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## Hotspot
### Text
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## Media
### Floorplan
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### Video Subtitles
## Skin
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HTMLText_62240289_50D4_1F74_41C7_402BDB5EBEE6.html = // MoNo //
Curator: Tim van den Oudenhoven
The exhibition MoNo presented single works from selected artists working with monochrome imagery. Conceptually, it is the exhibition’s intent to show combinations of works that can create a new dialogue outside of the frame of the single artwork.
The monochrome image, also known as a single-colour or one-colour image, has a long and complex history within contemporary art. The monochrome has become a powerful tool for artists to explore the essential nature of colour and its relationships to space, light, and emotion. It can be seen as a reduction of colour to come towards the essence of the artwork and monochrome is of course not limited to black-and-white.
In contemporary art, the monochrome image has continued to evolve and expand its possibilities. Today, artists are exploring the monochrome's ability to transcend language and convey powerful emotions and ideas through the simplicity and purity of colour.
At its core, the monochrome image signifies the reduction of visual language to its most fundamental components. By using a single colour, artists invite us to focus on the subtleties and nuances of the hue, as well as its relationship to other colours and the surrounding environment. The monochrome image can be used to represent a range of themes and ideas, such as purity, minimalism, spirituality, emptiness, and the sublime.
Regarding the monochrome's ability to force the viewer to focus on the substance of the artwork, the simplicity and purity of a single colour can have a powerful impact on the viewer. By stripping away all extraneous elements, the monochrome draws attention to the essential qualities of colour and the ways in which it interacts with light, space, and texture. This reduction allows the viewer to engage with the artwork on a deeper level, encouraging contemplation and introspection.
In simplifying the visual language of the artwork, the monochrome can also open up space for the viewer's own interpretation and imagination. Rather than dictating a specific meaning or message, the monochrome invites the viewer to bring their own associations and emotions to the experience. In this way, the monochrome can achieve a deeper meaning through the simplification of form, allowing the viewer to engage with the artwork in a more personal and transformative way.
In this exhibition, we invite you to explore the contemporary significance of the monochrome image. Through a diverse selection of works by international artists, we hope to demonstrate the power and potential of this deceptively simple art form to evoke a wide range of emotions and ideas.
// MoNo //
Curator: Tim van den Oudenhoven
The exhibition MoNo presented single works from selected artists working with monochrome imagery. Conceptually, it is the exhibition’s intent to show combinations of works that can create a new dialogue outside of the frame of the single artwork.
The monochrome image, also known as a single-colour or one-colour image, has a long and complex history within contemporary art. The monochrome has become a powerful tool for artists to explore the essential nature of colour and its relationships to space, light, and emotion. It can be seen as a reduction of colour to come towards the essence of the artwork and monochrome is of course not limited to black-and-white.
In contemporary art, the monochrome image has continued to evolve and expand its possibilities. Today, artists are exploring the monochrome's ability to transcend language and convey powerful emotions and ideas through the simplicity and purity of colour.
At its core, the monochrome image signifies the reduction of visual language to its most fundamental components. By using a single colour, artists invite us to focus on the subtleties and nuances of the hue, as well as its relationship to other colours and the surrounding environment. The monochrome image can be used to represent a range of themes and ideas, such as purity, minimalism, spirituality, emptiness, and the sublime.
Regarding the monochrome's ability to force the viewer to focus on the substance of the artwork, the simplicity and purity of a single colour can have a powerful impact on the viewer. By stripping away all extraneous elements, the monochrome draws attention to the essential qualities of colour and the ways in which it interacts with light, space, and texture. This reduction allows the viewer to engage with the artwork on a deeper level, encouraging contemplation and introspection.
In simplifying the visual language of the artwork, the monochrome can also open up space for the viewer's own interpretation and imagination. Rather than dictating a specific meaning or message, the monochrome invites the viewer to bring their own associations and emotions to the experience. In this way, the monochrome can achieve a deeper meaning through the simplification of form, allowing the viewer to engage with the artwork in a more personal and transformative way.
In this exhibition, we invite you to explore the contemporary significance of the monochrome image. Through a diverse selection of works by international artists, we hope to demonstrate the power and potential of this deceptively simple art form to evoke a wide range of emotions and ideas.
Claude Stahel
Destruct
from the series Walk of Shame
Aluminium, reinforcing steel, wood
2023
70x70x90 cm
The Destruction
The Destruction was created as an experimental version of The Flood model.
Stahel tried to combine the catastrophic destruction after the water drained from the dam blasting, as well as a bomb crater-like landscape and cast them in aluminum.
Stahel dealt with the disaster in his work The Flood, which shows the flooding of 30 houses in a graphic version.
The Destruction is a solid cast aluminum, combined with reinforcing steel.
Dagna Gmitrowicz
Silver Puddle
Acryl on Canvas
100x120cm
A silver puddle is an oil painting from the Inner World of Nature series. It is the effect of contemplation and an attempt to recreate a natural phenomenon not in a mirror way, but reflecting its energy. The monochromatic idea is a relative idea - one color in its tones, a color containing shades of other colors...
The reflection in a puddle has a silvery glow and can reflect colors while still remaining hidden in shades of turquoise. There are more works from this series on my website. I paint in partnership with nature.
Dagna Gmitrowicz
Silver Puddle
Acryl on Canvas
100x120cm
A silver puddle is an oil painting from the Inner World of Nature series. It is the effect of contemplation and an attempt to recreate a natural phenomenon not in a mirror way, but reflecting its energy. The monochromatic idea is a relative idea - one color in its tones, a color containing shades of other colors...
The reflection in a puddle has a silvery glow and can reflect colors while still remaining hidden in shades of turquoise. There are more works from this series on my website. I paint in partnership with nature.
Daniel Gianfranceschi
Relieve
Acryl on Canvas
2023
40x30 cm
The work "Relieve" comes out of an ongoing series of paintings on raw jute/linen-like fabric that focus on monochrome lines and traces that separate space but, at the same time, create negative space in the canvas. The pure gesture of a line, a seemingly continous and infinite, that drags out of the canvas. Movement in the monochrome. The absence of color not as something lacking but as a humble restraint. The intuitive nature of a moment brought onto canvas. The raw jute serves as a compositional element that enhances the black ink and serves as a starting point for an infinite number of forms. Everything is as it should be
Elio Graziano
Yellow No.1
Acrylic and oil colours and collage on paper
2023
42 x 59.4cm
Each work belongs to the series "Every single color is transitory".
It is a pictorial research (through my expressive means) on the emotional experience of each color, and its ability to stimulate imagination and memory.
Euan Williams
Collapse
Fine Art Print
2015
21x51 cm
The images describes a route as a multiple exposure photograph, one shot every two steps - the negative moving along only a fraction of a millimeter for each exposure.
A monotonous path which can be forgotten whilst it’s being walked; the image acts as a memory – the light of the surroundings burning into the negative – like an afterimage on a retina. These are representations of the space without time; the image collapses into itself creating abstract forms and general extrapolated colours of the areas depicted.
Fade Kainer
abstract #1
Fine Art Print on Structured Fibre Paper
2023
60x90 cm
"This image is layers of digital video taken from my environment during extreme isolation during the pandemic lock down of 2020. This image is a representation my inner world during an isolated outer condition."
Filipa Figuerido
Stay Still
Ink on Paper
2017
70x110 cm
This series of paintings " Stay Still " allude to atmospheres and impressions of places, trying to capture and refer to silence and all its a ssociated connotations and sensations. Often linked to the feeling of nostalgia, directly linked to moments experienced in these places and the sensations that left us in the body, unconscious and soul. All of them include concepts such as amplitude, observation and repetition of the pause.
Francesco Petruccelli
Pleistocene + Populator
[Finalist of the 13th Edition of Arte Laguna Prize, Venice]
Metal wire, trash bags
300x300x400 cm (Installation)
The installation is inspired by the dioramas found in natural history museums, in which the anatomical dissection or reconstruction of a prehistoric animal is placed in its original environmental context and recreated through scenographic and pictorial elements.
Populator is an installation consisting of a life-size sculpture of a saber-toothed tiger and a four-by-two meter painting depicting the natural environment in which it lived.
Both the tiger and the painting are made from burnt black garbage bags.
I chose to depict a saber-toothed tiger to draw a parallel between the
extinction of the Pleistocene's most famous apex predator and the possible extinction of the Anthropocene's quintessential apex
predator: humans, to be precise.
For now, it's still us humans who display the remains of extinct species, looking at them with interest but also with a certain superior
detachment, firmly convinced that their fate is none of our business.
But one day in the distant future it may be another species that visits a museum to observe a human's anatomical specimen and wonder how they lived and what their habits were.
However, the difference between us and the saber-toothed tiger is enormous: we, apex predators par excellence, have even managed to radically change our environment in order to subject it to our purposes.
The consequences of our actions - the waste of our dominion over this planet - are changing the skin of the earth.
Plastic - the most striking sign of human production - is everywhere: there is no longer any part of the surface that is free of microplastics, and plastic also finds its way into our tissues.
The distinction between natural and synthetic is disappearing, and it's not hard to envision the new hybrid organisms of a future era: plastic skin and muscle, carbon dioxide polymers between the cells of our own flesh.
Gerda Van Damme
Epiphany #1
[Finalist of the 17th & 18th Editions of Arte Laguna Prize]
Oil on Canvas
"Epiphany #1 is the first in a series of large paintings that deal with moments of insight.
It happened to me in my early schooldays. I went down the stairs, surrounded by my classmates, seeing all those feet going down the stairs around me. Then I realized that I would never - NEVER - walk on any of those other feet or see the world through the other girls' eyes.
All my paintings are based on very personal experiences: after all, what other experiences do I know?"
Guido Janssens
Le Bisou
['First Selection' (Honourable Mention) for the 18th Edition of Arte Laguna Prize, Venice]
Video work on 3 screens
‘Le Bisou’ (The Kiss) is a video triptych about a meeting of two people. The central panel shows their faces approaching, and finally kissing each other. The side panels show their beds, with parts of their bodies sticking out of the sheets. Are they hoping that the kiss will take place, or fearing it, or remembering it as something from the past?
The actors improvised the texts, echoing what comes to their mind while walking in the city. While their individual thoughts seem trivial, the soundtrack is universal, representing the area between the real and imaginary of our vision of others.
Henri Kirsch
AFTER LIFE
Fine Art Print
2023
90x135 cm
AFTER LIFE - We all came through somebody, someone's body.
„After Life“ is an ongoing exploration in which the entanglement of matters [circles of "life"] are being zoomed in at.
The exploration of the material - a horse placenta - is an exploration of perception of birth, dying and death.
Questioning the [moral] disgust people nurture, that is restricting human's curiosity,
rather than fearlessly seeing possible properties of the unknown.
Birth implies death and so does life.
It is an exploration of bodies that carry transformation.
Bodies in different stages of “life“ through different captures of time.
Ilse Carbonez
While
Fine Art Print, Lead Frame
2021
28x17 cm
While dealing mostly concerning the phenomenological of photography, seeing something, isn’t possible to grasp in one gaze. One picture can be about repetiton, desire and some subtle gestures that appear and disappear.
Iva Ferlinc
Evanesce
Wire mesh on board
2023
60x50x8cm
EVANESCE is made of black wire mesh. Layering of the material creates synthesis of complete image. The work becomes dynamic with the use of light in a spatial context and movement of the observer.
It examines how light penetrates trough overlapping layers of wire mesh and how light illuminates space inside the work. Different densities of the material create different opacities and build depth of colour and spatial depth.
Janine Seelen
3.5.2021, 5:49h
Charcoal, oil stick, pastel on paper
190x132 cm
IN BETWEEN
In the beginning there is a place that is touching me. A space that inspires, calm, a place to be.
The in between is described as a free space between at least two things or persons. It functions as a kind of playroom between a gap in a coherent or holistically whole, but it is also a temporal distance between two activities or processes.
To stop and pause, experience one’s own free space and create a personal new space when needed. The ordinary that surrounds us is becoming the center of a specific moment and forms an origin.
Laure Catugier
Puzzle
2022
Cyanotype on paper
32x63cm.
This work has been realized during a residency at TYPA Printing and Paper Arts Centre, Tartu, Estonia in 2022.
The work "Puzzle" focuses on isolated architecture elements that belong to post-war constructions. Through a collage of photographs taken in Estonia, I play with scales, perspectives, and framings, which allows me to disrupt the conventional Cartesian coordinates of the x, y and z axes. Walls, roofs, windows, doors, all represent our physical limits. Playing with empty and full spaces, here I explore the role of the color white, which can represent in turn a cloudy sky, a virgin plaster wall, or a tiled wall.
Lena Engel
Untitled
from the series was bleibt.
Fine Art Pigment Print
30 x 30 cm
Leon Emanuel Blanck
Emporkömmling
X-ray images, resin, metal
90x90x190 cm
Lonni Wong
Untitled
Stoneware, Paint, Graphite
2023
12x18 cm
Lucas Ngo
Untitled
Ink on Paper
100x70 cm
"I work on landscape by notion of evanescence. Through ink and water I create landscape between abstraction and figuration, between appearance and disappearance. Usually I work with photographic documentation but my landscape's approach is more about create from my mind and imagination."
Maja Sikorska
FAMILIAR UNKNOWN, SERIES 2, NO.8
Ballpoint Pen on Paper
39,5x40 cm
The drawing is made up of thousands of thin lines drawn with a black ballpoint pen. Once drawn, a line cannot be erased; only when adding and rethinking can the image move forward. Familiar unknown is a cover title for a number of biomorphic drawings and sculptures where I explore a space between the known and the unknown - where the possible lives.
Marcus Appelberg
Folds
Cyanotype on fabric
2023
60x80 cm
In recent years Appelberg has referenced contemporary avant-garde fashion and biblical scenes from the Renaissance. Two separate modes, brought together by the fold. The fold acts as symbol for transformation and metamorphosis - as a boundary between inside and outside, depth and surface, and thus wants to challenge internal and external boundaries.
In the cyanotype series Folds, abstracted seas of folds and drapes are created as photograms, like light paintings developed under the sun. Each print is unique.
---
Folds, 2023, cyanotype on cotton mounted on a stretcher, 60 x 80 cm.
Marie Le Moigne
Inside the Islands
2014
Fine Art Print
60x40 cm
«Inside the islands» is a series of landscapes. of breakable pieces, plural zones move,
slide on the blue of the ocean.
Characters are removed of the world of visibilities.
A DISASTER ?
{ the tide is rising }
In a liner that comes to take on water and will soon sink, the daze has thwarted fear, and the photographer, aware that her images will flow with her, can invent what she sees, what she wants. In a dream…
Marie Seelen
SENSES
Tension belt, Aluminium
2023
Approx. 360x450x300cm
Size per ball: 50x50x50cm
We are born with 5 senses, which are individually pronounced through our life span: Sight, smell, touch, taste, and hearing. But what about the sense of self? The ability to reflect and to feel my own body? How do my my needs, my emotions and my thoughts make me feel? This is a 6th sense.
Trying to understand who we are and what surrounds us, can lead to chaos in our minds and bodies. Transforming parts of my inner self into art that can be experienced and inquired with our senses, one is able to clean up, to understand and to reflect this chaos.
It is my intension for visitors to enter my work – to feel the intimacy and fragility of oneself to reflect and calm down. The monochromatism of the installation supports one to do so, and to focus entirely on themself in connection with the artwork and its surrounding.
SENSES is a transformative installation built with white tension belt. The work is entirely flexible and can be rebuild for any space connecting with other works in the room and form new alliances and relationships.
Martien van Beeck
Jell-o Mondrian #2
Acrylic on canvas
2017
100x100 cm
Jell-o Mondrian # 2, 2017 is an homage (with quite some irony mixed in) to Piet Mondrian. I threw Jell-o on a reproduction of a painting by Mondrian and the result of this ‘intervention’ inspired my painting. My painting juxtaposes the opacity, seriousness and straightness of the Mondrian with transparency, humor and amorphousness. Mondrian liked to dance to boogie-woogie music, so I think he would be able to appreciate some ‘making fun’ of his work.
The overall redness of the painting is an effect of the ‘strawberry flavored jell-o’ I used. In the strawberry-redness one can read a critique on the sometimes ‘dogmatic seriousness‘ of monochrome art.
Michael James O'Brien
Paul
Fine Art Print
2023
40x60 cm
Paul, 2023 is from the series,The Black Pictures. These works combine original medium format analog processing with layering & toning digitally to imagine what traditional imagery (nudes) would look like when presented on the cusp of visibility. "Perhaps the light would prove another torment. Who knows what new things it would reveal." - C.P. Cavafy, The Windows
Nuno M. Santos
Play
["First Selection" (Honourable Mention) for the 18th Edition of Arte Laguna Prize, Venice]
Fine Art Print
2022
70x46,,5 cm
"As a young child, my son enjoyed hanging his teddy bears and super heroes by the neck around the house. In this ongoing serie I recreate the images that me and his mother were too scared to register at the time. These images, though innocent in his eyes, painted a picture of stark contrasts in our minds – the gentle touch of childhood innocence juxtaposed with the grim foreboding of sadness and mortality.
Living with chronic depression has invariably tinted my own perception of the world. This work acts as a reminder that confronting pain, rather than evading it, has the power to transform.
And don't worry - my son is turning out just fine."
Olena Karpenko
Shadows
Acryl on Canvas
2023
100x80 cm
"Unfortunately there can be no doubt that man is, on the whole, less good than he imagines himself or wants to be. Everyone carries a shadow, and the less it is embodied in the individual's conscious life, the blacker and denser it is. At all counts, it forms an unconscious snag, thwarting our most well-meant intentions." C. Jung
Petra Mingneau
Sea
[Selected for the 18th Edition of Arte Laguna Prize, Venice]
Fine Art Print Mounted on Aludibond
2023
50x75 cm
REGULAR CONCRETE
RADICAL #1
Concrete sculptures
2023
various sizes
The RADICAL#1 series represents 6 concrete sculptures inspired by objects which shaped generations and left an undeniable impact. The design and ideas they represent are a concrete-solid part of our history, it can now be said literally. All of the objects were mass produced and offered more than just a plain fulfillment of basic needs. They represented statuses, mindsets and desires of their owners, deeply attached to their geographic location and social status.
RUNA (aka Rute Norte)
They were eating watermelon
Acrylic on Canvas
30x49 cm
“One's work is a way of keeping a diary” – said Picasso. The paintings reflect passing episodes. Lives and experiences expressed on canvas, with paints and brushes. RUNA's paintings can either refer to an episode that took place on a trip – a memory – or they can talk about food, or the cat that appeared on the roof. Or be simple ideas and concepts that pass in the moment. As an artist-traveller, in which she writes travel chronicles accompanied by photos, she tells a story through this trimediality: text, photography and painting. She treads a territory that is simultaneously real and invented, and crosses several borders between languages. In this painting, RUNA is recounting an episode from one of her last trips, during an artistic residency in Bulgaria.
Regina Nieke
Untitled (MOON 120 02) from the series Moonlight
Acrylic on Canvas
2019
120x120 cm
The MOON series comprises 47 paintings.
While my work is deeply personal, the MOONs also reveal something universal, the moon being a celestial body known around the world that everyone can relate to. Moreover, the paintings remind us of our place in the universe subject to forces beyond control.
I have tried to create depth on the canvas by using dark blue shades of color as opposed to the silver grey shades of the actual moon in the night sky. To create an illusional space and to enter an inner world by looking at the paintings.
Oil color is a translucent medium I used partially opaque as well as in thin layers to create even more depth. To me, this fabrication of void represents the pause between inhaling and exhaling, just like meditation captured in a painting.
The MOON paintings aren't about something far away, but rather an introspection.
This nothingness is something I have always been interested in. That's why the faces I paint are often just shapes missing detailed features like eyes, nose or mouth.
Another reason being the way we look at each other. We mainly recognize one another by the shape of our faces.
Ria Wank
Untitled
Exposed X-ray film
30x40 cm (x2)
"How deep a flat sheet of paper can feel?
How many colors you can find in a black picture?
How can you paint without colour?
These are the main questions I ask myself always when i start to create a new artwork.
Black and White Photography doesn't need to be black and white, there are many colors in between I can create, when I start to balance and control the reaction of light and chemicals on lightsensitive analog medium.
The submitted work is made on x-ray paper, a material that allows me to show the positive and negative side of my processes at the same time. Some drops of the alternative developer caffeenol has always two sides and create a unique simbiosis of a deep illusion."
Samantha Malavasi
Black Mirror
Plexiglass layers and acrylic
2022
70x100 cm
Black Mirror: A Reflection on Intimacy, Identity, and Time in Contemporary Abstract Art
"Black Mirror".
It is a visual narrative that weaves together the intimate interplay of the human form, the passage of time, and the contemplation of self. The amalgamation of plaster dust and acrylic paint serves as a testament to the duality of existence—the juxtaposition of vulnerability and resilience mirrored in the delicate yet enduring nature of these elements. The choice of a monochromatic black palette adds intimacy to the twork, signifying the profundity of self-discovery while alluding to the shadows that exist within us all.
At its core, "Black Mirror": "Who are you today?" This question invites contemplation upon the transient nature of self. It challenges the viewer to ponder the fluidity of identity—how it shifts and refracts across the spectrum of time, circumstance, and emotion. The abstract elements evoke a sense of fluidity, mirroring the malleability of one's sense of self. As the lines blur between artist and spectator, the observer is compelled to step into the frame, becoming an active participant in the narrative woven by plaster and paint.
Siegliende Verniers
Ruwais
Fine Art Print in Wooden Frame
50x70 cm
Simone Kaltenegger
Heartbeat
100x80 cm
Acrylic on canvas
2022
I paint very intuitively, guided by the painting process and existing emotions. My work appears like a dairy of feelings. In the end, the result is a work of art that creates different interpretations for the viewer, similar to an inkblot. This Painting is part of the "Just Black" Series. I have deliberately called it only "Heartbeat" to leave room for interpretation and personal emotions for the viewer. Is it a jump into a new life, a jump to run away from something,...? I want each viewer to decide for himself. My inspiration for my paintings I find in the partly rough streets of Berlin, at crumbling and tagged barrel ends and in the club culture.
Sofiia Yesakova
Iconic Landscap in War Optics, 2.1
Hardboard, Gesso, Acrylic
2023
100x200 cm
In this series, I return to my background in icon painting, fusing military technology such as the screen view of a military drone with classic Christian religious symbols that were often used in medieval and renaissance religious themes. I replace the central compositional point of the image of the crucifixion with the Goal of the drone, which symbolically unites and denotes sacrifice.
The cross as a mediation between the sign and the material world, the cross simultaneously means a sign and physicality. The cross not only means the death of the crucified, but also the resurrection and victory over death. This double meaning is called the "paradox of the cross" and is only used in the symbolism of the cross in Christian thought. My desire was to recreate the iconographic idea - to show death along with resurrection, as well as sacrifice.
Stefano Boschetti
Naturae
Oil on wood
2023
19x42,5x2 cm
A tangle of nerves and neural ducts, what is hidden but part of each of us, a cosmic reference that connects us with the universe.
Tabea Baumann
#plantsmakemehappy
Engraving on paper
2023
26x30 cm
My current prints and paintings explore the transformative power of digital platforms to shape our perception of nature by confronting viewers with the aesthetics of an utopian representation of nature. Through the filter of social media, we are immersed in an alternative reality where nature is tame, beautiful and wholesome. It is often depicted like a paradise or a beloved pet. Creating and consuming all these pictures is a promising distraction and response to our suffering world.
Drawing inspiration from the curated depictions of plants that inundate social media feeds, my artistic journey involves reimagining these images to uncover the layers of artifice beneath. For this, visual social media pictures are used as reference and translated into a dichotomous-looking visual language. Each brushstroke and etching echoes the visual manipulation often applied to digital content, inviting contemplation on the stark contrast between the idealized online landscapes and our reality.
By incorporating elements of the utopian narratives that social media platforms promote, my artwork emphasises the potential consequences of this conception on nature. The bright colours in form of mostly monochrome coloured surfaces, heightened contrasts and condensed compositions reflect the seductive aesthetic that often accompanies imagery of plants on social media. As viewers engage with these works, they are asked to reflect on the consequences of adopting a virtual ideal of nature, possibly at the cost of detaching themselves from the real nature that thrives beyond the screens.
Thomas Schlereth
8748BOTTLESANDSHADOWS
Fine Art Print, Diasec
2023
91x113 cm
I chose this picture from my "Bottles and Shadows" series, which is currently emerging, because it deals with the "monochrome" theme on different levels. The colorfulness of the bottles completely contradicts the monochrome claim, although they were all created from a single photograph of a turquoise bottle.
Thus, the monochrome is hidden and only known and conscious to the author. From a corresponding distance, the many differently colored bottles will have a monochrome effect, since they dissolve into "colorful", are no longer individually distinguishable and only consist of "color". On closer inspection, this effect is intensified and replaced by the gray, black, monochrome shadows of the bottles. Contradiction and correspondence in one work.
Tim van den Oudenhoven
Flux 1, 02:54:39
From the series Cosmic Rays
[Special Prize Winner in the 11th Edition and Finalist of the 16th Edition of Arte Laguna Prize, Venice]
Laminated Fine Art Print on Aluminium
2023
75x50 cm
"My work Flux 1, 02:54:39 – from the series “Cosmic Rays” - focusses on a reduction of reality through monochrome landscapes, and also playing with the concept of recognising shapes in the dark, with the colour green being the one our eyes are able to perceive the most.
The title “Cosmis Rays” comes from physics and reflects on rays coming from outer space that can be made visible and may somehow still have an influence on our perception of the world, however small. Each work in the series has a “Flux” title with a number and time of day when it was registered, to illustrate a scientific approach, which ultimately falls short. "
Violetta Elisa Seliger
Papierobjekt ohne Titel
Paper cut + drawing
2023
70x50 cm
The theme of my paper works is to create three-dimensionality, plasticity and spatiality from two-dimensional surfaces.
The starting point is always surfaces into which I cut grid-like structures, which develop their own dynamics in their creative processes and in this way the surfaces become broken up and permeable to other levels.
In my paper works, the three-dimensionality and spatiality are created either by unfolding, folding, etc. or by layering and combining several layers (black, gray and white) to form picture collages.
All works, whether sculpture or wall work, have in common that they always work in the combination of several layers or elements through sequences, overlays and condensations and always by penetrating several levels of surface and space to become a whole, a unit. In this way, new structures, rhythm and complexity are constantly emerging.
Mikkel Rohde Skovlunde
The Sacred Linament of Judgement
Fine Art Metallic Print
The Sacred Linament of Judgement
2023
297x210 mm
From the ongoing series "Into The Open Wounds of Machines" (2022 - )
In the ongoing series, Into the Open Wound of Machines, Mikkel Rohde Skovlunde examines the aging surface of industrial machinery. The manmade traces in their metal skin are thoroughly documented through up-close photography of heavily affected areas. The scars, bruises, tears and dents all tell a story of violent handling and mishandling, use and abuse.
These engine-driven vehicles, of mechanical bone and wired systems are ever-loyal vessels, of great protection to Humans. They shield and travel us on our journey through harsh, unforgiving terrain, into new exciting territories.
Despite their undying loyalty, automobiles are often regarded as the scourge of civilization, responsible for everything from environmental devastation and rampant climate change to suburban sprawl and urban decay, with the destruction of cities by noise, fumes, pavements and chaos, not to mention our slavish dependence on foreign oil from dubious sources abroad.
In this series, Skovlunde reflects upon his personal challenges with accepting status quo; to live and die, in the age of machines. Through his photographic journey, he contemplates his contempt as subject towards an object: a man-made tool, that by no means, can ever return the fury.
Through the hours spend with these vessels, and the attentive precision, he is forced to carry out in his work, Skovlunde attempts to channel emotions of acceptance and forgiveness. Not for the sake of machinery, but for internal riddance of a rage. Through this meditation, he ultimatelly searches to find any hidden signs of beauty, in these cold bodies of steel.
The documentation of their metallic scars thus culminates in an effort to bring forth some kind of objective resemblance, irrational as it is, with the intention of providing compassion to these devices, and strip them of all culpability. Conclusively, in this series, Skovlunde uses the process of documentation as a liberating, self-prescribed therapy: to free his mind from hatred, and likewise, free the vessels from his anger.
Noah Swan
Untitled
Fine art pigment print on linnen fabric
80x140 cm
Claude Stahel
Destruct
from the series Walk of Shame
Aluminium, reinforcing steel, wood
2023
70x70x90 cm
The Destruction
The Destruction was created as an experimental version of The Flood model.
Stahel tried to combine the catastrophic destruction after the water drained from the dam blasting, as well as a bomb crater-like landscape and cast them in aluminum.
Stahel dealt with the disaster in his work The Flood, which shows the flooding of 30 houses in a graphic version.
The Destruction is a solid cast aluminum, combined with reinforcing steel.
Dagna Gmitrowicz
Silver Puddle
Acryl on Canvas
100x120cm
A silver puddle is an oil painting from the Inner World of Nature series. It is the effect of contemplation and an attempt to recreate a natural phenomenon not in a mirror way, but reflecting its energy. The monochromatic idea is a relative idea - one color in its tones, a color containing shades of other colors...
The reflection in a puddle has a silvery glow and can reflect colors while still remaining hidden in shades of turquoise. There are more works from this series on my website. I paint in partnership with nature.
Dagna Gmitrowicz
Silver Puddle
Acryl on Canvas
100x120cm
A silver puddle is an oil painting from the Inner World of Nature series. It is the effect of contemplation and an attempt to recreate a natural phenomenon not in a mirror way, but reflecting its energy. The monochromatic idea is a relative idea - one color in its tones, a color containing shades of other colors...
The reflection in a puddle has a silvery glow and can reflect colors while still remaining hidden in shades of turquoise. There are more works from this series on my website. I paint in partnership with nature.
Daniel Gianfranceschi
Relieve
Acryl on Canvas
2023
40x30 cm
The work "Relieve" comes out of an ongoing series of paintings on raw jute/linen-like fabric that focus on monochrome lines and traces that separate space but, at the same time, create negative space in the canvas. The pure gesture of a line, a seemingly continous and infinite, that drags out of the canvas. Movement in the monochrome. The absence of color not as something lacking but as a humble restraint. The intuitive nature of a moment brought onto canvas. The raw jute serves as a compositional element that enhances the black ink and serves as a starting point for an infinite number of forms. Everything is as it should be
Elio Graziano
Yellow No.1
Acrylic and oil colours and collage on paper
2023
42 x 59.4cm
Each work belongs to the series "Every single color is transitory".
It is a pictorial research (through my expressive means) on the emotional experience of each color, and its ability to stimulate imagination and memory.
Euan Williams
Collapse
Fine Art Print
2015
21x51 cm
The images describes a route as a multiple exposure photograph, one shot every two steps - the negative moving along only a fraction of a millimeter for each exposure.
A monotonous path which can be forgotten whilst it’s being walked; the image acts as a memory – the light of the surroundings burning into the negative – like an afterimage on a retina. These are representations of the space without time; the image collapses into itself creating abstract forms and general extrapolated colours of the areas depicted.
Fade Kainer
abstract #1
Fine Art Print on Structured Fibre Paper
2023
60x90 cm
"This image is layers of digital video taken from my environment during extreme isolation during the pandemic lock down of 2020. This image is a representation my inner world during an isolated outer condition."
Filipa Figuerido
Stay Still
Ink on Paper
2017
70x110 cm
This series of paintings " Stay Still " allude to atmospheres and impressions of places, trying to capture and refer to silence and all its a ssociated connotations and sensations. Often linked to the feeling of nostalgia, directly linked to moments experienced in these places and the sensations that left us in the body, unconscious and soul. All of them include concepts such as amplitude, observation and repetition of the pause.
Francesco Petruccelli
Pleistocene + Populator
[Finalist of the 13th Edition of Arte Laguna Prize, Venice]
Metal wire, trash bags
300x300x400 cm (Installation)
The installation is inspired by the dioramas found in natural history museums, in which the anatomical dissection or reconstruction of a prehistoric animal is placed in its original environmental context and recreated through scenographic and pictorial elements.
Populator is an installation consisting of a life-size sculpture of a saber-toothed tiger and a four-by-two meter painting depicting the natural environment in which it lived.
Both the tiger and the painting are made from burnt black garbage bags.
I chose to depict a saber-toothed tiger to draw a parallel between the
extinction of the Pleistocene's most famous apex predator and the possible extinction of the Anthropocene's quintessential apex
predator: humans, to be precise.
For now, it's still us humans who display the remains of extinct species, looking at them with interest but also with a certain superior
detachment, firmly convinced that their fate is none of our business.
But one day in the distant future it may be another species that visits a museum to observe a human's anatomical specimen and wonder how they lived and what their habits were.
However, the difference between us and the saber-toothed tiger is enormous: we, apex predators par excellence, have even managed to radically change our environment in order to subject it to our purposes.
The consequences of our actions - the waste of our dominion over this planet - are changing the skin of the earth.
Plastic - the most striking sign of human production - is everywhere: there is no longer any part of the surface that is free of microplastics, and plastic also finds its way into our tissues.
The distinction between natural and synthetic is disappearing, and it's not hard to envision the new hybrid organisms of a future era: plastic skin and muscle, carbon dioxide polymers between the cells of our own flesh.
Gerda Van Damme
Epiphany #1
[Finalist of the 17th & 18th Editions of Arte Laguna Prize]
Oil on Canvas
"Epiphany #1 is the first in a series of large paintings that deal with moments of insight.
It happened to me in my early schooldays. I went down the stairs, surrounded by my classmates, seeing all those feet going down the stairs around me. Then I realized that I would never - NEVER - walk on any of those other feet or see the world through the other girls' eyes.
All my paintings are based on very personal experiences: after all, what other experiences do I know?"
Guido Janssens
Le Bisou
['First Selection' (Honourable Mention) for the 18th Edition of Arte Laguna Prize, Venice]
Video work on 3 screens
‘Le Bisou’ (The Kiss) is a video triptych about a meeting of two people. The central panel shows their faces approaching, and finally kissing each other. The side panels show their beds, with parts of their bodies sticking out of the sheets. Are they hoping that the kiss will take place, or fearing it, or remembering it as something from the past?
The actors improvised the texts, echoing what comes to their mind while walking in the city. While their individual thoughts seem trivial, the soundtrack is universal, representing the area between the real and imaginary of our vision of others.
Henri Kirsch
AFTER LIFE
Fine Art Print
2023
90x135 cm
AFTER LIFE - We all came through somebody, someone's body.
„After Life“ is an ongoing exploration in which the entanglement of matters [circles of "life"] are being zoomed in at.
The exploration of the material - a horse placenta - is an exploration of perception of birth, dying and death.
Questioning the [moral] disgust people nurture, that is restricting human's curiosity,
rather than fearlessly seeing possible properties of the unknown.
Birth implies death and so does life.
It is an exploration of bodies that carry transformation.
Bodies in different stages of “life“ through different captures of time.
Ilse Carbonez
While
Fine Art Print, Lead Frame
2021
28x17 cm
While dealing mostly concerning the phenomenological of photography, seeing something, isn’t possible to grasp in one gaze. One picture can be about repetiton, desire and some subtle gestures that appear and disappear.
Iva Ferlinc
Evanesce
Wire mesh on board
2023
60x50x8cm
EVANESCE is made of black wire mesh. Layering of the material creates synthesis of complete image. The work becomes dynamic with the use of light in a spatial context and movement of the observer.
It examines how light penetrates trough overlapping layers of wire mesh and how light illuminates space inside the work. Different densities of the material create different opacities and build depth of colour and spatial depth.
Janine Seelen
3.5.2021, 5:49h
Charcoal, oil stick, pastel on paper
190x132 cm
IN BETWEEN
In the beginning there is a place that is touching me. A space that inspires, calm, a place to be.
The in between is described as a free space between at least two things or persons. It functions as a kind of playroom between a gap in a coherent or holistically whole, but it is also a temporal distance between two activities or processes.
To stop and pause, experience one’s own free space and create a personal new space when needed. The ordinary that surrounds us is becoming the center of a specific moment and forms an origin.
Laure Catugier
Puzzle
2022
Cyanotype on paper
32x63cm.
This work has been realized during a residency at TYPA Printing and Paper Arts Centre, Tartu, Estonia in 2022.
The work "Puzzle" focuses on isolated architecture elements that belong to post-war constructions. Through a collage of photographs taken in Estonia, I play with scales, perspectives, and framings, which allows me to disrupt the conventional Cartesian coordinates of the x, y and z axes. Walls, roofs, windows, doors, all represent our physical limits. Playing with empty and full spaces, here I explore the role of the color white, which can represent in turn a cloudy sky, a virgin plaster wall, or a tiled wall.
Lena Engel
Untitled
from the series was bleibt.
Fine Art Pigment Print
30 x 30 cm
Leon Emanuel Blanck
Emporkömmling
X-ray images, resin, metal
90x90x190 cm
Lonni Wong
Untitled
Stoneware, Paint, Graphite
2023
12x18 cm
Lucas Ngo
Untitled
Ink on Paper
100x70 cm
"I work on landscape by notion of evanescence. Through ink and water I create landscape between abstraction and figuration, between appearance and disappearance. Usually I work with photographic documentation but my landscape's approach is more about create from my mind and imagination."
Maja Sikorska
FAMILIAR UNKNOWN, SERIES 2, NO.8
Ballpoint Pen on Paper
39,5x40 cm
The drawing is made up of thousands of thin lines drawn with a black ballpoint pen. Once drawn, a line cannot be erased; only when adding and rethinking can the image move forward. Familiar unknown is a cover title for a number of biomorphic drawings and sculptures where I explore a space between the known and the unknown - where the possible lives.
Marcus Appelberg
Folds
Cyanotype on fabric
2023
60x80 cm
In recent years Appelberg has referenced contemporary avant-garde fashion and biblical scenes from the Renaissance. Two separate modes, brought together by the fold. The fold acts as symbol for transformation and metamorphosis - as a boundary between inside and outside, depth and surface, and thus wants to challenge internal and external boundaries.
In the cyanotype series Folds, abstracted seas of folds and drapes are created as photograms, like light paintings developed under the sun. Each print is unique.
---
Folds, 2023, cyanotype on cotton mounted on a stretcher, 60 x 80 cm.
Marie Le Moigne
Inside the Islands
2014
Fine Art Print
60x40 cm
«Inside the islands» is a series of landscapes. of breakable pieces, plural zones move,
slide on the blue of the ocean.
Characters are removed of the world of visibilities.
A DISASTER ?
{ the tide is rising }
In a liner that comes to take on water and will soon sink, the daze has thwarted fear, and the photographer, aware that her images will flow with her, can invent what she sees, what she wants. In a dream…
Marie Seelen
SENSES
Tension belt, Aluminium
2023
Approx. 360x450x300cm
Size per ball: 50x50x50cm
We are born with 5 senses, which are individually pronounced through our life span: Sight, smell, touch, taste, and hearing. But what about the sense of self? The ability to reflect and to feel my own body? How do my my needs, my emotions and my thoughts make me feel? This is a 6th sense.
Trying to understand who we are and what surrounds us, can lead to chaos in our minds and bodies. Transforming parts of my inner self into art that can be experienced and inquired with our senses, one is able to clean up, to understand and to reflect this chaos.
It is my intension for visitors to enter my work – to feel the intimacy and fragility of oneself to reflect and calm down. The monochromatism of the installation supports one to do so, and to focus entirely on themself in connection with the artwork and its surrounding.
SENSES is a transformative installation built with white tension belt. The work is entirely flexible and can be rebuild for any space connecting with other works in the room and form new alliances and relationships.
Martien van Beeck
Jell-o Mondrian #2
Acrylic on canvas
2017
100x100 cm
Jell-o Mondrian # 2, 2017 is an homage (with quite some irony mixed in) to Piet Mondrian. I threw Jell-o on a reproduction of a painting by Mondrian and the result of this ‘intervention’ inspired my painting. My painting juxtaposes the opacity, seriousness and straightness of the Mondrian with transparency, humor and amorphousness. Mondrian liked to dance to boogie-woogie music, so I think he would be able to appreciate some ‘making fun’ of his work.
The overall redness of the painting is an effect of the ‘strawberry flavored jell-o’ I used. In the strawberry-redness one can read a critique on the sometimes ‘dogmatic seriousness‘ of monochrome art.
Michael James O'Brien
Paul
Fine Art Print
2023
40x60 cm
Paul, 2023 is from the series,The Black Pictures. These works combine original medium format analog processing with layering & toning digitally to imagine what traditional imagery (nudes) would look like when presented on the cusp of visibility. "Perhaps the light would prove another torment. Who knows what new things it would reveal." - C.P. Cavafy, The Windows
Nuno M. Santos
Play
["First Selection" (Honourable Mention) for the 18th Edition of Arte Laguna Prize, Venice]
Fine Art Print
2022
70x46,,5 cm
"As a young child, my son enjoyed hanging his teddy bears and super heroes by the neck around the house. In this ongoing serie I recreate the images that me and his mother were too scared to register at the time. These images, though innocent in his eyes, painted a picture of stark contrasts in our minds – the gentle touch of childhood innocence juxtaposed with the grim foreboding of sadness and mortality.
Living with chronic depression has invariably tinted my own perception of the world. This work acts as a reminder that confronting pain, rather than evading it, has the power to transform.
And don't worry - my son is turning out just fine."
Olena Karpenko
Shadows
Acryl on Canvas
2023
100x80 cm
"Unfortunately there can be no doubt that man is, on the whole, less good than he imagines himself or wants to be. Everyone carries a shadow, and the less it is embodied in the individual's conscious life, the blacker and denser it is. At all counts, it forms an unconscious snag, thwarting our most well-meant intentions." C. Jung
Petra Mingneau
Sea
[Selected for the 18th Edition of Arte Laguna Prize, Venice]
Fine Art Print Mounted on Aludibond
2023
50x75 cm
REGULAR CONCRETE
RADICAL #1
Concrete sculptures
2023
various sizes
The RADICAL#1 series represents 6 concrete sculptures inspired by objects which shaped generations and left an undeniable impact. The design and ideas they represent are a concrete-solid part of our history, it can now be said literally. All of the objects were mass produced and offered more than just a plain fulfillment of basic needs. They represented statuses, mindsets and desires of their owners, deeply attached to their geographic location and social status.
RUNA (aka Rute Norte)
They were eating watermelon
Acrylic on Canvas
30x49 cm
“One's work is a way of keeping a diary” – said Picasso. The paintings reflect passing episodes. Lives and experiences expressed on canvas, with paints and brushes. RUNA's paintings can either refer to an episode that took place on a trip – a memory – or they can talk about food, or the cat that appeared on the roof. Or be simple ideas and concepts that pass in the moment. As an artist-traveller, in which she writes travel chronicles accompanied by photos, she tells a story through this trimediality: text, photography and painting. She treads a territory that is simultaneously real and invented, and crosses several borders between languages. In this painting, RUNA is recounting an episode from one of her last trips, during an artistic residency in Bulgaria.
Regina Nieke
Untitled (MOON 120 02) from the series Moonlight
Acrylic on Canvas
2019
120x120 cm
The MOON series comprises 47 paintings.
While my work is deeply personal, the MOONs also reveal something universal, the moon being a celestial body known around the world that everyone can relate to. Moreover, the paintings remind us of our place in the universe subject to forces beyond control.
I have tried to create depth on the canvas by using dark blue shades of color as opposed to the silver grey shades of the actual moon in the night sky. To create an illusional space and to enter an inner world by looking at the paintings.
Oil color is a translucent medium I used partially opaque as well as in thin layers to create even more depth. To me, this fabrication of void represents the pause between inhaling and exhaling, just like meditation captured in a painting.
The MOON paintings aren't about something far away, but rather an introspection.
This nothingness is something I have always been interested in. That's why the faces I paint are often just shapes missing detailed features like eyes, nose or mouth.
Another reason being the way we look at each other. We mainly recognize one another by the shape of our faces.
Ria Wank
Untitled
Exposed X-ray film
30x40 cm (x2)
"How deep a flat sheet of paper can feel?
How many colors you can find in a black picture?
How can you paint without colour?
These are the main questions I ask myself always when i start to create a new artwork.
Black and White Photography doesn't need to be black and white, there are many colors in between I can create, when I start to balance and control the reaction of light and chemicals on lightsensitive analog medium.
The submitted work is made on x-ray paper, a material that allows me to show the positive and negative side of my processes at the same time. Some drops of the alternative developer caffeenol has always two sides and create a unique simbiosis of a deep illusion."
Samantha Malavasi
Black Mirror
Plexiglass layers and acrylic
2022
70x100 cm
Black Mirror: A Reflection on Intimacy, Identity, and Time in Contemporary Abstract Art
"Black Mirror".
It is a visual narrative that weaves together the intimate interplay of the human form, the passage of time, and the contemplation of self. The amalgamation of plaster dust and acrylic paint serves as a testament to the duality of existence—the juxtaposition of vulnerability and resilience mirrored in the delicate yet enduring nature of these elements. The choice of a monochromatic black palette adds intimacy to the twork, signifying the profundity of self-discovery while alluding to the shadows that exist within us all.
At its core, "Black Mirror": "Who are you today?" This question invites contemplation upon the transient nature of self. It challenges the viewer to ponder the fluidity of identity—how it shifts and refracts across the spectrum of time, circumstance, and emotion. The abstract elements evoke a sense of fluidity, mirroring the malleability of one's sense of self. As the lines blur between artist and spectator, the observer is compelled to step into the frame, becoming an active participant in the narrative woven by plaster and paint.
Siegliende Verniers
Ruwais
Fine Art Print in Wooden Frame
50x70 cm
Simone Kaltenegger
Heartbeat
100x80 cm
Acrylic on canvas
2022
I paint very intuitively, guided by the painting process and existing emotions. My work appears like a dairy of feelings. In the end, the result is a work of art that creates different interpretations for the viewer, similar to an inkblot. This Painting is part of the "Just Black" Series. I have deliberately called it only "Heartbeat" to leave room for interpretation and personal emotions for the viewer. Is it a jump into a new life, a jump to run away from something,...? I want each viewer to decide for himself. My inspiration for my paintings I find in the partly rough streets of Berlin, at crumbling and tagged barrel ends and in the club culture.
Sofiia Yesakova
Iconic Landscap in War Optics, 2.1
Hardboard, Gesso, Acrylic
2023
100x200 cm
In this series, I return to my background in icon painting, fusing military technology such as the screen view of a military drone with classic Christian religious symbols that were often used in medieval and renaissance religious themes. I replace the central compositional point of the image of the crucifixion with the Goal of the drone, which symbolically unites and denotes sacrifice.
The cross as a mediation between the sign and the material world, the cross simultaneously means a sign and physicality. The cross not only means the death of the crucified, but also the resurrection and victory over death. This double meaning is called the "paradox of the cross" and is only used in the symbolism of the cross in Christian thought. My desire was to recreate the iconographic idea - to show death along with resurrection, as well as sacrifice.
Stefano Boschetti
Naturae
Oil on wood
2023
19x42,5x2 cm
A tangle of nerves and neural ducts, what is hidden but part of each of us, a cosmic reference that connects us with the universe.
Tabea Baumann
#plantsmakemehappy
Engraving on paper
2023
26x30 cm
My current prints and paintings explore the transformative power of digital platforms to shape our perception of nature by confronting viewers with the aesthetics of an utopian representation of nature. Through the filter of social media, we are immersed in an alternative reality where nature is tame, beautiful and wholesome. It is often depicted like a paradise or a beloved pet. Creating and consuming all these pictures is a promising distraction and response to our suffering world.
Drawing inspiration from the curated depictions of plants that inundate social media feeds, my artistic journey involves reimagining these images to uncover the layers of artifice beneath. For this, visual social media pictures are used as reference and translated into a dichotomous-looking visual language. Each brushstroke and etching echoes the visual manipulation often applied to digital content, inviting contemplation on the stark contrast between the idealized online landscapes and our reality.
By incorporating elements of the utopian narratives that social media platforms promote, my artwork emphasises the potential consequences of this conception on nature. The bright colours in form of mostly monochrome coloured surfaces, heightened contrasts and condensed compositions reflect the seductive aesthetic that often accompanies imagery of plants on social media. As viewers engage with these works, they are asked to reflect on the consequences of adopting a virtual ideal of nature, possibly at the cost of detaching themselves from the real nature that thrives beyond the screens.
Thomas Schlereth
8748BOTTLESANDSHADOWS
Fine Art Print, Diasec
2023
91x113 cm
I chose this picture from my "Bottles and Shadows" series, which is currently emerging, because it deals with the "monochrome" theme on different levels. The colorfulness of the bottles completely contradicts the monochrome claim, although they were all created from a single photograph of a turquoise bottle.
Thus, the monochrome is hidden and only known and conscious to the author. From a corresponding distance, the many differently colored bottles will have a monochrome effect, since they dissolve into "colorful", are no longer individually distinguishable and only consist of "color". On closer inspection, this effect is intensified and replaced by the gray, black, monochrome shadows of the bottles. Contradiction and correspondence in one work.
Tim van den Oudenhoven
Flux 1, 02:54:39
From the series Cosmic Rays
[Special Prize Winner in the 11th Edition and Finalist of the 16th Edition of Arte Laguna Prize, Venice]
Laminated Fine Art Print on Aluminium
2023
75x50 cm
"My work Flux 1, 02:54:39 – from the series “Cosmic Rays” - focusses on a reduction of reality through monochrome landscapes, and also playing with the concept of recognising shapes in the dark, with the colour green being the one our eyes are able to perceive the most.
The title “Cosmis Rays” comes from physics and reflects on rays coming from outer space that can be made visible and may somehow still have an influence on our perception of the world, however small. Each work in the series has a “Flux” title with a number and time of day when it was registered, to illustrate a scientific approach, which ultimately falls short. "
Violetta Elisa Seliger
Papierobjekt ohne Titel
Paper cut + drawing
2023
70x50 cm
The theme of my paper works is to create three-dimensionality, plasticity and spatiality from two-dimensional surfaces.
The starting point is always surfaces into which I cut grid-like structures, which develop their own dynamics in their creative processes and in this way the surfaces become broken up and permeable to other levels.
In my paper works, the three-dimensionality and spatiality are created either by unfolding, folding, etc. or by layering and combining several layers (black, gray and white) to form picture collages.
All works, whether sculpture or wall work, have in common that they always work in the combination of several layers or elements through sequences, overlays and condensations and always by penetrating several levels of surface and space to become a whole, a unit. In this way, new structures, rhythm and complexity are constantly emerging.
Mikkel Rohde Skovlunde
The Sacred Linament of Judgement
Fine Art Metallic Print
The Sacred Linament of Judgement
2023
297x210 mm
From the ongoing series "Into The Open Wounds of Machines" (2022 - )
In the ongoing series, Into the Open Wound of Machines, Mikkel Rohde Skovlunde examines the aging surface of industrial machinery. The manmade traces in their metal skin are thoroughly documented through up-close photography of heavily affected areas. The scars, bruises, tears and dents all tell a story of violent handling and mishandling, use and abuse.
These engine-driven vehicles, of mechanical bone and wired systems are ever-loyal vessels, of great protection to Humans. They shield and travel us on our journey through harsh, unforgiving terrain, into new exciting territories.
Despite their undying loyalty, automobiles are often regarded as the scourge of civilization, responsible for everything from environmental devastation and rampant climate change to suburban sprawl and urban decay, with the destruction of cities by noise, fumes, pavements and chaos, not to mention our slavish dependence on foreign oil from dubious sources abroad.
In this series, Skovlunde reflects upon his personal challenges with accepting status quo; to live and die, in the age of machines. Through his photographic journey, he contemplates his contempt as subject towards an object: a man-made tool, that by no means, can ever return the fury.
Through the hours spend with these vessels, and the attentive precision, he is forced to carry out in his work, Skovlunde attempts to channel emotions of acceptance and forgiveness. Not for the sake of machinery, but for internal riddance of a rage. Through this meditation, he ultimatelly searches to find any hidden signs of beauty, in these cold bodies of steel.
The documentation of their metallic scars thus culminates in an effort to bring forth some kind of objective resemblance, irrational as it is, with the intention of providing compassion to these devices, and strip them of all culpability. Conclusively, in this series, Skovlunde uses the process of documentation as a liberating, self-prescribed therapy: to free his mind from hatred, and likewise, free the vessels from his anger.
Noah Swan
Untitled
Fine art pigment print on linnen fabric
80x140 cm