In Andrei Tarkovsky’s master piece, Stalker, The Zone is a place where can be sensed but not seen,
where requires a professional guide, a Stalker who is having the gift and desire to cross the border
into the dangerous and forbidden zone, with you, for you.
Welcome to the last chapter, the zone to A world without end.
---Shizico Yi. curator may 2020
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Kengwu Yerlikaya. ‘The Doubt which Swap lexical’ _Video Installation.
This work is questioning what can last longer and what really matters in the digital world or in the physical one, also asking which is the better way to persevere a conceptual work/art. |
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For painter Lisa M Jirlow The painting process is to explore a visual language that ‘construct’ distinct images which hold it’s own proper entity, without a subject matter or representing something in the real world as we know it. Jirlow believes that what is not out there is possible in the artwork. She has no wish for interpretation nor representation. It is self-evident, beyond wording.
Top artworks: Random Occurrence 1. 2.3 Watercolour, ink on paper (paper Bockingford)
Top artworks: Random Occurrence 1. 2.3 Watercolour, ink on paper (paper Bockingford)
“Dynamics” Intaglio printing (etching and aquatint), whose dimensions are 22x24cm.
“Outside our circle” Intaglio printing (etching and aquatint), whose dimensions are 22x24cm.
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In these two cycle of prints, Milana Stijak arrange the elements of the architectural space, placing them in different relationships and establishing a new autonomous system bounded by a closed regular structure such as a circle. She is establishing another kind of order different from the one existing in the real world. The circle as the basic form was chosen precisely because of the fact that it has no beginning or end, and the print was made with the intention that the viewer can understand and perceive it in any way it rotates. These works are prints created in the technique of intaglio printing, a combination of etching and aquatint. The copper plate that Milana Stijak uses as a matrix for printing a large number of works is itself circle-shaped. The first step is to cover the copper plate with a ground that is resistant to acid, and then, using etching needle, to scratch off the parts of the ground where the lines are supposed to show up. This allows the acid to get to the copper in those places.
“Etching is an ideal technique to achieve the effect of a line drawing, so I use it to get the darkest parts through hatching. This way I get a solid skeleton which keeps the whole composition together. The next step is aquatint. I apply a grain (rosin) on a copper plate and expose it to the acid again. The length of exposure depends on the degree of darkening that I want to get in the final product. Aquatint allows me to achieve gradation of tones and fine transitions from white to black. When dealing with intaglio printing techniques, different problems may often occur, considering that the result depends on several factors: acid strength, temperature, grain quality... It also takes a lot of concentration to make the job turn out good, but that’s what makes the printmaking exciting. The process is always very uncertain and I often have to return the plate back to the acid many times until I reach the ideal result. Sometimes even seemingly simple forms are the result of long and hard work. However, when I put the colored plate and a sheet of paper through the printing press and finally see the outcome I am satisfied with, I realise that it all pays off.” --- Milana Stijak |
Liz Derbyshire ‘A World without End’ April 2020
The theme ‘a world without end’ inspired me to paint..I looked at images of the earth and could see a baby and mothers face in the ocean. My intention became to define these faces which then seemed to evoke a feeling of hope, strength and unconditional love. I think this indefinable word, love is visible in nature, especially as there is more time to watch now. Nature seems to push through even in the darkest and inhospitable places. The new birth of a baby pushing through the sea metaphorical of rebirth in all things.
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Feature Artist 2020
Laura Grimm 'Outcome I. II and III'
This is the first of a series of three small sculptures, titled Outcomes, that I would like to make especially for A World Without End. The sculptures are made out of cardboard, cut to be folded and coated with resin. Green and blue pigments would be mixed into the resin to simulate the colours of the earth. The sculptures will be around 20-30 centimetres in size. I interpreted the theme, A World Without End, as follows; the COVID-19 pandemic has stopped the world in its tracks. Everything has come to a standstill, and many things have become uncertain. From health to economic consequences, the pandemic will cause a huge global shift. The series of sculptures is based on the above question. I used the Dymaxion Map by Buckminster Fuller. Its pattern folds into a perfect globe, I stead of a perfect globe, my sculptures will take on three different shapes folded from one pattern; the Dymaxion Map. These outcomes will visualise the relevant yet unanswerably question. Change is certain, what will our would look like after the COVID-19 pandemic is over?
Laura Grimm 'Outcome I. II and III'
This is the first of a series of three small sculptures, titled Outcomes, that I would like to make especially for A World Without End. The sculptures are made out of cardboard, cut to be folded and coated with resin. Green and blue pigments would be mixed into the resin to simulate the colours of the earth. The sculptures will be around 20-30 centimetres in size. I interpreted the theme, A World Without End, as follows; the COVID-19 pandemic has stopped the world in its tracks. Everything has come to a standstill, and many things have become uncertain. From health to economic consequences, the pandemic will cause a huge global shift. The series of sculptures is based on the above question. I used the Dymaxion Map by Buckminster Fuller. Its pattern folds into a perfect globe, I stead of a perfect globe, my sculptures will take on three different shapes folded from one pattern; the Dymaxion Map. These outcomes will visualise the relevant yet unanswerably question. Change is certain, what will our would look like after the COVID-19 pandemic is over?
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Mohini Mehta. ‘ Equilibrium & Balance’ 43.18cmx35.56cm/ each Medium: oil on canvas
Made from the used turpentine to clean brushes, this work talks about the fact that as artists we play a crucial role in the materials we use and how we express our message. The natural pattern formed with the colours shows us that nature can take its own form in any materiality. This work was made when I was at an environmental residency in the Blue Mountains, Australia and had very limited materials. Been working on the theme of environment, therfore I did not feel like discarding the used turpentine and rather decided to make work out of it. Work can be made from anything, and we shouldn’t release toxic materials knowingly, especially as artists of today. --- Mohini Mehta
Made from the used turpentine to clean brushes, this work talks about the fact that as artists we play a crucial role in the materials we use and how we express our message. The natural pattern formed with the colours shows us that nature can take its own form in any materiality. This work was made when I was at an environmental residency in the Blue Mountains, Australia and had very limited materials. Been working on the theme of environment, therfore I did not feel like discarding the used turpentine and rather decided to make work out of it. Work can be made from anything, and we shouldn’t release toxic materials knowingly, especially as artists of today. --- Mohini Mehta
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Samiir Saunders
oneminuteglitches: Vol 5 . Window song. Film Installation, 2020 ‘oneminuteglitches’ is a series of 12 one-minute poetry films designed to exist within the constraints of an Instagram video post. These are a series of poetry films navigating anxiety, vulnerability, and a loss of control. Samiir is responding to the concept of ‘antifragility’ as coined by Nassim Nicholas Taleb in his book ‘Antifragile: Things That Gain From Disorder’. The poems form a loose narrative, as he attempts to unpack the implications of this concept in the context of anxiety, vulnerability, and self-expression. 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. |
-sans fin-
