“Silence is the sleep that nourishes wisdom. – Francis Bacon”
Silence, a solo exhibition by Artrooms London 2018 selected artist Duncan Stewart, will open to the public tomorrow, from 11am.
The exhibition will run until the 11th of December at Art in the Yard, 38 Huguenot Road, Franschhoek, Western Cape, South Africa.
“We live in a noisy world where it is challenging to hear above the din, and almost impossible to step off the treadmill long enough to discern what path to take.
This exhibition, simply called SILENCE, has become the embodiment of that struggle for me.
Silence is free of talking or the need to think about words and thoughts.
Silence is about being. And about being still.
Silence is the cathedral in our souls, which, if incessantly occupied leaves no room to hear the divine whispers.
As I set about creating work for this show, it was this desperate need to create from a place of stillness and silent listening that led me to explore a range of paintings that at first glance appear monochromatic. I wanted to create visual spaces that were calm, quite and removed from noisy colors and energetic angles.
By exploring subtle shifts of hues and tones I have intentionally ‘bleached’ the noise out, giving the viewer permission to dwell in silence – to search for detail on what at first glance appears to be a subdued canvas… yet ultimately is alive with colour waiting to reward those who push through the veil into the quite resonance of the work.”
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The painter inspires his last work in Parade Ballet. Composed between 1916 and 1917 by Sergei Diaghilev, is one of the most important works of its kind, among other things, because he managed to gather around him a whole generation of geniuses: Erik Satie, who composed the music , to Jean Cocteau, who was in charge of the script, going through Picasso, who designed figurines and curtains.
“Actually, this project was launched many years ago, when I was studying Fine Arts, but it was not until now that I returned to it”, explains the author. Among the reasons: this year marks the centenary of its premiere in Paris, at the Théâtre du Châtelet.
The fascination that Viscasillas has for Diaghilev’s ballet was what led him to dedicate this series of works to him. “Parade supposes a new point of view, a new concept, that entails a total rupture with the idea that had until the moment on the ballet”, explains. “Modernity is incorporated into dance with it”
The first part of the project is a series of paintings on 2-meter papper. “The second part of the work, to be done, will be a large four-meter canvas “, he adds. “My project starts with a portrait of the ballet characters, following a kind of script that will lead us to a great final battle between the managers by the spectators. With that fight between them, in the style of the pompier and battle paintings of San Romano, by Paolo Ucello, I will close the project “.
“Those self-similar mathematical constructions commonly found throughout nature
are the language that inhabit the translucent stone universe
sculpted by her exceptional chisel
Diana Fernandez is a sculptor whose alabaster structures
offer a translucent and ethereal quality
allowing her sculptures to constantly change
as the viewer’s perspective changes
or as the light moves around the space at different points in the day
Not focused on the material itself
but in its behaviour in relation to light or gravity
Diana is a sculptor of a kind of exponential cubism
and instead of seeing things from several viewpoints
she offers an experience of thousands of fractured perspectives
This act of transformation reshuffles the original image
blurring the boundary between the imaginal world
and the real world of rocks, rivers, and oceans
She assumes the impossible
the challenge of sculpting the unseen
compelled by mystery
especially the mystery of the rock
and the forces that structure everything we know and experience
Her artwork is an invitation to us viewers
to be able to move in and around the fractal world
and change our inner perception as we do so
In the pinnacle of her sculpting etymology
she appropriates the forces of nature
to propel out an important clue for us
to hunt down the secrets of the universe
Are her fractal sculptures the road map to reality?
Do they symbolize a deliberate attempt to explain nature
or do they just happen to exist in the eyes of the beholder?
This is the challenge she excerpts from alabaster
to deliver our life experience with celestial- terrestrial- inner images.”
by british curator Ralph C. Valley on Diana Fernandez’s work, one of Artrooms London 2018 selected artists.
The magical is always around us
How often are we are of it?
Is its place in art or the mundane?
This and many more intriguing notions await you at IMPOLITE CONVERSATION, a new Group Exhibition at UNTITLED 2.0 Gallery that will be running from the 3rd November to the 26th November 2017. Participating artists include HURT, Paul Silas Trapp, Claudia Cilloniz Marchini, Tom Glassman, Duane Megyesi, Allen Smith, Artrooms London 2018 selected artist Bee Bantug, E’ Bender Webb and Paul James Cunningham.
Join the reception evening on Friday, the 3rd November from 5-6pm and discover how you’d explore politics & religion with local artists.
UNTITLED 2.0 Gallery is located on 119 SE 6th St, Grants Pass, OR 97526 and is open from Wednesday to Sunday from 11:30am to 5:30pm.
Image: Time Travelers by Bee Bantug
Forevermore Art Collective, selected artists for Artrooms London 2018, have just recently showcased their newest mural on Saturday, 1st October, at House of VR on Nuit Blanche Art Event. A 6ft x 6ft painted plywood panel animated with Augmented Reality, this is the first piece designed for open-air spaces animated by this practice based in Canada.
You can see this art become alive by downloading the app available for free at google play store: Forevermore (third icon) and IOS (here)
Just download the app, open the experience named Mermaid Lunch and point your camera towards the painting on your computer screen.
Artist Spotlight: Anne Cecile Surga – interview published on the 4th August 2017 by EuropeNow Journal.
“EuropeNow: Can you tell us a little about yourself and about the kind of art you create?
Anne Cecile Surga: I was born in France in 1987 and graduated with a Master in Business Administration in 2010. In 2013, I graduated from the Christie’s Education Master Program in New York City. I always wanted to be part of the art world from as far as I can remember. Creation has consistently been a part of me: in my childhood I was crafting rag dolls or playing with salt dough, and in my teens I began to create with papier maché and clay. As the artist lifestyle was deemed a little bit too obscure, I went to a business school, which then allowed me to work in the art world from the managerial side.
Even though it was going well, I decided to become a full-time artist three years ago. I now live and work in the south of France, and my materials are marble and mixed media. Without a formal education in visual art, I’ve been able to discover and establish the rules myself. My art practice is the result of introspection on a universal level. I try to understand my feelings and thoughts through the prism of contemporary society, and then try to translate them into a sculpture that can connect with others.
EuropeNow: What about your primary medium do you like best?
Anne Cecile Surga: My primary medium is marble. My favorite is Statuario white marble from Carrara in Italy. I also work with French marble that I can easily find in the Pyrenean Mountains, where I live, and with pink Portuguese marble. I think marble is quite an unusual material for contemporary art as I feel it will always be linked to classical sculpture, but to me it is the most satisfying material I can work with. Carrara marble especially allows you to create an infinity of details with a clarity that cannot be equaled. There is also an intrinsic beauty to the material, in my opinion everything looks better in marble! It gives an ethereal feeling while being of unbelievable strength.
On the other hand, marble is not easy to work with. One must be armed with patience to remove the stone in order to reveal the form from the block. It is physically and intellectually challenging–physically, as one requires the strength to work the material, and intellectually as it is a reverse process: you take material out of the sculpture and you are not allowed to make a mistake. This emotional, intellectual, and physical challenge makes marble sculpture the most complete art form to me.
EuropeNow: Can you tell us about the piece you donated for this auction?
Anne Cecile Surga: The work is a bas-relief made of French black marble and Portuguese pink marble. I have been discovering the possibilities of marble and developing my artistic approach on my own in the last years. There is a predominance of anatomy in my earlier works, and I have recently explored abstraction through an organic approach. This piece could be understood as a snapshot of my recent artistic evolutions.
A recurring aspect of my work is to insert other marbles or materials on my marble pieces. I made bas-reliefs using black and white marbles, and sculptures where I mixed steel, wood, gold leaf, ribbon, or even piercing with marble. Formal beauty is important in my approach: the line, the balance, and also the finesse of execution are essential elements of my work.
EuropeNow: Who has shaped your development as an artist?
Anne Cecile Surga: One of most the influential people in my artistic development has been Pablo Atchugarry. Not only has he been the one to introduce me to marble cutting –from how to handle the tools to how to choose a marble bloc, or how to move these heavy stones–but he also accepted me in his artistic circle, thus allowing me to learn a lot from this world-renown artist on a daily basis. Being born in a non-artistic family, it has been eyes- and heart-opening to realize all that can be made thanks to art.
Having him as a role model teaches me so many values and life lessons. Marble does require an incredible amount of working hours and that can lead to much frustration and sometimes the will to quit, but being mentored by a passionate and hard-working individual made all the difference for me. I learned you can never work too much or be too good at your practice, but most importantly that art and all its benefices have to be shared with as many as possible. I do wish I will one day have the opportunity to make such a positive impact in a young artist’s life.
EuropeNow: Do you have a favorite non-art activity that connects you to your art in a meaningful way?
Anne Cecile Surga: My only hobby is the only thing in my life that is absolutely not related to art. I am an amateur boxer and I have been practicing fighting sport for 6 years. It might seem strange, but there are a lot of parallels between boxing and cutting marble. The first is obviously the need or development of strength. The first time I cut marble, I would have not been able to handle the tools if I had not had all that fighting training beforehand, I am sure of it. From a mental point of view, there is also a lot of dexterity at play, along with resilience, concentration, and the ability to keep your head cool when things are not going the way you intended.
Both in boxing and in marble cutting, one needs to master a technique in order to free oneself, and to be able to express his true self through it. The only thing that really differs is that I would compare artist life to a marathon more than to an explosive boxing competition. Last but not least, for both practices, you can only get better with time!”
Jessie Pitt, one of the 70 selected artists for Artrooms London 2018, has seen an insightful interview on her art and inspirations published on the fifth issue of CreativPaper, a digital magazine dedicated to the arts whilst highlighting social & environmental issues. Released in August this year, the interview explores how the Australian artist is influenced by the environment she grew up in – the montainous region of Melbourne – and the one she also shares her time with – the mountains in Austria.
“There is a majestic, eternal kind of strengh about mountains. They are strong yet exude an indescribable sense of stillness and of peace” – Jessie Pitt
You can read the full interview here, pages 72-81.
More than 350 works by Guatemalan, Latin American and European artists come together this week in Zona Pradera, Guatemala, thanks to the inauguration of the 14th edition of the exhibition Del Arte al niño (translated: From Art to the Kid), an event that seeks to serve as a support for the treatment of children with brain injuries. For its part, this year the show has a tribute to the Art Master Rodolfo Abularach, who will be represented in the activity by means of several pieces. The artist is one of the most renowned international Guatemalan artists and has been characterized by circular forms, eyes and the line as the main bases of his work.
Artrooms London 2018 Selected Artist Diana Fernández participates in the exhibition opening the room with FRACTAL LIGHT , transluscent white alabaster and FLOWER, orange alabaster.
The exhibition takes place at 18 st 24-69 zone 10, Building Empresarial zona pradera, Lobbys 1, 2 and 3 (Guatemala) from the 7th September to the 24th November 2017.
Artrooms London 2018 Selected Artist Jordi Robert will be exhibiting at the 21st National Open Art Exhibition, which will take place at Bargehouse Oxo Tower Wharf Southbank London from the 17th – 26th November 2017
A vast, untouched four-storey industrial building will host the 21st National Open Art Exhibition. Bargehouse is an exciting atmospheric space on London’s fast moving South Bank and Bankside areas and sister building to the iconic landmark, Oxo Tower which stands proud on the cultural path between the National Theatre and Tate Modern. This big blank canvas will be transformed into a contemporary gallery space to showcase a cross-section of the very best British and Irish contemporary art of 2017.
The 2017 Judges include Royal Academician Hughie O’Donoghue RA, artist Jane McAdam Freud, former NOA winner Kelvin Okafor, gallery director Cynthia Corbett, photographer Zelda Cheatle and filmmakers Elaine Pyke and Adam Saward. All artwork is judged strictly anonymously on talent and results in an exhibition of 100% of the open entries – not one ‘invited’ artist. By entering their work, artists have the chance of winning part of a £60,000 prize fund and being showcased in prestigious exhibitions in London and beyond.
Artrooms 2018 applicant Pablo Vindel is one of the Project Based Creative Glass Center of America’s Fellows this Fall at WheatonArts.
The CGCA at WheatonArts offers fellowships to artists working in glass and has serviced glass artists and the arts community for over thirty years. Over 300 professional and emerging artists have been recipients of a CGCA fellowship, from the U.S. and over 26 foreign countries. Artists are encouraged to use their fellowships to develop and refine their work, while experimenting with both traditional and innovative glassmaking processes.
The CGCA Fellowship Program provides 24-hour studio facilities, technical resources, housing and a stipend; allowing artists the opportunity to spend a concentrated period of time devoted exclusively to their work. Many emerging artists have used the Fellowships as a stepping-stone to a successful career. For mid-career artists, it offers an opportunity to redefine direction and renew creative energy. The collaboration and exchange of ideas among the Fellows enhances a productive climate, supporting the discovery of new vision and resources for each.
Other CGCA programs include GlassWeekend (a biennial symposium and exhibition of contemporary glass); slide lectures; and special educational outreach programs. A “Critic-in-Residence Program,” provides additional support for the artists, generating meaningful inquiry and discussion about their work. All activities elevate the educational interpretation of contemporary glass to a broad audience.
“Outstanding artists like Josiah McElheny or Beth Lipman started out here. I couldn’t be more grateful and excited. Looking forward to the Fall in Millville!” – Pablo Vindel