Indian Summer

‘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.

‘A Mille-fuille’ combines the previously disassociated images of the female figure, the bright blue sky and other abstracted structures. Influences from Alex Katz and Brian Calvin’s figurative works are seen here together with the personal experiences and emotions that come with the cooling of summer. Burgess also draws much inspiration from the world of fashion as she uses snapshots of designer pieces from social media, and makes the experience of shopping for them more attainable with the act of applying paint to canvas. While the edges of each image frames its adjacent neighbor, it emphasizes the painting’s construction. And while the hidden gaze of the woman strengthens this structure, the gaze of the viewer, peeping into the structure, deconstructs it all over again.

Idyle Dekonstruktion -d 15 is part of the series titled ‘Idylle Deconstruction’ that is an ever growing work which can either be seen as one, or as a composition of an individual piece acting as separate artworks. This expanding work represents the consumption of nature by humans. The constant variability of the work addresses the spread of nature, which here, is spread through the artist. The constant dissolution and multiplicity of ‘Idylle Deconstruction’ results in an abstract, but also recognizable, plant-like structure. While the series exemplifies Max’s recent shift from his more figurative works to a style that identifies with nature and the way the Earth functions around him year round, also during the changing of seasons, Max remains interested in the human impact on the theme, as he does in his earlier works.

Idylle Dekonstruktion -g3 is part of the series titled ‘Idylle Deconstruction’ that is an ever growing work which can either be seen as one, or as a composition of an individual piece acting as separate artworks. This expanding work represents the consumption of nature by humans. The constant variability of the work addresses the spread of nature, which here, is spread through the artist. The constant dissolution and multiplicity of ‘Idylle Deconstruction’ results in an abstract, but also recognizable, plant-like structure. While the series exemplifies Max’s recent shift from his more figurative works to a style that identifies with nature and the way the Earth functions around him year round, also during the changing of seasons, Max remains interested in the human impact on the theme, as he does in his earlier works.

‘Summer Haze’ depicts the artist’s own balcony through a geometric landscape combined with colors that convey the memory of a warm summer night. The lack of any sharp lines together with the inspiration from the colors of the season emanate the calmness, or the haze, that lingers after rain. A sense of contrast between the heat of the summer and the freshness in the air can be pondered while swaying on the hammock. While thoughts wander in his head, Cvik shifts them into visual inspirations and ventures on a mental process that eventually turns into paint on canvas. Experiences and travels hence become the memories and inspiration for his work ‘Summer Haze,’ which in turn continues a cycle of motivation to create and be productive through the hot days.

‘Turn Into a Windmill’ is a digital painting in which geometric shapes combined with colors and games of light and shade cause an automatic association with the natural world. The perfectly and digitally created circles form a sky of clouds, while the additional layer of lines and dissociated colors give the work its depth. The composition, made up of a recognizable blue sky, a pink sky, as if seen through rose- colored glasses, and a line that connects the two, creates an imaginary world left for the viewer to interpret. Just as the sharp angles and straight lines represent the mechanic gesture in the work, the brushstrokes, imitating movements of a bird, remind the viewer of the artist’s gesture. The ability to create his art at any time, through his portable painting app, is what allows Ackermann to combine the many elements that inspire him everyday.

Feitceira’ displays the power in Burton’s works as the scene is comfortable and relatable to most viewers, though at the same time, the colors and the lack of scenery past the window may feel cold and undesirable. The angle of the viewer is from behind, while the gaze of the driver is hidden, as we look in on her in the midst of a daily task. Similarly, Burton himself expresses his difficulty in painting these scenes despite how recognizable and familiar they are. He associates the car interior with his inspiration from cinema, as this representation is used often in movies where the figure becomes the protagonist. And so, while the figures are no one in specific, they are often inspired by films or series.

‘Peggy, Aperol Spritz and Smiths Crisps' is playful and fun loving. It recognizes that lifetimes are made up of days, which are made up of moments. Pleasure is there for the taking and this work captures that while reminiscent to the feeling on a summer day on the artist’s trip to Venice. Sitting in the sun, full of hope and optimism with the knowledge that anything is possible, the work depicts the Guggenheim Museum on the canal. The joy of the present and the confidence in the wonderful things that could follow in the future. Mansbridge often explores questions of change, something that all living things in our planet experience, though often resist and fear. True to the artist’s form, the work is arresting and meticulous, both brave and restrained; the best of human qualities. She aims to cause powerful emotional responses, and beyond technique and subject matter, the feelings that emanate from her works are what is most important to Mansbridge.