Press release for June 2010
Preview date: 19th June
Exhibition will continue till 16th July
‘Op art and its influence’
This exhibition will broadcast the notion of artists who parody Op art by using similar methods of that movement. In each artists own direction, there may be the use of optical effects running towards perception disorientation. Other significant rises would use exact techniques borrowed from artists such as Bridget Riley.
This group exhibition will showcase artists who are Internationally and Nationally renown.
David Davis is an American painter residing in France, and has exhibited his paintings in Amsterdam, Cologne, Berlin and Paris. He attended art school in Atlanta, USA, obtaining his university diploma in 1992 with a specialization in anatomical illustration. He worked as a professional medical illustrator and later as a multimedia art director both in traditional and digital media, where his form of expression favors dynamic motion and vibrant colors. David chooses the gesture to arrive at the desired energy of the image, capturing the movement of the human body in abstract form reducing the lines to a minimum while keeping the energy intact. David is interested in the points of contact between art and science. In his latest work he explores a contemporary paradox the mechanization of man and the humanization of the machine, depicting the energy lines with which the figure in motion is interacting as if they were visible to the naked eye.
“It is important for artists to attempt to capture the world around them in the time they are living in. Every artist has been contemporary in his or her own time. My art, the way I see it, is pushing the frontiers of what has been created before, while at the same time it becomes a point in the time stream that will reflect the period in which I lived. This series associates waves of energy with form, stationary matter with the potential of being moved, the painting is static but the viewer gets a sense of potential energy, axial energy, connected to the biomechanics of the human form.”
David Davis, The fall, Acrylic on canvas, 100cm x 80cm, 2009
Born at Brazil, in 1978, Ana Paula’s childhood was surrounded by colour pencils and chalk. She was very fascinated by colours, their mixtures and combinations. She used to ask her mother if her coloured clothes matched. And she has always been fascinated by sunsets, seeing the different shades of colour that caressed the evening sky.
During her teenage years, she used to collect colour pens, which she used to do her homework in rainbow colours. Even while attending university and completing her degree in Nutrition, she used to express her knowledge with colourful presentations. After completing university and while working as a nutritionist, she taught her patients about the importance of having a colourful diet, one rich in nutrients; and even as a professor teaching Nutrition, she used colourful pens to correct assignments and tests, as well as presented her lessons on the blackboard with multi-colours.
In 2008 she felt a great need to stop her career and explore other possibilities in her life. After a time of self-exploration she found time, space and a need to express herself, emotions and feelings. She discovered a new way of life letting the creativity blossom and flowing freely. And since this change in her life was so huge, as a rebirth, she decided to use another name, a name chosen by her, a name that popped into her mind. And the name is HANNALYAN.
After using canvas, oil, acrylic and watercolours, her paintings have become the basis of work for the production of digital art using specific programs to edit images.
Hannalyan, Eye, Kodak Profissional Endura Paper,20 x 25cm, 2010
Born in Brescia - Italy, lives and works in Italy. She graduated in technical studies. Started painting as a self-taught, following the footsteps of her uncle Vittorio Trainini famous painter in the city of Brescia.
She began her research in solitary and the results are of hight poetic value and visual impact: a cascade of lines like a musical score.In her work perceptually forms are defined and proposing a clear path camouflage to the observer.The compositional absolute shock causes the viewer to appreciate a precise, balanced and not improvised work. The artist can be inserted in the range of neo pop - optical artists.
Rossella Ramanzini, ‘Gillette 2’, Acrylic on canvas, 60cm x 60cm, 2009
C. Morey De Morand
As I work, I make divisions that are quite static in order to have as little to do with composition as I possibly can.
I don't care to use, say green to make the red look redder, or hot colours in front of cool colours nor any of the generally accepted notions of painting.
In fact, I often deliberately go against these 'rules' to try to get the truth of the painting - to the observer.
When I begin I set up my own rules for the works which then mutate as I up the stakes at each stage. The works carry within themselves their inner concerns.
My feeling is to enjoy the canvas as an entity, not an illusion.
C. Morey De Morand, A Bientot (Teal), Acrylic on linen, 25cm x 30cm, 2007
Emily Beza is a British artist of Romanian parentage. She successfully completed her Masters Degree in Fine Art at Central Saint Martins College of Art and Design. She has exhibited in such diverse places as the British Embassy in Moscow, Gallery Dream, Seoul in South Korea, The Romanian Cultural Institute in London and The View Two Gallery in Liverpool. Her artworks feature in various Private and Public collections in the USA, UK, Norway, France, Romania and Hong Kong.
I have and continue to inspire myself from walking around. I immerse myself in the dynamic layering and juxtaposition of structure, movement, rhythm, speed, pace, hustle and bustle of various environments. I describe my work as a reactive and visual reiteration of my experience which then transmutes itself onto the canvas/paper as an imagined reality.
Some images with their austere often more formal, linear, (at times) grid-like façade which repress complex thinly rendered, elusive, background washes; tangentially allude to technology-based mediums such as computer-graphics and architecture in their own right.
More recent works develop more fluid, at times fraught as well as lyrical references, with a greater sense of dialogue between figure and ground. I will in due course (and have been beginning to) develop this language.
In my portraits, I emphasise the initial feelings evoked in the source material, and add elements of myself to the mix. The finished works thus become a series of highly complex self-portraits which have evolved in tandem with poignant experiences in recent years. This is prevalent whether the initial image is drawn from life, photographs or media-related ephemera.
Emily Beza , Small Circle 3, Acrylic on Canvas, 60 cm in diameter, 2010
For many years I kept a highly magnified black and white photomicrograph of an atomic structure in my file folder that really intrigued me. I would take it out now and then, attempting to frame a composition within a square format, but nothing I tried seemed to work. I found this quite frustrating because I felt that it had the potential to make a dramatic painting. I fiddled with this design unsuccessfully for over 15 years, and was ready to give up and throw the photograph away, but I hung onto it anyway.
During these years I painted a number of circular paintings on some beautiful bevelled canvases that were made in Mexico. Finally, in July of 2004, I thought of placing the atomic structure within a circular format, and this immediately began to look more promising. However, the circular format didn’t quite work, and I still wasn’t completely happy with the composition. But then I remembered a curve I had formulated in 1973— the Golden Power Ellipse. If I could make the atomic structure relate to this curve, then the problem would be solved. Eventually I was able to crop the composition until it fitted the format perfectly. I named the resulting design Atomic Flower.
Mosaica, Acrylic on canvas, 20” diam. (51cm. diam.), 2006
T. W. Dowdeswell
"Three years ago in Paris I got out of a 'metro' train at La Concorde, and saw suddenly a beautiful face, and then another and another, and then a beautiful child’s face, and then another beautiful woman, and I tried all that day to find the words for what this had meant to me, and I could not find any words that seemed to me worthy, or as lovely as that sudden emotion...but there came an equation...not in speech but in splotches of colour...a 'pattern'...It was a word, the beginning for me, of a language of colour".
T. W. Dowdeswell
My work draws its core inspiration from the early Twentieth Century British art movement known as Vorticism.
Within this movement I found a classification of art and everyday life which made sense to me; all creative form being a vivid exploration into the most primary projection of what is possible or as Pound suggests, "to convey an emotion by means of an arrangement of shapes, or planes, or colours".
It is my goal to deconstruct common everyday interactions between groups of individuals until the emotions and conversations pouring forth are represented by striking, definite lines made even bolder by the implementation of the most vivid colours and the purest pigments.
These are pictures of humans, animals and ideas which I have broken down to their most primal form so they are most accessible without the corruption of over-thought or overindulgence.
T. W. Dowdeswell, Jive, Oil on Canvas, 150cm x 150cm, 2009
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