts London) Research Committee for further interrogation and analysis before they may (or may not!) clear me for Registration. I will find out within the next week whether further changes will be necessary.
Over the last two weeks, I have been completing lots of reading, taking notes and site visits to artist talks, exhibitions in London and a complete week of lectures and presentations at UAL. It has been busy but successful couple of weeks. Every step is forming new ideas and pathways in my mind that need to be addressed and reflected upon; so by articulating these within a blog will be for now, my preferred method of forming critical viewpoints, arguments and ideas and how I intend to extend and further my own visual art research through experimental art practice.
Have just been awarded a Distinction for my Masters Degree in Fine Art from Norwich University of the Arts. Feeling both relieved and elated…
This is just such a fantastic boost after also being selected for FloatArt 2014 at the end of August!
All welcome to come and view these new paintings entitled ‘The Anxious Uncanny’ as part of Float Art 2014 at The BargeHouse, Oxo Tower, South Bank, London from 24 – 28th September 2014. Look forward to seeing you there!
Zsolt Boldini, Shadow Movements No. 8 (2014), Acrylic on Canvas (200 x 185cm)
Another show I am missing at The Green Art Gallery with three of my favourite artists! I will not be back in Dubai again until maybe October at the earliest!
Painters Daniel Pitin, Zsolt Boldini and Ross Chisholm combine with Nazil Tapocuoglu (photographer) to produce a wonderful array of colour in this Summer Show 2014. Above is Zsolt Boldini’s new work (I saw his last solo show here ‘King give us soldiers’), entitled ‘Shadow Movements’ No. 8 (2014), Acrylic on Canvas (200cm x 185cm). So his work has moved on and he seems to be using Acrylic without oil now in his work.
This large piece is a departure from his mainly monochromatic paintings of the last show exhibited here, but they still retain the fluid figures and fragmentation of interpretation from early photography of physical education. Boldini references art history and through his imagery makes a bold statement about socialist propaganda and the female form as a label of beauty and health. His work sits well with Daniel Pitin and Ross Chisholm.
Notes for an Apocalypse (1978), Oil on Canvas (50 x 62″)
I love this Dorothea Tanning quote that has been used within her Press Release for her second solo exhibition of works at Alison Jacques Gallery, London entitled ‘Web of Dreams‘ from 11 July – 27 September 2014. The gallery has worked with The Dorothea Tanning Foundation to curate this show.
“I don’t see why one shouldn’t be absolutely fascinated with the human form, there are so many reasons to be. Besides, we are living in human bodies, we go through life in this world envelope. Why not acknowledge that and try to say something about it? So what I try to say about it is is transformation” (Dorothea Tanning 1993)
When many galleries in London are closing for the summer, this exhibition is a must-see.
Originally posted on The WordPress.com Blog: Blogs are incredible vehicles for exploring our passions and finding our voices. They can also be powerful tools for healing in the face of trauma; for many of us, the act of writing…
Adrian Ghenie, ‘Self-Portrait’ as Charles Darwin, 2014, Oil on Canvas (60 x 47cm)
Finally, after a long wait, Adrian Ghenie is back exhibiting at The Pace Gallery, London with some new works by the Romanian artist whom I follow intently!
I don’t really like to talk about work I haven’t seen ‘in the flesh’ but from looking at the work through the Pace Gallery’s website, I won’t be disappointed and I am looking forward to my London visit.
The context of his work has changed slightly for this exhibition (all work developed in 2014) to focus more on the origin of some of the skewed ideas of historical dictators (who Ghenie has previously portrayed and who were associated with mass suffering such as Hitler, Stalin, Mengele, Ceausescu and the notion of Eugenics). With these new works entitled ‘Golems’, (possibly echoes here of Mary Shelley’s ‘Frankenstein’?), he looks at Darwin and the intellectual space and how he was historically portrayed. Through textures and layering – his signature style, Ghenie has adopted an even more painterly approach to his abstractions. With a high tone his use of colour and manipulation of forms, he highlights how Darwin was satirised in the press of the day – seemingly a grotesque figure with the face of an ape.
I’m looking forward to understanding more and seeing first hand his work again in London in July.
Image: Fondamenta della Carne, 2014, oil on copper, 180 x 110 cm – detail
Another exhibition that I will be virtually visiting and wishing I was there ‘in the flesh’.
‘In the flesh’ is a term that could be used about Nicola Samori’s work quite readily. There is a feeling with much of his work that flesh is literally about to fall off the bones. I was then surprised by the press release of his most recent work showing next week at the Ana Cristea Gallery of a new departure from the peeling faces possibly? I am looking forward to viewing the work.
This is Samori’s second solo exhibition at the Ana Cristea Gallery and one to watch out for. (Sadly as a P.S. this exhibition has been postponed owing to shipment problems and a new date will be announced shortly…)
‘The Lidless Eye’, 2014 (50 x 40cm), Oil on Canvas
The Tim Van Laere Gallery in Antwerp is currently showing an exhibition by Adrian Ghenie.
This current work alongside older works shows the depth of research which underpins his fabulous paintings. A recent series which deals with imagery influenced in part by Van Gogh and his life seem more abstracted than previous works.
Although research seems to play a large part in the communication of his work, the aesthetics of the painting process is there for all to see. Unpicking of the imagery in this way happens on two levels. Although his work is seemingly ambiguous, it is multilayered in context and physicality. I am looking forward to seeing more of Ghenie’s work when he arrives in London at the Pace Gallery this summer so I can get up close and personal to his work again.
Mersad Berber is sadly an artist I was not familiar with before I was sent information on this memorial exhibition. Taken far too early, his works are so inspiring and filled with an intensity of spirit that perhaps only comes from living through the chaos of the Balkan wars of the 1990s.
The PDF that the Albermarle Gallery, London have put together to accompany this exhibition is worth keeping as it has wonderful paintings (including self-portraits) that depict in detail the skill and mastery behind this great painter. He is said to have been influenced by the masters of the Venetian School but also Velazquez, who I am also a huge fan. His work shows the techniques of the old masters combined with a Contemporary approach – a layering and a fragmentation that combines to create figurative abstraction.
Currently showing at Albermarle Gallery, London until 3 May 2014
Another exhibition I would love to go to but probably won’t be able to as the timings are wrong. Kahrs has a new exhibition of his work in Nuremberg (Nurnberg), Germany from April. Born in Bremen but lives in Berlin – his work has been a firm favourite of mine for a while.
Kahrs work is essentially focused on the human body and the space it surrounds. He depicts those extreme spaces and situations, such as violence, excess, pain and pleasure. Referencing material from many sources and through the painting process, he relocates the subjects/objects from their original reference and possibly intended meaning. I enjoy the abstracted freeze-frame in time and his translation from a possible reality into an imagined state. His paintings feel dislocated. One exhibition to look out for. A publication is also going to be complementing this exhibition.