Group Exhibition on View
SPEECHLESS
15th May - 15th June 2021
Exhibitors:
ADAM STARR, USA / AIGERIM BEKTAYEVA, KAZAKHSTAN / AKGÜN TOKATLI, TURKEY / ANA MARIA GUTA, ROMANIA / CHAO LI, GERMANY / HAKAN KAMASIK, CANADA / EKATERINA ADELSKAYA, UK / ELENA TERESHKOVA, RUSSIA / EVGENIA MAKAROVA, RUSSIA / JUDITH CHRISTINE RIEMER, GERMANY / KATERINA TSEBRO, UKRAIN / KOHLBEN VODDEN, UK / LADA AZARH, RUSSIA / LUIZ CAMPOY, BRAZIL / MAGDALENA BUKOWSKA, POLAND / MARIA COLESTIS, CANADA / MARIE SEVILA O, SOUTH KOREA / MARIONA CLAVÉ, SPAIN / NATALIA SCHÄFER, GERMANY / NESS RUBEY, AUSTRIA / NICK METZ, USA / PETRA JAENICKE, GERMANY / RACHEL JONES, UK / SAMANTHA SADIK, AUSTRALIA / SUPER POP BOY, GERMANY / VASSILIS VASSILIADES, CYPRUS
so many words to say and no ways to say them
The work Adam produces comes from a pure and vulnerable place. He is deeply inspired by the music he listens to and the movements that come out of this.
Regarding his paintings, he utilizes calligraphy pens and oil paint during this process. His process would be considered "stream of consciousness" or "jazz painting".
He incorporates the emotions he is feeling during the time of creation using the emotional aspect of color and the rigidness of the black calligraphy pen. The themes surrounding his paintings include connection, spirituality, and love.
Regarding Adam's photos, each one is similar to a painting, as colors compliment the chosen manipulated subject. Formulated with a dreamy atmosphere these photos produce an awe-inspiring nostalgia for the viewer.
The mystic nature of Adam’s style moves the audience to feel its strength, providing a window into the heart of its creator.
These crafted pieces carry a moral and spiritual dimension standing for simplicity and connection.
I am, Aigerim Bektayeva, was born in the south of Kazakhstan. I started painting as a teenager. Today, painting is my life’s work. The manner of painting ranges from classical, academic to rather free, which is close to the impressionist and very similar to it: Monet, Sisley and Morisot-esque. I tried and used canvas and oil, acrylic, decorative stones, metal.
As for the genres, these are mainly portraits, still life and landscapes, abstraction. Each picture is a reflection of me, one of my hypostases.
What inspires my art? 2 factors: external and internal. I stand in front of the easel, concentrate, create a dominant, try to feel the soul. The result is inspiration, a sense of strength, flight.
My workflow: Workflow is a way of thinking, a way of life for me. Events, inwardness, emotions and thoughts spill out into many hours of being near the easel and help to limn, create paintings
I'm developing my academic and artistic projects with using visual medias in the intersection of art and design.
I had solo exhibitions and participated in group exhibitions. I am using photography, interactive media, acrylic painting and writing to sketch and produce my thoughts.
Design thinking and design practice helps me in this process.
Proto-Personas series is one of output of this approach. A proto-persona is the assumptive description of the user with behaviours, needs and goals. Also Jung defines the persona "a kind of mask, designed on the one hand to make a definite impression upon others, and on the other to conceal the true nature of the individual" In this work i draw monochrome portraits to express the "proto" and used outer interventions in portraits to search the proto-persona concept in classic art.
As an artist I seek to explore more about the nature of Universe, consciousness, divinity , life journey and energy around and inside us. I admit that our universe is crossed by invisible flows and currents which are found and influence the artworks of each artist. I am mesmerized about the subtle things, which are not things, thoughts, emotions or sensations, the nature of our reality and our interpretations of it due to many labels that impose different perceptions, behaviours and ways of being.
I have developed my painting technique following the lines of abstract suggestion. It is required that the viewer comes with the contemplation, feeling and interpretation. I usually prefer using acrylics on canvas as a medium and material. The green color is present almost in every painting because, for me, it is about life force, rebirth, aliveness and finding my inner self. Art is something divine, it is love, peace, stillness, balance, harmony, joyfulness, it makes me whole and a much more spiritual being. The focus of my work is the colors, shapes and structures, which I want to integrate in a certain harmony in order not to imitate, dictate, compare, repeat, model or compensate.
My paintings speaks not only for me, but for people who are in a deep process of transformation and who are seeking to find life again.
In the past few years, my work has not only considered the impact of the rapid development of the information and data age on our lives, but also the impact of urbanization on interpersonal relationships. I asked how art can intervene in the real world. Research and creation create a more precise experience for the public.
In terms of creative methods, I use chemical materials to develop explosive devices, which produce effects left after accidental explosions on the screen; different degrees of natural texture formed by burning pearl cotton. Gypsum, cement, turpentine, and water are mixed and dried to cause spontaneous cracking. Desizing and demoulding restore the real human body action state. Barbed wire press grid. The lines balance the ruins and the normal space, and the golden section principle is used to make the picture feel more harmonious... These experimental creation methods are all through the study of materials, the full imagination of the picture feel, and the practice through hands. My creative service.
The taste in form comes from inner feelings, breaking the shackles of traditional three-dimensional space concepts, absorbing the open characteristics of modern paintings, fusing the texture effects of materials with the shaping expressions of paintings, blending abstraction and concreteness, illusion and reality, symbolizing And metaphors, through the rich painting language, reflect modern characteristics, and unify tradition and modernity in the works.
The artworks generally create body and body references in the case of human figures. His artworks reflect a language of expression dominated by an internal expression, with autobiographical fiction and fictional conversations based on the body.
Independent brush movements on the figure, portrait, body images are described with a colorful style. In my artworks, firstly set the harmony of the model related to the subject, and then it was placed in the theme by drawing live. Patterns are a pioneering sketch for my paintings and exit in terms of road watching. The paints that are applied as a change of style in some works, including the portrait and body language and the traces left on the skin, are the purpose of conveying the emotional effect to the audience. The fragmented, abstracted, and distorted body can be seen in my pictures in color and style. The forms that change again and again change our perspective with the nurturing of the soul to create new inspiration and impressions. In this context, it is important to follow the importance of the figure in his art and to know where and in what sense of time.
(Unframed)
(Unframed)
My research revolves around the themes of materiality, destruction and transformation. Focusing on non-traditional methods of art-making, such as burning, melting or dissolving, I explore materials’ "potentiality" and their physical properties.
I often combine organic mediums (handmade pigments, watercolour, clay) with modern industrial materials (polyester fabrics). The unique mixture of organic and synthetic components emphasises the relationship between environment and technology, natural and man-made.
In the series of paintings "Letting Go" (2020/21), for example, I experiment with bronze pigment oxidation and dissolution using my own technique with a range of salts.
Whether it’s holes in fabric or white dots of unpainted paper, I invite the viewer to experience both the image and its own disintegration, life and decay, remembering and forgetting. Transformation of matter is part of our existence, it’s life itself. — We adapt, thrive and decay in a constant.
50x40 cm
80x130 cm
80x110 cm
My work #Happyart. The purpose of my art is to do good in the world, to give joy and love to all people. Because I think that the most important thing in our life is happiness.
Experiments with form, texture, color, and material take over a central place at Evgenia Makarova's practice.
She is multidisciplinary artist and builds her artistic practice around the theme of mental health, suppressing the emotional sphere of a human, the influence of emotions and desires on the consciousness and behaviour.
The language that Makarova speaks in about the issues is abstract painting and sculpture. Thus, she concentrates on the color, shape, and texture of the material. In her creative process, Evgenia follows the principle of spontaneity, turning the work process into an experimental space.
Makarova’s anthropomorphic sculptural works acting as an abstraction in volume. She try to get as many variations of surfaces, bizarre and flowing forms, bright unexpected color combinations.
«By working intuitively, I allow shapes to seamlessly morph into complex compilations of color, pattern, and texture. I don't plan my work in advance: the process of creating my sculptures is largely improvisational».
canvas, 80x100cm
canvas, 80x100cm
„Somewhere between dreams and reality: My creative work tells stories from these border areas, it fuses the representational with the abstract.
I endeavor to give the invisible a new visibility, because many interesting processes and structures are hidden deeply in the obvious.“
Alcohol ink on synthetic paper
W60 x H80
W60 x H80
W50 x H40
W40 x H40
W60 x H80
W70 x H100
In my paintings I want to depict invisible and intangible things. I paint energy, thoughts, feelings, and they are much brighter than the physical bodies of my characters.
In my Art, I draw energy that is not seen, not heard, but rather felt…if we simply allow ourselves to feel.
The energy that cannot be seen by mortal eyes, but only felt by the immortal soul.
In my artworks I show the reality that surrounds me. Everything from thoughts, dreams and memories to common things such as bread on the table, ripe strawberries and flowing clouds.
My artworks are a reflection of me and my world. It allows me to convey emotions and feelings that I daily experience. It is characterized by expressions, freedom and bold, vivacious colors. I get inspiration from everything that surrounds me, my ordinary life.
I show unique spaces in my own way, adding elements which makes everything uncommon and differs from the real world. Sometimes it is a thoughtful and intentional artistic process but many times it is spontaneous, without planning. I make unreal spaces in which I can take the viewer to another universe.
Orange Ebby and Blue River are the first of a series called ‘Engineered Pleasure’. Inspired by Neuroaesthetics – a field of psychology that seeks to understand how the brain perceives, and is rewarded by, beauty. Until recently it was believed that beauty was processed in a single ‘beauty centre’ in the brain. But new research reveals we have two beauty centres. The ‘art centre’ triggers neural pathways associated with learned pleasure from culture. Whereas the ‘facial centre’ triggers primary reward pathways closely tied to sex and food.
By abstracting the human face to geometric shapes and reconstructing it into beautiful expressionist depictions of the subject, this bold portrait is engineered to stimulate both beauty centres and induce primal and intellectual pleasure in the beholder.
1. Primal: If the viewer perceives the subject as beautiful, they will experience a release of dopamine, a chemical that is linked to feelings of sex and love, into the brain.
2. Intellectual: Their brain will actively search for patterns, shapes, and other visual attributes that might give it 'meaning' and make them feel more connected to the piece.
Humans don't need to understand or 'get' beauty, we are hard wired to respond to it in both people and art.
There is a strong commonality between my ways of painting, beadwork, creating mosaics and collages. As I express myself through all these means, I call my style 'mosaic pictorial art'.
My collages are small mosaic stories. For me, pieces of paper are like pieces of a mosaic or paint smears. I could never imagine that I would smear colorful paper instead of paints!
The process is challenging because I cannot mix the colors. I do as I feel. I follow my intuition. I feel a little like a magician when I combine the pieces. It takes some improvisation, some meditation, and philosophy, to bring the thoughts that fill my head to life.
am inviting you to a journey to my subconscious.
Stainless steel sculpture in curved hooks, solid sets at the ends and rectangular base (polished)
My artworks are mainly made of recyclable materials such as stainless steel and iron and inspired by the everyday life around me.
My creativity transforms junkyard pieces, worn and forgotten, to be recreated, gaining new meanings and fulfilling the purpose of awakening and intriguing.
Nothing is lost, nothing is created, everything is transformed.
Intermission is a series of images made during the Covid 19 pandemic addressing the protection of the environment and how halting our continual intrusion into nature might revitalize it.
This unprecedented experience brought much to a stop from combustion, construction, mining, agriculture and warfare; the environmental benefits became visible quickly. Air quality improved as people stayed home and practiced social distancing but it became clear to me that the environment needs a mask from the human race and its use of fossil fuels. This sudden break from industry pollutants and the use of freshwater to transport waste away from facilities has given the environment a chance to thrive.
Each image exposes the threat pollution poses to our natural world and ultimately to the human population.
To aid in the reduction of spread for future epidemics, reducing air pollution now will be important because pollution damages our respiratory systems making all of us more susceptible to such viruses.
Marie Sevila O (오울) is an international artist who has been purposed on artworks to be globalised. Medium is used from traditional tools to new tools, she’s working for new era’s pioneer movement ‘urbanism’.
Influenced by 1980’s contemporary works, it embodies the fragmentary memories of itself’s unseen journey. In painting, the function is segmented, derived, distorted, ㅡ while colour works out to be vivid to make the meanings. it’s a contradicted mixture also gathering basis and elements. Its purpose is to erase the boundary between fantasy and reality, and to show up viewers to ‘feel’ not only to ‘see’. What is more important in her painting is the intuitive arrangement of impressions rather than the existence itself.
canvas, 60x60 cm
I am a restless and very curious person. I find it very difficult to be doing nothing. I like to experiment because I know it always leads me to enjoy, create, play with materials, shapes and colors. I always enjoy what I do and on a canvas, the possibilities are endless.
I like the effect that gives working with fabric. Volume, perspective and a different point of view. From time to time, I work with other materials such as recycled cotton thread. Hardening the materials gives me the possibility to immortalize my works, created at just the right time.
I am lucky enough to live surrounded by nature and tranquility in the Alt Penedès, in Catalonia. Land of beautiful vineyards and fantastic landscapes that change every day. Land full of inspiration that makes me live fully and with the illusion of being able to express what I feel and at the time I need it, through my artworks.
40 x 50 cm, mixed media, metal on canvas
mixed media, metal on canvas
80 x 80 cm, mixed media, metal on canvas
mixed media, real copper on canvas
70 x 100 cm, Acrylic on canvas
80 x 80 cm, Acrylic on canvas
Learn how to see. Realize that everything connects to everything else.
- Leonardo da Vinci
My intention in art is to give people a brief respite, time to pause for a moment, to enable them to see once again how beautiful life and the natural world are and our connection with Mother Earth. Then we all are connected and we all are the one: Nature, Animals and Humans - with different cultures, skin colors and religions.
So my another favorite quote is from Albert Einstein - „A human being is a part of the whole called by us universe, a part limited in time and space. He experiences himself, his thoughts and feeling as something separated from the rest, a kind of optical delusion of his consciousness. This delusion is a kind of prison for us, restricting us to our personal desires and to affection for a few persons nearest to us. Our task must be to free ourselves from this prison by widening our circle of compassion to embrace all living creatures and the whole of nature in its beauty. „
50x70cm, Limited Edition of 5
unframed
50x70cm, Limited Edition of 5
unframed
Life is always about values and which ones you really stand for, discard or start to follow. Rubey sets her values very early and still follows them. She treats people and animals the way she wants to be treated. There are just a lot of grievances and irregularities that need to be shown.
Rubey sees it as her responsibility to point out uncomfortable things, to openly show feelings thoughts and values in order to reach others. Sometimes the messages are clear, ironic or more abstract.
Every photography is so different. It‘s an interplay of her values, colours and graphic influences, the vision is created in her head and translated into reality with the help of photography.
Acrylic on Panel
Acrylic on Paper
Acrylic on Paper
Acrylic on Panel
Nick Metz was trained in Traditional Realism, and often looks to the Masters – from, say, VanDyck, Sorolla, Sargent and Tuke to, more recently, Cadmus, Mapplethorpe, Wiley and others – to help inform his craft. For Nick, the importance of Traditional Realism is no small matter; he found an understanding of the inherent beauty, message, and sensuality in the works of the Masters. He believes that their implicit lessons are fundamental to every future artistic movement - whether traditional, adaptive, or rebellious in nature. Thus, Metz regards realism as a launching pad from which to form a common language with the viewer, and then to extend the boundaries of his ideas and views about contemporary subject matter. While his current focus is on portraiture, he has also exhibited widely in still life and landscape.
Metz’s current work seeks to explore and deconstruct the concept of masculinity. Specifically, Nick is focused on the role of masculinity in society and what “compromises” masculinity. What traditionally “feminine” actions or objects impact virility? What makes a man a man? Who/What determines masculinity? How and why do religion, race, culture, and background influence these determinations? Why does society label and condemn men who step outside the general guidelines of masculinity? How is it that society fails to see the inherent courage – and traditional “masculinity” – in men who take those exploratory steps and embrace new paths? Here, Metz employs classical styles and techniques to express this tension even more keenly by portraying men in a traditional (i.e., strong, if you will) manner, yet with a twist - and implicitly asking the viewer whether and how that matters.
I see my works as a modern interpretation of the Dadaists. A central concern of my experimental photographic work is to create a counter-draft to the prevailing photographic and social conventions. Just like the Dadaists, who rejected the political, moral and aesthetic values of the time and elevated everyday objects to the status of art using artistic methods and means of expression. My photographic work plays with a metaphor for something that is beyond the photographed subject. It deals with the representation of something that lies beneath the visible surface of reality and lies beyond the limits of what can be seen and represented. Art is an equivalent of the most profound life experiences to me. Therefore, I opened up a visual space for the viewer, which leads beyond the possibilities of the pure knowledge of reason, which can no longer be explained with an intellectual judgment alone. I developed my own visual language. A visual language that acquires a unique character. Metaphorically speaking, I lay the photo on top of one another as if on a dissecting table in order to digitally merge layers, shapes and colors. This leads to an abstraction in which the photography is still recognizable as such, and yet something new is created. I work purely intuitively and trie to find an expression for my visions as a poetic and aesthetic appropriation of life and timelessness. My photographic work explores questions of reality and discovers answers as poetic illusions about the human mind. It is not an easy theme, because it is about the philosophy of aesthetics and perception. Nevertheless, the basis of my photographic art is still with the camera.
Line, colour, shape and movement. These are the key elements that inspire my art work. The never ending compositions of these formal elements can affect mood, feelings and emotions, and creating paintings that channel my subconscious through abstraction has been a focus of mine since graduating Art school in 2012.
The collection of paintings I am displaying in this exhibition were all made between 2020 and 2021. They are a reflection and response to my mood and state at the time, though I invite the viewer to interpret the paintings in a way which is more personal to them.
I'm a second generation multi-media artist , i have been evolved in art since i was a child , throwing myself in to all things creative, exploring and combining different techniques never limiting my self to just one , using art as my instrument to speak and my hand to do the writing , good the bad, positive negative all go in to my art you can see in in the broad range of pieces , they mirror my moods , my highs and lows they document the process and response to life, no matter how harsh and unforgiving or heartbreakingly beautiful it is . This collection of works has developed and morphed with me over a period of years, growing with craftsmanship and self-development, to a point i believe their journey is completed. From 2d MDF boards, they have been cut up, re painted , glittered , collaged and put back together, its deep layers push it off the wall projecting its message and presence .The continual theme in the series is represented through the “red lip” and its connotations with moderns women’s today and their strength, empowerment , sexuality ,like in the way that channel gave women “the black Dress” But “Red Lips” also represent women who do not have a voice, whose pleas and stories are never heard , it reminds us to stand up and speak up , and not remain
130 x 130 x 4 cm, Acrylic on canvas
As an painter from Berlin with a focus on pop / conceptual art, I deal with current issues, with the topic of change - and with questions about the future.
For me, art is always beauty, color, attractiveness and emotions - as well as thinking, ideas and the expansion of boundaries. A work of art has to impress: visually and intellectually.
This series of works contains in equal quantities, all the components of my artistic perception. There is this strong sense of balance a strictly, geometrically structured environment. It’s not only about the colored rectangles but the geometrical movements too. The element of time exists through this frozen, timeless movement but only as a memory. Looking at the imprint of time on space, one repeats the same questions without getting an answer. The paradox of a recurring eternity….
I am very much taken with space, which I consider to be the main ingredient of our existence. Only space remembers; time forgets. Space can host synchronicity: it is familiar with infinity and the absurd, concepts that “linear” time is not equipped to process.
Of late I have been flirting with the idea of “quantum” art that has the ability to appear simultaneously and function as effectively across different times. I am concerned with transition, the crossing – both as a concept and as motion. I am striving for the return of the unexplained in Art as one of the main ingredients of creation which has been sadly sacrificed at the altar of Newtonian realism and our need for rationalized answers and tangible evidence.