He chooses fragile materials that he weaves, knots, suspends, sometimes playing with the influence of gravity, which he uses to his advantage. A keen observer, he seizes the moment and the detail to create work of unusual and poetic balance.
JOCELYNE SANTOS is a color magician.
As much in her paintings as in her sculptures, contrasting tones are juxtaposed with harmony, giving birth to unexpected chromatic variations. We never complete our discovery of her palette. New nuances invite surprise, illusions dazzle our eyes, and that which is hidden in the work ends up being its main concern.
SHAWN STIPLING works with perception.
Space is always present, suggested by clever crossings and misleading offsets that generate new virtual planes. The simplicity of his line is only an appearance: executed by hand, it still takes on a deliberately mechanical look. Confiding to us, the thin edges of his works retain traces of superposed layers of paint, revealing what is behind the scenes.
BOGUMILA STROJNA fabricates space.
Her works can be on the wall, laid on the ground or sometimes married to the construction of the site that hosts them. Although often playful, her work has the rigor of architecture. While being in an ongoing search for materials in which she favors the industrial, her approach cannot be dissociated from the human; the refuge and the abode, a utopian space to inhabit.
Girls Only is thrilled to announce an exhibition celebrating the work of 15 contemporary female artists working in India. Spanning photography, performance, installation, sculpture, film, video, written word, textiles, drawing and painting, this exhibition seeks to demonstrate the staggering capacity that, while considerably and comparably underrepresented, young women remain at the forefront of radical art practice in India today.
Beginning as a studio residency program in New York, with five consecutive shows in London as well as an experimental exhibition/installation in Copenhagen, Girls Only has been supporting, celebrating and promoting the work of young female artists since its inception in 2014. Girls Only locates its genesis in the imbalance of representation of women in exhibitions and galleries, however resists reduction to a reactionist statement that could potentially reaffirm or reposition the binary between sexes in the arts. Girls Only pursues equality between female and male artists by seeking to level the playing field: seeing a drought in opportunities for the former, it aims at providing precisely the space, time, and occasion for these to materialise.
Girls Only will be hosted by Ministry of New, a design-inspired collaborative workspace for independent professionals looking to be part of an international, creative community.
This exhibition will travel to London to be on view at Cob Gallery in London during summer 2016. Above image and background: Shreya Dev Dube.
Art Room Foundation Becky Allen Poulomi Basu Julianna Byrne Shreya Dev Dube Girl Skate India Nishita Jha Payal Kapadia NorBlack NorWhite Prajakta Potnis Vidha Saumya Atita Taware Aqui Thami Vidisha Fadescha Jinal Sangoi info
Recently I visited the studios of two of my favorite artists working in London today. Robin Greenwood is a sculptor, a co-founder of the seminal Abstract Critical and the founder and editor of it's follow up site Abcrit. In addition, Greenwood was the founder and director of Poussin Gallery and as such provided a showcase for some of most revered painters and sculptors in the U.K.
Robin Greenwood in 2011 participating in an Abstract Critical debate at Mummery and Schnelle Gallery photo courtesy of Abstract Critical
I have known Robin through social media for the last few years and have come to rely on and admire his, clear and uncompromising take on abstraction and the artists who make it both in the U.K. and abroad. This visit was the first time we met in person and I appreciate the time spent in conversation in Greenwood's studio and in viewing a bit of his personal art collection. Greenwood's work is hard to pin down. There is structure and strength, movement and air - minute and overt details that range from the beautiful to the beautifully ugly. But for all of their overt brawn and intimate delicacy these sculptures are, most forcibly, a mind at work in real space - your space. They are dangerously invasive and may push you to one side if they feel they need the room.
It's hard to say when I was first introduced to Karl Bielik's painting but I believe it was in the spring of 2011. I came across his work online and was immediately struck by its physicality as well as, what the painter Anne Russinof very aptly called, an "off kilter poetry." Since that time we have maintained a dialog between our work and as friends, participating in numerous exhibitions together. I've been able to pay two visits to Bielik's studio space and was fortunate to be able to include one of his large oil paintings in Eight Painters, a show I curated for Kathryn Markel Fine Arts in 2014. The work shown in the photos below is unfinished but one is still able to get a sense of Bielik's restless, confident approach to paint handling and his feeling for how color should best interact with form. While a certain, improvisational line has been a constant element, I've recently noticed this combined with a tendency towards the use of a more pure, clear color. This combination underscores the range of feeling to be found in Bielik's painting.
Karl Bielik in his London studio, 2016.
Photo courtesy of the artist.
Karl Bielik's work has recently been featured in numerous shows at home and abroad, most notably The Marmite, Creekside and Lexmark Art Prizes.
Recently he was selected for The London Open at the Whitechapel Gallery in London and for Contemporary Drawings from Britain at The Xi'an Academy of Fine Arts in China.
In addition to his painting, Bielik is the founder and frontman for the London based band Lark.
*All photos of Karl Bielik's studio courtesy of the artist except for the last two by blog author.