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Comes and goes II
Anya Charikov-Mickleburgh
Oil on linen 30cm x 40cm (unframed)
‘Comes and Goes II’ has floral elements inspired by Nature Morte traditions in art history, to keep reminding us about the cyclicity in nature, in life and about temporality and time-being.
‘Comes and Goes II’ is a representation of the artist’s own imagination as she merges memories from observation with personal life experiences. These emotions manifest themselves in layers of paint on canvas, a process that leads to a final result with some elements exposed and others that have vanished. Just as in nature, the life cycle constitutes a constant flow of change where the end of one thing is the beginning of another, the evolution of Charikov’s painting process does the same. While the representations of life and growth consume the composition of the work, we are left with the mystery of what else existed on the canvas that did not make it. Despite the floral abundance and the colors that give a sense of ease and comfort, the painting carries a more profound depth, an autobiographical element rooted in emotional loss.
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One and also two …more
Margaux Derhy
2019, 80 x 100 cm, Acrylic and oil painting on linen (framed)
When observing M argaux's work there are two elements that are deeply linked: human psychology, as a result of the artist's fascination with the work of psychologist Elizabeth Loftus on human cognition, and on the other hand, the pathos or profound expression of the feelings we observe in Italian Renaissance artists.
In "One and also two… more" it is remarkable the impression of the essence of what a memory is: a dream y and vague sensation where details are lost in the consciousness of the intellect. Memories as well as dreams leave us inaccurate perceptions about a reality that we cannot assure; how many people were in a certain room? what were their reactions? ... All these perceptions are reflected in Margaux's work through blurred colors and ephemeral shadows that are lost in oblivion, leaving as the only testimony, the emotion or feeling that shook the soul. On the other hand, the work "The Pieta and the Fantastic" delves more into sadness and the contemporary adaptation of classic works of religious iconography. Reflecting feelings without drawing defined lines on the faces of the characters but that the viewer is able to capture.
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A Coat For Two
Annabel Faustin
Acrylics on linen canvas 65 x 54 cm (Unframed)
(Ships from France)
A peaceful landscape is depicted on a coat that fits two. It is inspired by a coat made for twins from french Couture brand 'Kipré couture' created by twins brothers. The artist wanted to represent one both economical and human way to dress. By dressing fair and ethical, people are becoming closer to each other. The landscape is inspired from both Renaissance paintings and the artist’s birth area of France, the french Riviera and the Provence. It symbolises our strong link to origins, that we carry everywhere with nostalgia, and that is often the first link to nature.
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Thread
Thread Wolffia Inc
Mixed media 76.2 x 50.8 cm
(framed)
The work Thread is a part of exclusive mini series called ‘By Chance’ made by the artist Wolffia Inc. The pieces have a feel of collage created with paint. As if there is nothing permanent about the arrangement of the shapes. One could possibly pick the painting up, shake it and collectively they would rearrange themselves into new positions.
Space is the main thing that differentiates this series and other works by Wolffia Inc. In most of her work, every section is touching one another. This series rather focuses on spaces between each single item.Using a range of different techniques, the pieces have a far more comforting and warm quality than if they were to have been produced digitally. The artist’s desire was to marry two distinct elements: precision and liveability. Structure that still feels inviting and relaxing.
This work is a mixture of spray paint, heavy body acrylics and mediums on hand prepared Dibond. The finish is ultra matte with subtle satin gloss accents.
Within each composition the artist has used heavy mediums to bring depth and dimension that is more visible on closer inspection.
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Celebration
Roza Horowitz
Oil on canvas 50 x 70 cm
Unframed
(ships from the UK)
The painting ‘Celebration’ depicts a vibrant party. Gestural-like brushstrokes depict people dressed up and balloons with confetti in the air. The only front-facing figure is a woman in a colourful dress with green hair. She seems to be the center of attention, the leader of the party. The blue background is an outdoor party with a crystal clear blue sky. The painting is charged with energy and a good celebratory atmosphere.
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Filip Svehla
Untitled, 2020
59,5 x 42 cm
Oil pastel on paper
Unframed
(ships from Czechia)
Svehla’s sweeping colour block canvas is filled with earthy tones of browns and greens, as well as soft tones of ocean blues, split across two canvas’ making this a diptych. The paint is applied thickly and without too much precision taken in terms of keeping clean, even lines. The artist employs a formalist approach in his works, as is evident here with influence from the American and European abstract movements. Svehla describes how he rarely understands his paintings “as final works, usually, they are still just comments on the way, touching the problem from different sides.” The artist focus on architecture can be seen here in the layers of blocks of colour mimicking the way a building is formed in layers.
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Small Green Bowl
Brad Donovan
330 x 230 mm
acrylic on playwood cutout (Unframed)
note: this is not a rectangular canvas, it is a cutout in the shape of the green bowl
Often depicting objects and scenes from everyday life with stylistic inspiration from pop imagery, here Brad Donovan has taken a lime green, almost cartoon-like bowl image and covered it in forest green simple leaves. The style of this artwork appears simple, but it has a sense of fun and playfulness about it that reminds the viewer perhaps of childhood.
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Nocturnal Gods
Stefania Tejada
2021
Oil on canvas
100 x 80 cm
(Unframed)
The moonlight reflects on the skin of five female figures surrounded by jungle plants, which gently disturbs the complex botanical darkness. The jungle scene is penetrated by hands holding objects which symbolize femininity. The main focal point is the central female figure who confronts the audience with direct piercing eye contact. The surrounding night narrows the colour palette to a minimal tonal range, which gives more purpose to the organic shapes of human bodies creating greater (visual) unity. For this body of work, Stefania Tejada has completely drawn towards her personal longing for the wild, The Mother. Her artworks are codes or pieces of dreams that reflect on her connection with the earth, the feminine spirit, and with beliefs of freedom. Tejada’s Columbian heritage reflects in the botanical motifs as well as the emphasis on strong cultural origins. She believes that the most profound and most truthful parts of ourselves are hidden in the darkest places, and it is essential to explore this place, to find the dark being and stare back at it. This is evoked, by the recurring focal point of the series, a female figure intensely gazing back at the viewer. As a result, the viewers lose the peaceful voyeuristic feeling of exploring the painting unwatched, as the central figure opens a dialogue about rawness and purity of the self.
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Breakfast theatre
2021
Jeanine Brito
Acrylic on 520g paper
38.5 x 30 cm
unframed
(Ships from Canada)
This painting captures the mellow essence of spending time in a café. Sitting with a coffee, a croissant, and a book, we often observe others, who in turn observe us. We become performers as well as the audience. The work attempts to capture that sort of dance between the observer and the observed. Echoing of the yin and yang symbol, it amplifies the peaceful balance of the experience.
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Mara Lago
2021
Matthew Robinson
Acrylic on canvas
122 x 127 cm
Unframed
(Ships from the US)
Matthew Robinson’s painting documents the relational spirituality existing between architecture and the human experience. We can see references to the vernacular architecture of small cities and suburbs altered by the mid-to-late-century ideals. Fragments of structures, imagined or representational, are depicted simultaneously in a singular composition. Therefore, the ugly construction materials become part of a beautiful whole. The work is also a product of the artist’s own renovation efforts in his 1840’s home in Beacon.
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