Avant Art - The Glass Magazine https://theglassmagazine.com Glass evokes a sense of clarity and simplicity, a feeling of lightness and timelessness; a source of reflection and protection. Thu, 04 Jul 2024 06:51:45 +0000 en-GB hourly 1 https://wordpress.org/?v=6.6.1 https://theglassmagazine.com/wp-content/uploads/2015/08/g.png Avant Art - The Glass Magazine https://theglassmagazine.com 32 32 How Devon DeJardin elevates sculpture to the abstract form  https://theglassmagazine.com/how-devon-dejardin-elevates-sculpture-to-the-abstract-form/?utm_source=rss&utm_medium=rss&utm_campaign=how-devon-dejardin-elevates-sculpture-to-the-abstract-form Thu, 04 Jul 2024 06:51:43 +0000 https://theglassmagazine.com/?p=152084 WITH TRANSCENDENT canvases harnessing the power of cultural symbolism, the artist speaks to Glass about the way spiritualism and abstraction have moulded his creative hallmark. Devon Jardin has the confidence to harness the best of an artist’s spirit with relish and depth. In fact, with his underlying thread of abstraction (case in point: towering canvases […]

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WITH TRANSCENDENT canvases harnessing the power of cultural symbolism, the artist speaks to Glass about the way spiritualism and abstraction have moulded his creative hallmark.

Devon Jardin has the confidence to harness the best of an artist’s spirit with relish and depth.

In fact, with his underlying thread of abstraction (case in point: towering canvases that show intriguing figures referred to Guardians, depicted through a host of graphic streaks) and just a hint of psychedelia offsetting the very sensible, DeJardin’s work puts down a marker for a new generation of abstract painters.

He marries a slightly peculiar, chromatically-upright gaze that intertwines spirituality, cultural symbolism and the fictional form, which, he explains, “has become more refined and intentional.” The artist is adroit at using line and colour, which sees him navigating through use a sophisticated colour palette—teamed with chiaroscuro techniques—to model paintings of statues of “a convincing bulk and heft,” as he admits.

Pareidolia at Carl Kostyál by Devon DeJardin

His subjects tend to sit outdoors: most specifically, in landscapes which, in turn, are defined by a dramatic usage of contrasts between dark and light areas. This technical evolution is marked by a deeper integration of spiritual and mystical elements, reflecting his ongoing exploration of the latter.

“The patience required in creating these works mirrors the contemplative nature of spirituality, where each layer and detail contributes to a larger, meditative narrative,” DeJardin tells Glass. “The Guardians are not the result of spontaneity but a deliberate journey of exploration and creation.”

Speaking of creation—and the introspective layer headlining his entire practice—DeJardin aims to spark dialogue about the nature of belief, the power of symbols, and the ways in which art can serve as a bridge between the seen and unseen, the known and the unknown.

Pareidolia at Carl Kostyál by Devon DeJardin

“My goal is to create a profound connection to the universal human experience,” he explains, adding how he wishes for his recent paintings to prompt a reflection on the profound and often unseen forces that shape human existence. His current show, Pareidolia, at Carl Kostyál in Stockholm, showcases this unique blend of influences, inviting viewers to engage with his deeply contemplative and evocative pieces. We grabbed five with the artist below. 

On inspiration

“My inspiration comes from a deep exploration of spirituality and the concept of protection. The figures in my work, which I call ‘Guardians,’ embody a sense of watchfulness and resilience. They serve as sentinels safeguarding intangible elements like hope and faith. My study of world religions has provided a rich tapestry of symbols and narratives, allowing me to infuse my art with a sense of the sacred and universal. This exploration invites contemplation and dialogue about the unseen forces that shape our lives.”

Pareidolia at Carl Kostyál by Devon DeJardin

On creative references

“Engaging with the work of artists like Henry Moore, Barbara Hepworth, Goya, and William Turner have recently enriched my creative process. Their exploration of organic shapes,  surreal landscapes and texture  resonates with my goal to blend the real with the imagined. These influences help me create a unique visual language that bridges the gap between tradition and innovation, pushing the boundaries of how my Guardians are perceived and experienced.”

On practicalities

“The biggest challenge in preparing for ‘Pareidolia’ was ensuring that the diverse range of works from the past five years cohesively conveyed the themes of pareidolia and guardianship. My artistic process involves a tedious journey from rough sketches to refined drawings, then to digital renderings, and finally to the canvas. This approach allows me to create pieces that feel both mystical and familiar, inviting viewers to immerse themselves in the Guardians’ world.”

Pareidolia at Carl Kostyál by Devon DeJardin

On the work process

 “Over the past five years, my artistic process has become more refined and intentional. This evolution is marked by a deeper integration of spiritual and mystical elements, reflecting my ongoing exploration of these themes. The patience required in creating these works mirrors the contemplative nature of spirituality, where each layer and detail contributes to a larger, meditative narrative. The Guardians are not the result of spontaneity but a deliberate journey of exploration and creation.”

On pushing boundaries

 “In ‘Pareidolia,’ I aim to reconnect with an ancient sense of divine presence. The figures in my work evoke a time when art was a direct message from higher powers, serving as a physical manifestation of their will and presence. By blurring the lines between reality and representation, my art explores the depths of perception and the nature of artistic creation. This approach challenges viewers to find their own interpretations and connections, pushing the boundaries of how we perceive and engage with art.”

Pareidolia at Carl Kostyál by Devon DeJardin

On the message of art as a cultural weapon

“Ultimately, I hope my work encourages introspection and challenges viewers to examine their inner turmoils and beliefs through the lens of the Guardians. By exploring faith in images, representation, and reality, I aim to spark dialogue about the nature of belief, the power of symbols, and the ways in which art can serve as a bridge between the seen and unseen, the known and the unknown. My goal is to create a profound connection to the universal human experience, prompting reflection on the profound and often unseen forces that shape our existence.”

by Chidozie Obasi

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In the Black Fantastic opens at the Hayward Gallery this June https://theglassmagazine.com/in-the-black-fantastic-opens-at-the-hayward-gallery-june-2022/?utm_source=rss&utm_medium=rss&utm_campaign=in-the-black-fantastic-opens-at-the-hayward-gallery-june-2022 Tue, 24 May 2022 13:27:08 +0000 https://glassmagazine.wpengine.com/?p=127274 IN the Black Fantastic is the UK’s first major exhibition celebrating the work of black artists at the Hayward Gallery, London. The show aims to capture alternative realities surrounding racial injustice, through unexpected and imaginative elements and presents us with a fantastical way of seeing and thinking about the past and future. Nick Cave, Soundsuit, 2014. Mixed […]

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IN the Black Fantastic is the UK’s first major exhibition celebrating the work of black artists at the Hayward Gallery, London.

The show aims to capture alternative realities surrounding racial injustice, through unexpected and imaginative elements and presents us with a fantastical way of seeing and thinking about the past and future.

Nick Cave, Soundsuit, 2014 Mixed media including fabric, buttons, antique sifter, and wire 211 x 60.5 x 67.5 cm © Nick Cave. Courtesy of the artist and Jack Shainman Gallery, New York. Mandrake Hotel CollectionNick Cave, Soundsuit, 2014. Mixed media including fabric, buttons, antique sifter, and wire. 211 x 60.5 x 67.5 cm © Nick Cave. Courtesy of the artist and Jack Shainman Gallery, New York. Mandrake Hotel Collection

Curated by British writer and journalist, Ekow Eshun, the exhibition holds together a group of artists who convert and redesign elements of folklore, myth, science fiction, spiritual traditions, pageantry and legacies of Afrofuturism.

Contributors include New York’s Sedrick Chisom, Rhode Island’s Ellen Gallagher and London’s Hew Locke.

The show also includes work from American fabric sculptor and performance artist, Nick Cave, from his 30-years-in-the making series, consisting of a group of Soundsuits.

A Soundsuit represents a second skin to hide gender, race and class. By adding to an element of disguise, it encourages viewers to observe without perception.

This year a new Soundsuit will be showcased to commemorate the murder of George Floyd in 2020.

Sedrick Chisom, Medusa Wandered the Wetlands of the Capital Citadel Undisturbed by Two Confederate Drifters Preoccupied by Poisonous Vapors that Stirred in the Night Air, 2021 Oil, acrylic, spray paint, and watercolour pencil on tiled sheets of paper glued to canvas 151.6 x 208.3 x 0.3 cm © Sedrick Chisom. Courtesy the artist and Pilar Corrias, London. Photo: Mark BlowerSedrick Chisom, Medusa Wandered the Wetlands of the Capital Citadel Undisturbed by Two Confederate Drifters Preoccupied by Poisonous Vapors that Stirred in the Night Air, 2021. Oil, acrylic, spray paint, and watercolour pencil on tiled sheets of paper glued to canvas. 151.6 x 208.3 x 0.3 cm. © Sedrick Chisom. Courtesy the artist and Pilar Corrias, London. Photo: Mark Blower

The participating artists aim to create a multi-dimensional experience, which seeks to take the viewer into a brand-new world.

Described as somewhere between the real and the imaginary, a variety of art forms such as paintings, photography, video, sculpture, and mixed media installations are there to transport attendees into a fresh environment.

Tabita Rezaire, Ultra Wet - Recapitulation, 2017 Pyramid projection mapping installation, variable dimensions 11:18 minutes Ultra Wet - Recapitulation, Royal Standard, Liverpool, UK, 2018, by Rob Battersby. Courtesy of the artist and Goodman Gallery, South AfricaTabita Rezaire, Ultra Wet – Recapitulation, 2017. Pyramid projection mapping installation, variable dimensions. 11:18 minutes. Ultra Wet – Recapitulation, Royal Standard, Liverpool, UK, 2018, by Rob Battersby. Courtesy of the artist and Goodman Gallery, South Africa

by Alicia Tomkinson

In the Black Fantastic is on at The Hayward Gallery from June 29 – September 18, 2022

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White Cube Hong Kong presents solo Damien Hirst exhibition https://theglassmagazine.com/white-cube-hong-kong-presents-solo-damien-hirst-exhibition/?utm_source=rss&utm_medium=rss&utm_campaign=white-cube-hong-kong-presents-solo-damien-hirst-exhibition Mon, 08 Nov 2021 11:15:27 +0000 https://glassmagazine.wpengine.com/?p=120377 FROM bedazzled human skulls to kaleidoscope masterpieces, Damien Hirst has made his mark in the art industry and is now making his way to Hong Kong for a solo exhibition.  Starting at the end of November, the White Cube Hong Kong gallery will be presenting  Damien Hirst: His own Worst Enemy.     Damien Hirst Bell […]

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FROM bedazzled human skulls to kaleidoscope masterpieces, Damien Hirst has made his mark in the art industry and is now making his way to Hong Kong for a solo exhibition.  Starting at the end of November, the White Cube Hong Kong gallery will be presenting  Damien Hirst: His own Worst Enemy.  

 

Damien Hirst Bell (2011)

 

Damien Hirst The Severed Head of Medusa (2008)

 

Damien Hirst Dead Woman (2012)

 

 

Damien Hirst Cue (2021)

 

 

Damien Hirst Best Friends (2015)

 

The exhibition will feature sculptures from his renowned 2017 Venice installation: Treasures from the Wreck of the Unbelievable. This is the first time that it has been exhibited in Asia. The installation, inspired by archaeology, took over ten years to develop. 

The sculptures are made out of bronze, marble and crystal and are a cross between Hellenistic statutes and Disney animation. It is a widely whimsical and multifaceted exhibition with highlights including marble Dead Woman (2016) and never-before-seen black granite Mickey (2018).

A new series of paintings titled ‘The Revelations’, which Hirst created in his London studio, will also be displayed.  It is a must-see show and an excellent opportunity to witness Hirst’s infamously controversial work in person at a world-renowned gallery.

by Jamison Kent

The show is from November 24  2021 – January 8, 2022

All images courtesy of the White Cube.

 

 

 

 

 

 

 

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Glass talks to curator Ying Kwok and artist Yutaka Inagawa about Say to Day – their online arts collaboration https://theglassmagazine.com/glass-talks-to-curator-ying-kwok-and-artist-yutaka-inagawa-about-say-to-day-their-online-arts-collaboration/?utm_source=rss&utm_medium=rss&utm_campaign=glass-talks-to-curator-ying-kwok-and-artist-yutaka-inagawa-about-say-to-day-their-online-arts-collaboration Fri, 29 Oct 2021 09:12:06 +0000 https://glassmagazine.wpengine.com/?p=120007   Glass talks to Ying Kwok about Say to Day, her online arts collaboration with Yutaka Inagawa that explores the virtual environment in a unique way   LAUNCHED last December, Say to Day is a digital collaboration between curator Ying Kwok and artist Yutaka Inagawa – a mix of visual and textual material across their […]

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Glass talks to Ying Kwok about Say to Day, her online arts collaboration with Yutaka Inagawa that explores the virtual environment in a unique way

 

LAUNCHED last December, Say to Day is a digital collaboration between curator Ying Kwok and artist Yutaka Inagawa – a mix of visual and textual material across their website and Instagram account that form the project. Each platform is populated by photographs, film and graphics amassed over the past 10 years.

The website is categorised into titled tabs. Click on one, and you scroll through these visual works: a digital collage of photographs, text and film, organised in grids or spread sporadically across the page, bound by a backdrop of sweeping lines to form a whole. The Instagram functions visually both as a page, and as individual groups of images.

The cover photos of each collection of works form a greater image in themselves, demonstrating an exciting utilisation of Instagram’s layout. The works are intimate and boldly graphic all at once; they document the everyday and explore the digital scape.

 

Image from Say to Day – the collaboration between Ying Kwok and artist Yutaka Inagawa

“We both really appreciate the experience of someone that grew up in our own city, and have that shared experience in the UK … [We share] a lot of these experiences and how we see our own culture, and how we absorbed it …of being in foreign countries carrying our own past history and culture.” Inagawa invited her to do a residency in Onomichi, Japan, in 2019.

“I think we probably need to start with a little bit of background on how we met”, Kwok says when I call her in Hong Kong. For this is a project that is rooted in friendship. Inagawa and Kwok met during their MA in at Chelsea School of Art in London.

Both were practicing visual artists before Kwok branched into curation. Around 15 years after university, they were reunited in Japan, where Inagawa is based, after Kwok posted on social media about her work there.

 

Image from Say to Day – the collaboration between Ying Kwok and artist Yutaka Inagawa

“We both really appreciate the experience of someone that grew up in our own city, and have that shared experience in the UK … [We share] a lot of these experiences and how we see our own culture, and how we absorbed it … of being in foreign countries carrying our own past history and culture.” Inagawa invited her to do a residency in Onomichi, Japan, in 2019.

“It was a short residency where I shared how I see collaboration and what collaboration means, and how it should be planned, or should be taken into consideration from the very beginning when I start to curate a project.”

 

Image from Say to Day – the collaboration between Ying Kwok and artist Yutaka Inagawa

Kwok and Inagawa’s working relationship was forged in this exploration of collaboration. This theme was later mapped onto Say to Day, a project that explores the roles of curator and artist, and of the viewer too. The project is a manifestation of their joint exploration of the capabilities and complexities of presenting art through, and as, a digital platform, and is coloured by their multicultural influences and experiences.

“I think in a moment we both knew there was something shared, whether I’m curating, or he as an artist is curating, there is a lot in common.” In Kwok’s eyes, the role of the curator and of the artist are maintained by a shifting, porous boundary, as Say to Day exemplifies.

Image from Say to Day – the collaboration between Ying Kwok and artist Yutaka Inagawa

The images themselves are largely sourced from Inagawa’s personal archive. They conjure the everyday, plucked from time spent studying in London, snapshots taken by friends, memoranda from travels; each made almost fantastical by their graphic rendering. Kwok’s work is woven throughout: “For example, we took images, notes I had made, or floor plans I had designed. I would give him some of this material.”

Kwok emphasises that as they worked on this project, other projects and experiences, continued, and so made their mark, too. She describes their ongoing WhatsApp chat as almost an extension of the project, or at least as a contributor. The project’s threads can be traced through the pair’s digital communication over the last decade.

 

Image from Say to Day – the collaboration between Ying Kwok and artist Yutaka Inagawa

In the wake of the pandemic, many physical exhibitions and creative projects have been pushed to online platforms. I asked Kwok if this had been the case with Say to Day. “When Covid-19 broke out, we just said that we don’t want to wait another year … So whether we had a physical exhibition, or whether we saw the online, the digital platform, as a physical space to work with, I think is all the same … We can still do a lot of the experiment and use our dialogue to create something that will be looking back into our practice as curator and artist at the same time”.

In a gallery, as Kwok knows first-hand, not just the collection of works, but the experience of viewing them is highly curated: “the lighting, how you walk, what you see first” is carefully designed. Online, viewers come to the artworks on their own terms: “the audience has a lot of autonomy to decide which one they want to go into first, and how long they want to spend there”. You can dip in and out, to “kill time”, immerse yourself or return to a specific work, all on your own terms.

Kwok notes that her friends always focus on the website side of the project, rather than the Instagram, perhaps because a website hosting art pieces feels slightly more familiar than an Instagram account. “We always feel like these digital platforms are not physical, but actually they do have a physical impact. How we scroll, and move our eyes and fingers, that is sensational as well … all of this is related to our brain and our physical body. So it’s actually a sensational experience, which we tried to emphasise when we put it together.”

 

Image from Say to Day – the collaboration between Ying Kwok and artist Yutaka Inagawa

The viewers’ various preconceptions and real-time responses are written into the fabric of Inagawa and Kwok’s intentions. “This project is not just the outcome; it is also a process. We’re showing a selection, but the selection is loose, so that people can see really see the process, and the relationship between the website and the construction and creation.”

Particularly interesting is Kwok and Inagawa’s consciousness of how one’s daily life and own experiences colour a perception of Say to Day. The project plays on the fact that one knows how to “scroll” on a website. It directs the viewer vertically or horizontally depending on the tab being explored, subverting expectations of website navigation.

Instagram posts sometimes feature multiple images, and other times have no more than the cover image. It exposes the digital literacy that we have amassed through exposure to the internet.

Viewing these artworks employs the same codes and behaviours as checking our emails, looking at social media, or using Google. It mirrors the way our daily lives play out online: “A message [might] pop up, a notification from an email, a WhatsApp. It is not like a conventional experience where we took a chunk of time out from everything else and focused on the art experience. It is so interconnected and there are so many different sequences and orders that you can engage with.”

by Connie de Pelet

Find out more about  say-to-day here

Find the project on Instagram here @say.to.day

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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Gillian Jason Gallery presents Heart of the Matter on International Women’s Day https://theglassmagazine.com/gillian-jason-gallery-presents-heart-of-the-matter-on-international-womens-day/?utm_source=rss&utm_medium=rss&utm_campaign=gillian-jason-gallery-presents-heart-of-the-matter-on-international-womens-day Mon, 08 Mar 2021 11:08:24 +0000 https://glassmagazine.wpengine.com/?p=110423 TO MARK this year’s International Women’s Day, Gillian Jason Gallery present Heart of the Matter, an exhibition that provides, in the words of its curator, Mollie Barnes, “a snapshot of female artists from, or working in, Britain today”. The theme of International Women’s Day 2021 is Choose to Challenge. Barnes notes that “the very nature […]

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TO MARK this year’s International Women’s Day, Gillian Jason Gallery present Heart of the Matter, an exhibition that provides, in the words of its curator, Mollie Barnes, “a snapshot of female artists from, or working in, Britain today”. The theme of International Women’s Day 2021 is Choose to Challenge. Barnes notes that “the very nature of the show is choosing to challenge gender disparity in the art world”. For, the very nature of choosing to make art as a woman is a challenge to the art world itself.

The show is a composite of familiar female artists, like Bridget Riley and Chantal Joffe, and painters who are at the beginning of their artistic careers. When Millie Foster, Elli Jason Foster and Barnes began work on a show envisaged as a celebration of International Women’s Day and all that it represents, Barnes was committed to drawing a spectrum of works and artists together. Upon entering the gallery, Barnes tells me, one is greeted by Tracey Emin’s works, “flanked by Layla Andrews and Sahara Longe”.

Immediately, Emin, widely recognised as one of the greatest artists of her generation, is presented in conjunction with women whose work will be introduced to many via this exhibition. These pairings are both radical and necessary, and perfectly embody the exhibition’s dual mission of celebration and challenge. 

Tracey Emin, Blue Madonna, two colour lithography on Somerset paper, 2020

Glass spoke to two of the artists whose work populates Heart of the Matter: Emma Prempeh and Eleanor Johnson. 

Barnes describes Prempeh’s works as “dynamic, nostalgic and striking”. Her paintings’ figures emerge from hazily layered visible brushstrokes, and are accented with gold. Her subjects are often members of her family. Winner of The Ingram Young Contemporary Talent Purchase Prize, Prempeh is currently attending an MA in Painting at the Royal College of Art under the LeverHulme Trust Arts Scholarship. 

Could you tell us about your inspirations?
My inspirations have always centred around artists who create dreamlike or eerie atmospheres. I have always been inspired by Lynette Yaidom Boakye, I love that her subjects seem to be suspended in ambiguous spaces, causing me to create scenarios for them.

Another big influence has always been Caravaggio, particularly due to his use of dark colours. I have always tried to develop my practice to enable figures to be complimented by dark backgrounds and not submerged in it.

Could you tell us about your process of creating a piece?
My process starts with either an emotion that I want to convey or a scenario I want to explore. In The Arrival, I thought about time travel and being between two places, especially as someone with parents from two different cultures.

It is something I want to explore more in the future. I always think about what might compliment an idea after the scenario is decided upon, which is where experimentation with materials begins.

Emma Prempeh, Home Studio Shot, 2020

How/ is it significant to you to have your work exhibited by Gillian Jason Gallery on International Women’s Day, and among this group of women artists?
I am absolutely thrilled to be a part of the exhibition!  When Gillian Jason Gallery reached out to me the first thing I thought about was the relationship I have with my mum and my grandma. The matrilineal line is an aspect I like to focus on within my practice and I was particularly reminded of my graduation piece ‘Matrilineality 2019’ when I thought about Elli, Millie and the late Gillian.

I love that the Gallery operates through the bond and connection between three generation’s of women. It eerily felt like I had to be a part of this and it is truly a blessing to show along side artists that I had learnt about whilst studying, as well as emerging artists like myself. 

Could you tell us about rendering members of your family, and how you go about capturing your subjects on the canvas?
Recently I have been discovering old images of my family, mostly my mum and my grandma, I like to focus on my thoughts through my family members. I have been fascinated with the idea of my mum at a point where she was not a mother.

In these images I am reminded of myself. The Arrival tries to reflect that, like a cross over between two different times. I am looking at her, she is looking at me and we are the same age but in two different realities.

How did you develop such a distinctive style?
A lot of practice and experimentation. It took me a long time to realise what worked well. I think developing a style happens naturally and it might change frequently however a little advice I could give to someone who is trying to develop a distinctive style is to think about what really interests you. In my case it was memory and intangibility.

Find something that will reflect that, or a method that will express that, experiment with it until it clicks. I know many artists with practices that change frequently who lack distinctive styles, as long as the work is yours there will always be that connection.

Eleanor Johnson, Brigid and Duir, 2021

Eleanor Johnson, currently undertaking an MA in Fine Art at City & Guilds of London Art School, deals with figures at once arrestingly fleshy and dreamily abstracted. In Barnes’ words, Eleanor Johnson’s work is “ethereal, hopeful and romantic”.

Are there specific artists who inspire you, or more general inspirations for your work in this show?
I’m really inspired by many Old Master artists – and the list is pretty endless! I love the intricate and abundant compositions in Peter Paul Rubens paintings, and I’m particularly drawn to the content of his work… The way that he uses paint to render flesh has also formed a large portion of my education in painting! I would say he’s my biggest inspiration. 

I regularly also find myself coming back to particular collections of Michaelangelo and Raphael’s drawings. The examples I’m interested in show scenes teeming with people in perpetual motion and it’s their use of line that intrigues me so much… It’s as if a series of moments have all been captured in one image. I find them hypnotic and dream-like – and those are feelings I’m constantly trying to create in my own work.

Could you tell us about your process?
At the moment my paintings originate in Celtic Myth and Folklore. I’ll make a work in response to visual excerpts from these stories, which are brimming with unusual and uncanny imagery. I want my paintings to appear visually ungrounded and otherworldly… I also incorporate practices of witchcraft into my work …

I have an altar in my studio where all of this is carried out, and I think of my studio as a kind of sacred space. It’s part of my bigger ambition to challenge peoples thinking in relation to [witchcraft]. In short, the historical persecution of witches was in fact a hysterical patriarchal quelling of the agency of women in general. 

[My] smallest pieces are very much based on an exploration of colour and atmosphere…My larger paintings start with a very small drawing, in which I plan the main composition. I take many photographs of found images and also elements of old paintings, and map them out on the floor to try and visualise the composition. I sort of think of it like doing a puzzle – the composition is there but you just have to find the right elements and sections to complete it. 

Once I’ve got a feeling for the composition I’ll paint it as quickly as possible onto the canvas in diluted oil paint on top of the chosen background colour. Then I’ll work on it, bit by bit, as fast as I can so that the oil paint stays wet for as long as possible. I love the fluidity of oil paint, and the propensity it has for manipulation.

It also lends itself well to creating a dreamlike atmosphere, as oil paint can be blended and softened beautifully if you know the right techniques. Lastly, I’ll work on the painting for as long as is needed – sometimes weeks – until I feel the composition is balanced and there is enough going on for it to be its own micro-world, hopefully with intrigue and wonder.

How/ is it significant to you to have your work exhibited on International Women’s Day, and among this group of women artists?
Absolutely – I feel so privileged to be included in this exhibition, amongst these wonderful artists, falling on such a significant day. So much work is still to be done on building up and supporting women in a myriad of ways. We’ve been down-trodden for too long – and the mission for equality is very much a work in progress, but with galleries and exhibitions like this, there is a lot of hope that we’re moving in the right direction. 

I think any opportunity, too, where people are encouraged to think about societal discrepancies, is a massive positive – as it will broaden people’s minds to think about other pressing areas we should also be working on improving.

Layla Andrews, Tolouse, 2021

Cecily Brown, Untitled, monotype, 2010

by Connie de Pelet

Heart of the Matter is open  March 8 – April 15, 2021 in the gallery’s 3D Virtual Viewing Room.

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Glass interviews artist Alina Zamanova https://theglassmagazine.com/glass-interviews-artist-alina-zamanova/?utm_source=rss&utm_medium=rss&utm_campaign=glass-interviews-artist-alina-zamanova https://theglassmagazine.com/glass-interviews-artist-alina-zamanova/#comments Thu, 03 Dec 2020 08:00:09 +0000 https://glassmagazine.wpengine.com/?p=105683 ALINA Zamanova’s work exists at an apex of ugliness and beauty. She paints high-fashion abstractions of beautiful women: figures contorted into alien forms, swollen and skinny at once. Her practice is rooted in her studies in fashion illustration, and coloured by a fascination with the grotesque, cultivated by her time spent working at Alexander McQueen. […]

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ALINA Zamanova’s work exists at an apex of ugliness and beauty. She paints high-fashion abstractions of beautiful women: figures contorted into alien forms, swollen and skinny at once. Her practice is rooted in her studies in fashion illustration, and coloured by a fascination with the grotesque, cultivated by her time spent working at Alexander McQueen. The Ukrainian artist’s latest show, Inside Me, a collection of large-scale paintings and miniature sculptures, has opened virtually at Gillian Jason Gallery in London. 

Alina Zamanova in her studio in Ukraine

The works in this exhibition function as projections of Zamanova’s exploration of her own body, while offering an examination of the bodily experiences of all of us. The scenes appear otherworldly. They push the boundaries of what can be considered a body: they are plasticised to a fantastical extreme of the figures that populate Instagram feeds, but are also empowering fleshy, strangely curvaceous and skeletal at once. Their limbs have an autonomy, a distinct visual identity of their own, that both elevates them beyond the status of bodily appendages, and renders them painted manifestations of the experience of embodied existence. 

The mottled flesh of Jenny Saville’s work, and the chilled planes of Egon Schiele’s figures are written into the makeup of Zamanova’s paintings, but these are uniquely tempered by the slick line of Zamanoava’s fashion background. 

Her sculptures offer an interesting translation of their streamlined painted counterparts. They are textured and earthy-toned, where the paintings are slick and cooly-coloured. Some suggest classical bronze works, heightened by a space-age, molten metallic glow. They are natural forms, Zamanova’s hand is present in their mouldings, and the deep colour palette fluctuates around their contours. As Zamanova puts it, they are sketches in 3-D. 

The show’s fit-for-lockdown online exhibition offers a virtual walk through of a digital rendering of the gallery space; an experience that only heightens the experience of Zamonava’s simultaneously fantastical and hyper-real works.

In anticipation of the show’s opening, Glass spoke to Zamanova from her home in Ukraine.

Alina Zamanova, ‘Glow’, acrylic and oil on canvas, 2020Alina Zamanova, Glow, acrylic and oil on canvas, 2020

 

Could you start by describing the themes of your work?
As long as I can remember, I’ve always worked with a female form, and human bodies in general, and the game of the mind and thoughts. In 2014, I was studying at UAL, and I started to work on a dissertation with the title Representation of Ugliness and Beauty in Art and Fashion, and I think that’s where the whole ugly concept began to come together. I was fascinated to see how I could translate visually something that is abstract, for example a feeling or emotion. 

You’ve cited Egon Schiele as one of your influences. Who else inspires your work?
First it was [Alexander] McQueen, he kind of built up my whole idea about what is grotesque, how to present art through fashion, and vice versa. I was working in a monochrome style [during my time at Alexander McQueen. So when I saw the exhibition of Egon Schiele in London in Somerset House, that’s where I was struck by the colour, so I thought, “This is where I’m going to explore body colours, different shapes of our faces, how we transform colour in different environments”. In nature more colours are exposed, if you are at the seaside, it’s different shapes, and different colours of your skin as well. 

Then I found Jenny Saville‘s use of colour; it’s incredible. And the texture. She was a game-changer for me. She changed my perception of painting yourself, because I never purposely painted self portraits, I always used to translate more emotions instead of visual representation of my face or of my body. And then, after Jenny, different artists like George Condo inspires, and Parris Goebel [the choreographer of the Savage x Fenty shows]. 

I see fashion illustration as a practice that builds on quite traditional beauty standards, or at least a very specific image of skinny limbed and doe-eyed women. Is this a trope that you play with in your work? Or is it more that that’s how the emotions that you’re working with play out visually?
With fashion illustration, it was very challenging to use the body in the beginning. I didn’t have a flow at all, I couldn’t move around in the image, I couldn’t understand what the proportions of my character’s body were. In college, they didn’t teach us traditional fashion illustration, they did say it’s like a long, flat small torso, beautiful flow of the body, and skinny, but they encouraged us to find our own style pretty much.

After I graduated, when I came back home, I stepped away from fashion illustration a little bit. I wanted to focus on exploring more of the relationship between my mind and my body. And that’s where paintings started to come by, it just naturally happened, the figures started to grow.

When I see them I understand what other people are seeing, but it’s so interesting because when my hand goes to create a boob shape, or a shoulder shape, it just goes naturally, I don’t try to exaggerate it, but it comes out so exaggerated at the end. When I see a painting at the end, I just look at it like “What the hell”. It’s like a creature on it’s own. I see a person and I even sometimes see a few people, in love. 

Alina Zamanova, Gossip Girl, acrylic and oil on canvas, 2020

You’ve highlighted your experience of life drawing at university as a moment of shift or release in the development your style.
The life drawings will be important all of my life, because that’s where very powerful, energetic movement comes from. So I had a class in university and I asked for black paper, and that’s where I started to experiment with materials. I didn’t have the style before. I was smudging with my fingers, with my hands, with the brush, with everything in front of me, I was bringing it all onto the paper. And that came from life drawing sessions.

Do you have a specific painting process?
Muses are important, I love to attribute to them. For this exhibition specifically, I did a very tiny sketch of an idea, I want to see how the body moves in the image. I like working, building up anticipation, like “Oh, what is going to be in that next painting?”, and then I work, I read, I watch movies, I watch documentaries, I just make a sketch, or I go to pottery and do a clay sculpture, then I come back. That’s where it happens, during the process of filling up my brain first.

I really like that idea of filling up the brain and then expelling it.
Me too!

Alina Zamanova, Together, ceramic, 2020

How do you see the relationship between your work and the digital world? Your pieces seem to toy with body types and beauty standards popularised on Instagram, and they translate digitally beautifully. Is there any consciousness of this Instagrammable nature in your work?
I think I started using Instagram as soon as it appeared, and it was a huge journey. I’ve met so many people there, like girl, I’ve met my best friends there! I do work sometimes to create content for the camera, and I think I’m kind of grateful for this, because otherwise I wouldn’t, for example, make mixed-media portraits if it was not for online collaborations. It’s a little bit like making art on top of their bodies.

Mixing together different media to explore different positions of the art world and fashion world. It looks good on Instagram for sure, this mixed media. It pushes boundaries. 

You met one of your muses for this show, Michaela Stark, through Instagram. How did she inspire this body of work?
When she started embracing the fat rolls by exposing them on her body, she felt this kind of power and energy coming through, and I must say, when I’m painting now and I exaggerate  a fat roll or a belly, spilling out the costume, it does feel much better. It is creating a story, creating an emotion, creating a memory for me. So we called the exhibition Inside Me. [The show is] not about me particularly, I think it’s about all of us, and what we feel, how we expose ourselves, how we connect to our alter egos.

My body will be behaving differently, my mind will be reacting differently. Like to remind ourselves and the audience that it’s fine to have these roles, that it’s better to kind of try to stay yourself most of the time, to be nice to your body, be nice to other people, don’t forget that we go through joy and struggle and pain. On a positive note, this exhibition, kind of explores that.

Alina Zamanova, Whenever You Need Me, acrylic on canvas, 2020

by Connie de Pelet

Inside Me is at Gillian Jason Gallery, and also online

All viewings are by appointment only. To arrange a visit please email here

 

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#WhoseFuture – a new creative collaboration to amplify diverse forces throughout the city of Bristol https://theglassmagazine.com/whosefuture-a-new-creative-collaboration-to-amplify-diverse-forces-throughout-the-city-of-bristol/?utm_source=rss&utm_medium=rss&utm_campaign=whosefuture-a-new-creative-collaboration-to-amplify-diverse-forces-throughout-the-city-of-bristol Thu, 30 Jul 2020 09:41:38 +0000 https://glassmagazine.wpengine.com/?p=100479 THE BRITISH city  of Bristol has been at the forefront of Black Lives Matter and racial justice developments recently. In the wake of these events, positive movements for social change have been emerging. Posters from the #WhoseFuture project, Bristol In light of this, Rising Arts Agency, Out Of Hand and Bristol City Council have joined […]

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THE BRITISH city  of Bristol has been at the forefront of Black Lives Matter and racial justice developments recently. In the wake of these events, positive movements for social change have been emerging.

Posters from the #WhoseFuture project, Bristol

In light of this, Rising Arts Agency, Out Of Hand and Bristol City Council have joined forces to form #WhoseFuture – a new creative collaboration to amplify diverse forces throughout the city of Bristol.

In the wake of the ongoing Black Lives Matter campaign WhoseFuture will launch this week, showcasing the works from 40 young Bristolian creatives on Bristol’s billboards. The collaboration aims to tackle important issues faced by young people, including the increasing disadvantages brought about by COVID-19 and lockdown.

The collaborative aims to give a platform to young people – providing a space to represent youth-resilience, security and agency as a driving force for positive social change.

Parys Gardner, featured artist for #WhoseFuture

The project will be exhibited via an outdoor arts showcase – made possible by Out of Hand, a Bristol advertising network, who have donated almost 400 locations free of charge throughout the exhibition duration. These spots will display visual multimedia imagery from Rising Art’s network of young creatives, allowing young people to be heard and represented across the city.

Maliza, featured artist for #WhoseFuture

Rising Arts Agency is a community of young creative thinkers aged 16-30. Their ambition is to empower Bristol’s under-represented young people to fulfil their creative ambitions. Focusing on tackling wider social changes in the art, the agency is co-created with and for young people.

Ella Trudgeon, featured artist for #WhoseFuture

Cllr Asher Craig, Deputy Mayor with responsibility for Communities, Equalities and Public Health for Bristol City Council spoke postively of the collaborative: “#WhoseFuture is a powerful statement to the city. In order for us to move forward, it is important for us to listen to all the voices in the community – including Bristol’s young people. We have worked on a number of projects with Rising Arts Agency, including their radical Transforming Leadership programme, BE IT. This campaign is a testament to the insight that our young people have and the power they can bring to city wide conversations.”

Collaborations such as this empower young people and provide them with platforms and space to make positive change in communities and society. With younger generations recently taking centre stage in political action campaigns, their’s is a voice to be reckoned with.

by Rosie Fitter

Out of Hand will also be supporting Rising in creating an online shop to showcase and sell the works on display, as well as managing the print and delivery.

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The Tate Britain announces the winners of the £10,000 Bursaries in place of this year’s Turner Prize https://theglassmagazine.com/the-tate-britain-announces-the-winners-of-the-10000-bursaries-in-place-of-this-years-turner-prize/?utm_source=rss&utm_medium=rss&utm_campaign=the-tate-britain-announces-the-winners-of-the-10000-bursaries-in-place-of-this-years-turner-prize Thu, 02 Jul 2020 13:42:59 +0000 https://glassmagazine.wpengine.com/?p=98996 IN response to the pandemic, Tate Britain announced last month that the Turner Prize would not take place this year – instead a jury would decide upon 10 artists to receive bursaries. Following a 12-month process to consider the nominees, the jury have chosen the artists for their significant contributions to British contemporary art. Tate […]

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IN response to the pandemic, Tate Britain announced last month that the Turner Prize would not take place this year – instead a jury would decide upon 10 artists to receive bursaries. Following a 12-month process to consider the nominees, the jury have chosen the artists for their significant contributions to British contemporary art.

Tate Britain, Exterior

Today the winners were announced, each receiving £10,000 bursaries. Arika, Liz Johnson Artur, Oreet Ashery, Shawanda Corbett, Jamie Crewe, Sean Edwards, Sidsel Meineche Hansen, Ima-Abasi Okon, Imran Perretta and Alberta Whittle have been named as the successful nominees.

Arika, boychild, Untitled Hand Dance, at Arika’s Episode 10: A Means Without End, Tramway,Glasgow 2019. Photograph: Barry Esson

Arika is an Edinburgh-based political artist organisation whose work encourages connections between art and social change. Selected for their project – Episode 10: A Means Without End, presented at Glasgow was a five-day project with various events exploring maths and physics as analogies of existence and social experience.

Installation view of Liz Johnson Artur: If you know the beginning, the end is no trouble at the South London Gallery, 2019. Photograph: Andy Stagg

Liz Johnson Artur is a London-based Ghanian-Russian photographer, her work focuses on the African diaspora in an ongoing project titled the Black Balloon Archive.

Revisiting Genesis (2016) at “Misbehaving Bodies: Jo Spence and Oreet Ashery” at the Wellcome Collection, London, 2019. Image courtesy of the artist and the Wellcome Collection, London

Oreet Ashery is a London-based artist who’s projects span moving image, performance, photography, workshops, writing and assemblages. Exploring issues of gender, autoethnography, fiction, biopolitics and community, Ashery was selected for her contribution to Misbehaving Bodies: Jo Spence and Oreet Ashery at the Wellcome Collection, which explored lived experiences of care and chronic illness.

Neighbourhood Garden, Courtesy: The Artistand Corvi-Mora, London, Photo: Marcus Leith

Shawanda Corbett’s expansive practice combines  ceramics, paintings and performance to question the idea of the ‘complete’ body. Oxford-based Corbett’s ceramic vessels convey politically charged interpretations of real people.

Jamie Crewe The Ideal Bar- Le Narcisse-Alec’s” (2020), still, Courtesy the artist and copyright Jamie Crewe

Artist and singer, Jamie Crewe produces work that navigates issues of identity, power, desire, community and history through video, sculpture and drawing. Selected for their ‘sister’ exhibitions in Birmingham, a project inspired by Radclyffe Hall’s 1928 novel The Well of Loneliness and its reverberations for LGBTQIA+ people to this day.

Sean Edwards, Undo Things Done (Wales in Venice), 2019 in parallel with the past i-iv, 2019, UV curable ink printed direct to medium density fibreboard substrate, perforated hardboard, plywood, hardboard, automotive spray paint, graphite, colouring pencil, household emulsion, plywood, wood glue and steel. Photograph: Jamie Woodley. Image Courtesy the Artist and Tanya Leighton gallery, Berlin.

Sean Edwards explores personal family histories through an intersection of sculptural objects and mixed media installations. He was selected for his installation, Undo Things Done at the Venice Biennale which traversed issues of class, austerity and loss in a video reflecting on his own experience growing up on a council estate.

Sidsel Meineche Hansen, End-Used City, computer-generated images, game controller, PC, video, sound, duration: 12 min., 2019. Installation view, Sidsel Meineche Hansen, Welcome to End-Used City, Chisenhale Gallery, London, 2019. Photograph: Andy Keate.

Sidsel Meineche Hansen investigates the manipulation and manufacturing of virtual, robotic and human bodies in our capitalist, technology-driven society – particularly focussing on the influence of the pharmaceutical, pornographic, gaming and tech industries.

Ima-Abasi Okon,Infinite Slippage: nonRepugnant Insolvencies T!-a!-r!-r!-y!-i!-n!-g! as Hand Claps of M’s Hard’ Loved’ Flesh[I’Mirreducibly-undone because]—Quantum Leanage-Complex-Dub (2019) Installation view, Chisenhale Gallery, 2019. Commissioned and produced by Chisenhale Gallery, London. Courtesy of the artist. Photograph: Andy Keate

Ima-Abasi Okon is a London and Amsterdam-based artist working with sculpture, video, sound and installation. Selected for her exhibition featuring industrial air conditioners as hosts for a multi-channel sound piece –  Infinite Slippage: nonRepugnant Insolvencies T!-a!-r!-r!-y!-i!-n!-g! as Hand Claps of M’s Hard’Loved’Flesh [I’M irreducibly-undone because] —Quantum Leanage-Complex-Dub.

Imran Perretta, the destructors (2019). Installation view, Chisenhale Gallery, 2020. the destructors is produced by Chisenhale Gallery and Spike Island, Bristol, and commissioned by Chisenhale Gallery; Spike Island; the Whitworth, The University of Manchester; and BALTIC Centre for Contemporary Art, Gateshead. Courtesy of the artist. Photograph: Andy Keate.

Exploring marginality and cultural history through film Imran Perretta uses film, performance, sound and poetry. Selected for his film, the destructors 2019, exploring his coming of age experiences as a young man of Bangladeshi heritage.

 

Alberta Whittle: How Flexible Can We Make the Mouth, installation view, Dundee Contemporary Arts, 2019. Photograph: Ruth Clark

Living and working between Barbados, Scotland and South Africa, Alberta Whittle‘s work is rooted in the experiences of the diaspora. Whittle’s work tackles anti-blackness and the trauma, memory and ecological concerns which come in the aftermath of slavery and colonialism through performance, video, photography, collage and sculpture.

The Turner Prize is set to return to its exhibition format next year, but this year’s bursary scheme has allowed important financial backing to these interdisciplinary artists during these unstable times.

by Rosie Fitter

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Announcements from the 2020 Magnum Photos Annual General Meeting https://theglassmagazine.com/announcements-from-the-2020-magnum-photos-annual-general-meeting/?utm_source=rss&utm_medium=rss&utm_campaign=announcements-from-the-2020-magnum-photos-annual-general-meeting Mon, 29 Jun 2020 13:54:51 +0000 https://glassmagazine.wpengine.com/?p=98745 NAVIGATING the arts scene in the wake of Covid-19 has called for a drastic re-evaluation of practices and the status-quo. In the spirit of adaptation and redefining, Magnum’s Annual General Meeting (AGM) closed this weekend – after four days of online events and internal discussion about the year ahead. Image ©Hannah Price Magnum Photos is […]

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NAVIGATING the arts scene in the wake of Covid-19 has called for a drastic re-evaluation of practices and the status-quo. In the spirit of adaptation and redefining, Magnum’s Annual General Meeting (AGM) closed this weekend – after four days of online events and internal discussion about the year ahead.

Image ©Hannah Price

Magnum Photos is a co-operative owned by its members, representing some of the world’s most renowned photographers and artists. Photographers first join the organisation as nominees before progressing to become associates and then finally gaining admission to the Magnum collective as full life-long members.

Image ©Sabiha Cimen

This year’s AGM took place online, uniting its community of photographers, estates and international staff in addition to conducting votes on potential new members, associates and nominees. Further discussions were held on the new public events program which includes the presentation of Magnum Flow, a new digital project launched during lockdown to present contemporary work in near real-time, and a conversation on the colonial archive between Mark Sealy, Mikhael Subotzky and Sim Chi Yin.

Image ©Khalik Allah

Caitlin Hughes, Magnum’s new CEO, who joined the organisation to further strengthen the fundamentals of the business as well as to advance Magnum’s reputation as a pioneer at the forefront of digital innovation – says “I am thrilled to welcome our new nominees who come from a range of different backgrounds and add to the plurality of voices inside Magnum.”

Initiatives such as Magnum are proving to be forerunners of inclusivity and progress for digital innovation and set a precedent for those in other fields to follow.

by Rosie Fitter

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Earth Perspectives, Olafur Eliasson’s new participatory artwork for Earth Day with the Serpentine Gallery https://theglassmagazine.com/earth-perspectives-olafur-eliassons-new-participatory-artwork-for-earth-day-with-the-serpentine-gallery/?utm_source=rss&utm_medium=rss&utm_campaign=earth-perspectives-olafur-eliassons-new-participatory-artwork-for-earth-day-with-the-serpentine-gallery Thu, 23 Apr 2020 15:51:24 +0000 https://glassmagazine.wpengine.com/?p=96510 AS part of the Serpentine Gallery’s Back to Earth initiative, Olafur Eliasson’s new artwork is open to all for Earth Day.  Eliasson’s new participatory artwork, Earth Perspectives reflects on the co-existence of multiple world views. The Serpentine’s 50th Anniversary launched their Back to Earth programme, inviting leading figures from the art world to propose artworks […]

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AS part of the Serpentine Gallery’s Back to Earth initiative, Olafur Eliasson’s new artwork is open to all for Earth Day.  Eliasson’s new participatory artwork, Earth Perspectives reflects on the co-existence of multiple world views. The Serpentine’s 50th Anniversary launched their Back to Earth programme, inviting leading figures from the art world to propose artworks and projects as a call to action for climate change.

The first image was revealed today on Instagram for Earth Day. A further eight images will be posted every hour throughout the day. Each one with a different view of the planet for you to experience.

Eliasson has created a series of nine images of the Earth, each of which has been abstracted by turning the planet on a different axis. On each image there is a “dot” which, marks a particular spot on Earth. These scenes range from Chernobyl to the South Pole. If you stare at it for ten seconds, and then train your focus onto a blank surface, an afterimage appears in the complementary colours of Eliasson’s visual. You can literally project a new world view.

Olafur Eliasson, Earth perspectives, 2020, The Earth viewed over the Great Barrier Reef, Australia

The work explores how maps, spaces and the earth are all subject to individual perspectives. In this unprecedented time of isolation and distance from communities and collectivity, Eliasson urges us to view the Earth from other perspectives.

Olafur Eliasson said, “Today, ‘the world as we know it’ is a phrase of the past. The current health crisis has brought our societies close to a halt, affecting our economies, our freedoms and even our social ties. We must take the time to empathise with all those struck by the crisis and also seize this opportunity to imagine together the earth that we want to inhabit in the future – in all its wonders and beauty, in the face of all the challenges ahead of us.

On Earth Day, envision an Earth we all want to live on together, plants, animals and nature by welcoming to the multiple perspectives of Eliasson’s work.

by Rosie Fitter

The artwork will also be available for download at olafureliasson.net, serpentinegalleries.org and the Bloomberg Connects app.

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The Photographers’ Gallery launches Print Sales Gallery online platform https://theglassmagazine.com/the-photographers-gallery-launches-print-sales-gallery-online-platform/?utm_source=rss&utm_medium=rss&utm_campaign=the-photographers-gallery-launches-print-sales-gallery-online-platform Fri, 17 Apr 2020 10:29:35 +0000 https://glassmagazine.wpengine.com/?p=96183 WHILE The Photographers’ Gallery in London’s Soho is temporarily closed, the gallery have announced the opening of an online Print Sales Gallery. This new feature allows customers and collectors to explore, view and directly enquire about full folios of works arranged individually, in series or by category. The works will include the Gallery’s represented artists […]

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WHILE The Photographers’ Gallery in London’s Soho is temporarily closed, the gallery have announced the opening of an online Print Sales Gallery. This new feature allows customers and collectors to explore, view and directly enquire about full folios of works arranged individually, in series or by category. The works will include the Gallery’s represented artists as well as exclusive editions from some of the world’s leading photographers.

Mother and daughter with Vizslas at the dining table, Sterling, Connecticut, 1992, from the series ‘Animals’, Limited edition silver gelatin print, © Sage Sohier, Courtesy of The Photographers’ Gallery

 

The platform will include artists such as Evgenia Arbugaeva, known best for her portrait of Greta Thunberg which was included on the cover of Time Magazine for their person of the year edition 2019. Additionally, artist Sage Sohier and her 2019 series The Animals which documents people and their animal companions in the 1970’s.

Customers are able to browse artist overviews and online exhibitions in addition to the newly added buy-now options and Advice & Inspiration section featuring artist interviews and tips for collecting photography from the Gallery’s leading experts and much more. The Gallery’s Exclusive Editions scheme offers customers affordable artworks by leading contemporary photographers and artists, created exclusively and donated by artists.

All profits from the Print Sales Gallery are reinvested back into The Photographer’s Gallery’s ongoing public programme, now a crucial revenue due to the current conditions of COVID-19.

by Rosie Fitter

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Hong Kong Human Rights Arts Prize 2020 announces shortlist of artworks https://theglassmagazine.com/hong-kong-human-rights-arts-prize-2020-announces-shortlist-of-artworks/?utm_source=rss&utm_medium=rss&utm_campaign=hong-kong-human-rights-arts-prize-2020-announces-shortlist-of-artworks Thu, 16 Apr 2020 13:28:22 +0000 https://glassmagazine.wpengine.com/?p=96167 THE Hong Kong Human Rights Arts Prize 2020 presented by the Justice Centre Hong Kong has announced its shortlist of 35 artworks. The Artworks will be showcased in an exhibition open to the public at the Goethe-Institut Hong Kong. The prize, now in its sixth edition, is curated by KY Wong and is to be […]

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THE Hong Kong Human Rights Arts Prize 2020 presented by the Justice Centre Hong Kong has announced its shortlist of 35 artworks. The Artworks will be showcased in an exhibition open to the public at the Goethe-Institut Hong Kong. The prize, now in its sixth edition, is curated by KY Wong and is to be judged by an international panel. The judges include – alongside others – Christy Chow, Hong Kong based artist and 2017 prize winner and, notably, Jeremy Deller, English conceptual, video and installation artist and 2004 Turner Prize winner as well as Chantal Wong, Director of Culture, Eaton Workshop Hong Kong.

Hong Kong Human Rights Arts Prize 2020 Shortlist – Nga Chi Yuen, He Xie Jia Yuan
(Harmonious Homeland), photograph

 

The selected works are by artists from diverse ethnic backgrounds. The judging itself was conducted blind with the panel not given access to the artists’ age, experience, gender, name or nationality.The works were shortlisted from 97 pieces submitted  by established and emerging artists. Spanning a range of themes, the artworks document; recent civil unrest in Hong Kong, treatment of ethnic minorities and increasing surveillance by states of their citizens in addition to the legacy of the controversial post-war British policy of sending orphans abroad for a new life.

Chuen Kwun Lam - Floating City for Hong Kong Human Rights Art PrizeChuen Kwun Lam – Floating City for Hong Kong Human Rights Art Prize

Promoting Art as a catalyst for social change, Chantal Wong, Hong Kong Human Rights Arts Prize Judge, says the prize “offers a unique way to share the stories of those whose voices are not being heard”. Contemporary issues are brought to light. Katie Vajda, one of the judges for the prize, has noted the many entries “unsurprisingly” dealing with the “harrowing and ongoing political situation in Hong Kong”.

The winner of the Prize will be announced on 12 May followed by an online auction (details shared shortly). They will receive one of Asia’s most prestigious art awards alongside a prize of HKD35,000. Two runners-up will each receive prizes of HKD7,500 and HKD5,000. Each of the exhibited works will be available for purchase via auction, with all proceeds supporting the non-profit work of Justice Centre Hong Kong.

by Rosie Fitter

The shortlisted artists will be exhibited at the Goethe-Institut Hong Kong from 1May 12 until June 6.
The Prize relies on generous donations from the public – interested parties can learn more and donate to the crowdfunding campaign here.

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