A World withOut End, an exhibition in 7 parts.
Curated by Shizico Yi
Hyeok Lee (ANTONIO). Starry Night No.09 , 2019- 40.64 x 50.8x 1.8 cm , Acrylic paint on canvas.
Counting Stars No.06 50.8 x 60.96 cm x 4 cm_ acrylic paints and epoxy on canvas_
2019
Hyeok Lee (ANTONIO)
Now, we human beings are having an unprecedented painful time. Society, economy, politics, and human relations have been paused, and we stand on the grand turning point of the times. Therefore, we need a self-reflection and a cultural aesthetic healing for the new future. I have no doubt that the future of mankind will be an era of a mega global society more than ever before. For everyone to live in a happy life in the era, we should understand our inner-side.
Through the inner understanding, everyone can bring about a fundamental change in their life for the new future. Additionally, I believe if I can understand my inner self, I will be able to understand other people. A step toward its understanding begins by seeing the inner-side through Art. I have attempted to visualize the human nature since when I was in military service in South Korea. I’m very scared of war, like everyone, of course. But with me, this fear is more concrete, since I am a citizen of South Korea, which is constantly threatened with war by the other Korea in the north. I have always lived with this pressing fear of war, even though I have no direct experience of it. This life in South Korea naturally made me wonder about violence, conflicts between humans, and now not only violence but also other human nature are included in my aesthetic research category. The human nature is full of emotions which is so colourful and diverse. My mind is always closest to me, but it is one of the most uncleared thing in the worlds. My heart of yesterday is different from what it is today, and tomorrow I must face another one of mine. It is very difficult to understand because it changes from moment to moment. Nevertheless, I want to visualize the human nature. This is maybe a reckless challenge, but I believe that I can express the inner side of humans through art and will start understanding it if I record my mind as if I were taking a picture every day.
I'm still struggling with expressing the invisible human nature. My records(artworks) are some sort of a repetition or disassembling of countless sets of colours. Perhaps it is natural that my diverse emotions are recorded in such diverse forms. Nevertheless, there is something particular in common among my works. The works remind me the nature phenomena. Perhaps, it is because our human nature is connected to the variety of natural phenomena. For me, the burning sunset is an insatiable anger, the star that glows quietly in the night sky is hope in the corner of the heart, and the cold colour of dawn is the pain of birth.
Now, we human beings are having an unprecedented painful time. Society, economy, politics, and human relations have been paused, and we stand on the grand turning point of the times. Therefore, we need a self-reflection and a cultural aesthetic healing for the new future. I have no doubt that the future of mankind will be an era of a mega global society more than ever before. For everyone to live in a happy life in the era, we should understand our inner-side.
Through the inner understanding, everyone can bring about a fundamental change in their life for the new future. Additionally, I believe if I can understand my inner self, I will be able to understand other people. A step toward its understanding begins by seeing the inner-side through Art. I have attempted to visualize the human nature since when I was in military service in South Korea. I’m very scared of war, like everyone, of course. But with me, this fear is more concrete, since I am a citizen of South Korea, which is constantly threatened with war by the other Korea in the north. I have always lived with this pressing fear of war, even though I have no direct experience of it. This life in South Korea naturally made me wonder about violence, conflicts between humans, and now not only violence but also other human nature are included in my aesthetic research category. The human nature is full of emotions which is so colourful and diverse. My mind is always closest to me, but it is one of the most uncleared thing in the worlds. My heart of yesterday is different from what it is today, and tomorrow I must face another one of mine. It is very difficult to understand because it changes from moment to moment. Nevertheless, I want to visualize the human nature. This is maybe a reckless challenge, but I believe that I can express the inner side of humans through art and will start understanding it if I record my mind as if I were taking a picture every day.
I'm still struggling with expressing the invisible human nature. My records(artworks) are some sort of a repetition or disassembling of countless sets of colours. Perhaps it is natural that my diverse emotions are recorded in such diverse forms. Nevertheless, there is something particular in common among my works. The works remind me the nature phenomena. Perhaps, it is because our human nature is connected to the variety of natural phenomena. For me, the burning sunset is an insatiable anger, the star that glows quietly in the night sky is hope in the corner of the heart, and the cold colour of dawn is the pain of birth.
Hyeok Lee (ANTONIO). Starry night No.12- 50.8 x 40.64 cm, acrylic paints on canvas.
Daphne Ang. Feelings Acrylic and gold-leaf on canvas board. 24 x 18 inches. Not for sale.
‘Feelings’ encapsulates the conscious act to inaugurate a new mode of existence, constructing for both, a new way of existing with one another.
Painted in acrylic with golf leaf finishing, 'Feelings' resembles a dramatic encounter of a fiery interstellar entity moments before plunging into a churning ocean of milk. Paint was applied to the canvas board through a variety of splashing, flicking, pouring, spraying gestures using non-traditional art tools. The artist affixed sheets of golf leaf into the thick impasto splashes.
The simultaneous passage through great emotions welds souls, and begets the strongest of all forms of love. - Mark Rutherford.
Kevin Derbyshire. Untitled Acrylics, oils, ink, silicone sealer, emulsion, bleach, found material on canvas. 2019 This is compatible with the theme ‘World without end’ as it appears to represent a ‘world’ within a starry dark sky and also a face of some kind, with a spiritual connection as it started out as the face of Mary.
 Robert Nitschmann. David. Painting of the statue of David by Gian Lorenzo Bernini on tiles.
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Robert Nitschmann- Tor (Gate).
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Robert Nitschmann- Unconscious I-Size: 70cm x 100cm- Oil on stretchedCanvas
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Robert Nitschmann- Unconscious I-series (right)
The goal is to create a surreal atmosphere by approaching the painting like a collage.Using both, artificially created structures and natural objects add to the feeling of the intangible. All the elements are painted in a traditional style. This painting shows three different objects, that are arranged in a collage-like manner. It is not clear if they are floating above or in front of the abstract background thus giving no indication of the relation to it. The head of David that seems to enter or leave the frame on the right side can easily be recognised. In contrast the spectator can see two rather indefinable objects to the left. Although the eye can understand the structure, the mind can’t.
Robert Nitschmann- Tor (Gate). ( centre)
The object, the gate, is abstracted to the point where it is barely recognizable. It provokes the question what lies behind? The loose structure and the hectic brush strokes let the tension rise the closer you get to it. This piece deals with the nature of the unknown. When clear structures are missing and things are not tangible anymore, our mind gets creative for better worse. The unknown is not what is concealed but rather the emergence of the infinite possibilities that lie ahead.
The goal is to create a surreal atmosphere by approaching the painting like a collage.Using both, artificially created structures and natural objects add to the feeling of the intangible. All the elements are painted in a traditional style. This painting shows three different objects, that are arranged in a collage-like manner. It is not clear if they are floating above or in front of the abstract background thus giving no indication of the relation to it. The head of David that seems to enter or leave the frame on the right side can easily be recognised. In contrast the spectator can see two rather indefinable objects to the left. Although the eye can understand the structure, the mind can’t.
Robert Nitschmann- Tor (Gate). ( centre)
The object, the gate, is abstracted to the point where it is barely recognizable. It provokes the question what lies behind? The loose structure and the hectic brush strokes let the tension rise the closer you get to it. This piece deals with the nature of the unknown. When clear structures are missing and things are not tangible anymore, our mind gets creative for better worse. The unknown is not what is concealed but rather the emergence of the infinite possibilities that lie ahead.
ELKYMY. ‘Streams I’ . Acrylic and polyurethane on 2 canvases 36 x 24 inches each (91.5 x 61 cm), 36 x 48 inches (91.5 x 130 cm).ELKYMY. Acrylic and polyurethane on 2 canvases 36 x 24 inches each (91.5 x 61 cm), 36 x 48 inches (91.5 x 130 cm).
‘Streams I’ was created during the beginning of the spread of the pandemic crisis of 2020 in
Europe. It provides a brief moment of escapism amidst these trying times. Created as a diptych, ‘Streams I’ was executed using high quality professional grade materials and mediums from the Liquitex and Golden Acrylics Professional range. Done on two Fredrix Pro Series 12oz stretched cotton canvases with a depth of 1.3", making framing unnecessary. ‘Streams I’ seeks to connect disparate worlds - traversing between physical bodies of land and sea, and metaphysically, as manifest in the synergy between the individual and collective consciousness of man's psyche.
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Mary Crenshaw (from left to right)
Sizzle. Acrylic, collage on poplar panel, 17x13 cm, 2020; a collaged glove together with map pieces of Italy on abstract shapes.
Hiss. Acrylic, collage on poplar panel, 17x13 cm, 2020
Sputter. Acrylic, collage on poplar panel, 17x13 cm, 2020. Here a map of Italy a glove and face mask were collaged onto abstract shapes.
Sizzle. Acrylic, collage on poplar panel, 17x13 cm, 2020; a collaged glove together with map pieces of Italy on abstract shapes.
Hiss. Acrylic, collage on poplar panel, 17x13 cm, 2020
Sputter. Acrylic, collage on poplar panel, 17x13 cm, 2020. Here a map of Italy a glove and face mask were collaged onto abstract shapes.
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Samiir Saunders. oneminuteglitches: vol 12. Down in Flames. Poetry Film. 2020
This is in a series of poetry films navigating anxiety, vulnerability, and a loss of control. Each film is made to feel like a diary entry, designed to exist within the constraints of an Instagram video post – i.e. they are one minute long and have a 1:1 aspect ratio. The claustrophobic nature of these constraints is used to create tension between the speaker’s need for self-expression, and the limitations imposed by digital communication technology. |
Kevin Derbyshire
Moon and World. Silicone sealer, emulsion, bleach, found material, acrylics, oils, ink, on board.
The moon in an embrace with the world or perhaps breaking away from the world (allowing both to be born). This was completed in April 2020 and is the latest of several paintings of the moon.
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Diana Savostaite
‘Heartbeat – 1 and 2’. - Oil on linen, stretched on shaped frame, 63 x 50 x 2 cm, Oil on shaped canvas, 50 x 51 x 2 cm, 2019.
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Diana Savostaite
‘Dreaming of Stars’ Oil and silver leaf on shaped canvas, 160 x 240 x 2 cm, 2020
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Diana Savostaite
‘Heartbeat – 1 and 2’. - These two artworks were painted as a diptych, through an expressive painting manner, it depicts a sensory side of a human being.
‘Dreaming of Stars’ -In this work I am interested in self-understanding through all the senses that I have. The inspiration came through sound meditation, while concentrating onto my senses and feeling different parts of the body.
‘Heartbeat – 1 and 2’. - These two artworks were painted as a diptych, through an expressive painting manner, it depicts a sensory side of a human being.
‘Dreaming of Stars’ -In this work I am interested in self-understanding through all the senses that I have. The inspiration came through sound meditation, while concentrating onto my senses and feeling different parts of the body.
Diana Savostaite . ‘What I am Made of?’ (1&2) Mixed medium on canvas, 151 x 155 x 2 cm, 2019-2020. First artwork (with the figure) was made in acrylic, pastel, household, oil, and then finished in oils (2019). Second painting was made in oil and pastel in 2020.
This artwork explores human nature and relation between body and mind. In her latest work Savostaite searches for new shapes and then combine them together to create a story on the wall. She hopes paintings to interconnect with each other also be a mixture between reality and imagination.
Diana Savostaite
The very first idea of making irregular artworks was triggered in an art exhibition that was held in Thames-Side Studios gallery in 2019 where Savostaite saw some paintings that were very large and tall; she had this idea to experiment with something new. Her initial idea was to prepare a long piece of canvas and paint a series of paintings on it so it looked something similar to a camera film with different shots. After she painted a couple of tall canvases which made her to think of making all kinds of shapes As the time went, her ideas evolved and she has discovered new possibilities of hanging the paintings in unusual places, turning them and connecting them together in different ways. “I am still on my way to finding perfect shapes and compositions.” Savostaite has expressed her inner dreamer, in searching for new possibilities.
The very first idea of making irregular artworks was triggered in an art exhibition that was held in Thames-Side Studios gallery in 2019 where Savostaite saw some paintings that were very large and tall; she had this idea to experiment with something new. Her initial idea was to prepare a long piece of canvas and paint a series of paintings on it so it looked something similar to a camera film with different shots. After she painted a couple of tall canvases which made her to think of making all kinds of shapes As the time went, her ideas evolved and she has discovered new possibilities of hanging the paintings in unusual places, turning them and connecting them together in different ways. “I am still on my way to finding perfect shapes and compositions.” Savostaite has expressed her inner dreamer, in searching for new possibilities.
Romain Chauvet. La Zone. 60x100 cm, ink on paper-
The inner journey taking precedence over the physical journey and the simple representation of the outside world. In this imaginary country Chauvet created unexpected, almost accidental, connections between disparate elements; these drawings are not messages or manifestos, they are signs produced by the interaction between imagination and reality.
ELKYMY -Textural and painterly collaboration between London artists Andrea Papi and Daphne Ang.
‘Origins’ Acrylic and polyurethane on 4 canvases 36 x 24 inches each (91.5 x 61 cm), 72 x 48 inches overall (183 x 122 cm) -not for sale. "Origins" depicts the coalescence of primordial elements suspended in dark matter in the penultimate moments before the formation of the first stars and expansion of space. To create two different flows, the artists chose to work on 2 canvases each for the initial application of the polyurethane foam to give a tri-dimensional form to the composition. The resulting effect of the cured foam reflects the different styles and individuality of each artist. A certain synergy and symbiosis permeates throughout the work. These were created during the height of the pandemic crisis of 2020 in the United Kingdom, where the artists are based. It provides a brief moment of escapism into the stars and galaxies amidst these trying times here on earth. This work was executed using high quality professional grade materials and mediums of professional ranges and done on four 3D canvasses with a depth of 1.3", making framing unnecessary.
Romain Chauvet. Ars. 30x40 cm. ink on paper
The inner journey taking precedence over the physical journey and the simple representation of the outside world. In this imaginary country Chauvet created unexpected, almost accidental, connections between disparate elements; these drawings are not messages or manifestos, they are signs produced by the interaction between imagination and reality.
ELKYMY Streams II. Acrylic, polyurethane and powdered pigments on 2 canvases. 36 x 24 inches each (91.5 x 61 cm), 36 x 48 inches (91.5 x 130 cm)
Textural 3-dimensional paintings inspired by organic forms and flows found in nature. Streams ‘II’ depicts an imaginary landscape where barren desert and rock meet jagged coast and reef. This work was created during the beginning of the spread of the pandemic crisis of 2020 in the United Kingdom, where the artists are based. It provides a brief moment of escapism and solace in the beauty found in natural wonders of our earth. It is a comforting reminder of the immutability and permanence of nature in the face of this pandemic.
Daphne Ang- 'Love in a Time of Quarantine' - Acrylic and gilding wax on canvas board 24 x 18 inches (60.8 x 45.6 cm)
This work is the culmination of a multi-layered, multi-phase process spanning over six months, executed on canvas board, Here, the impetuous and violent act of destruction is balanced out with phases of careful restoration. While at one stage, the artist stabs, maims and mutilates the canvas, this violent act is always compensated with acts of compassion and redemption. Completed just as the pandemic crisis of 2020 broke out in the United Kingdom, ‘Love In a Time of Quarantine’ is in itself a microcosm of the tumultuous cycles of destruction and creation that permeate the creative process of painting from its conception to completion. At a later stage, the artist used a broken kitchen knife to cut and slash the canvas board. The large rupture in the middle of the canvas board was a result of repeated slashing and lacerations from the violent strokes of the knife’s blade. Using her fists, the artist punched the large gaping hole from behind and proceeded to burn and singe the perforated and frayed areas with a fire.
This work is the culmination of a multi-layered, multi-phase process spanning over six months, executed on canvas board, Here, the impetuous and violent act of destruction is balanced out with phases of careful restoration. While at one stage, the artist stabs, maims and mutilates the canvas, this violent act is always compensated with acts of compassion and redemption. Completed just as the pandemic crisis of 2020 broke out in the United Kingdom, ‘Love In a Time of Quarantine’ is in itself a microcosm of the tumultuous cycles of destruction and creation that permeate the creative process of painting from its conception to completion. At a later stage, the artist used a broken kitchen knife to cut and slash the canvas board. The large rupture in the middle of the canvas board was a result of repeated slashing and lacerations from the violent strokes of the knife’s blade. Using her fists, the artist punched the large gaping hole from behind and proceeded to burn and singe the perforated and frayed areas with a fire.
