This gallery contains 10 photos.
This is an exhibition of Gareth John Wood’s (AKA Fuller) work. Fuller is known for drawing intricate maps, often described as psycho-geographical, of places he has lived in. He observes the identity of places at a particular space in time:
“Our cities, their infinite possibilities, and frenetic energy offer a platform to observe contemporary culture and society. Drawing emotive maps provides me with the opportunity to physically explore and investigate our existence whilst making visually engaging art. They tell stories, provoke conversation and celebrate the identity of places in all their glory.”
I am impressed by the details of Fuller’s depiction of the space, which makes people feel dizzy when looking at the map. Also I agree with what he said about his work. In one way, artists convey energy to their work, but artists themselves also receive something from their work, something meaningful and powerful.
This is the reason why I like to do art.
Tom Jones-Berney depicts the East London landscape in his own unique way, which can feel the vitality of London simply by looking at his work. The vivid colours and the characterful architectures attracts the audiences, this is one of the challenge that I have to deal with. What kind of drawing/painting style that I am going to work on? How can I attract the audiences to look at my work, for example.
This exhibition is like a reflection time, which helps me to ponder what I have to and try to do next.
Jonny Green’s paintings are based on his own sculptures, which is where my inspiration came from. Green’s paintings are very precise and realistic, the process of working is time consuming and labour intensive. As he needs to begin with making the sculptural objects, photographing them and then paint it. Green’s work bring to mind ideas of displacement, otherness, metamorphosis. Green explains his approach as one of chasing the human elements within his objects, to tell their story and make their voices heard and validate them.
The interesting thing about Jonny Green’s work is they are presented intentionally ambiguous, we don’t know what we are looking at, its origin and what its intention is, and this ambiguity challenges us when we look at his work.
Nastaran Shahbazi lives between Paris and Hong Kong, the work ‘The Sun Also Rises’ looks at the notions of displacement and migration with a focus on individual experiences. Life on the road becomes a metaphor for one’s personal search for meaning. Not designed as a fixed object, the exhibition is rather the starting point of a series of discussions and collaborations.
Sharhbazi wishes to move away from images and interpretations of displacement focusing on its collective aspects, this exhibition and the related artistic collaborations take loneliness, utopia and the search for meaning as inherent components of every journey, and intend to reflect on the individuality of the experience of displacement.
By looking at the work, they give the viewers sense of sadness. Also, the use of colours and the darkness of the gallery’s surrounding, strengthen the emotion of loneliness.
It is an exhibition of Tan’s surreal illustrations and sculptures. There are thirty artworks from the Bird King, Rules of Summer, Tales from Outer Suburbia and The Lost thing made by 2011 ALMA Laureate Shaun Tan. Tan has been famous for creating dark, unsettling picture books such as The Rabbits. Also, he sees every book as an experiment in visual and verbal storytelling, and uses a variety of materials: pencil, Indian ink, coloured pencil, painting and various print techniques.
In Tan’s work, I am interested in the way of how he creates the surreal landscapes and objects or creatures. Although I have the main subject of a project, not always have specific ideas on what to draw an imaginary world. Tan says: “ I frequently have nothing particular in mind when I start sketching… ideas just splinter off. One thing reminds me of another and occasionally fragments from one project unlock some other dormant one. Quite a small percentage actually ends up in a published work; I don’t kill my darlings, I shelve them.”
Which means that I should not consider so deeply, just go with it and let it be, some of the sketches may become a stepping stone of resolved pieces.
The sculpture, Salt Field No3 as implied by the name, is made of salt. It is an exhibition about transformative, visual narrative of Spring in East London.
The salt blocks used in this sculpture are commercially manufactured, formed from mined salt that is refined then compressed under high pressure. In contrast with the urban courtyard space of the gallery, the pure, white, marble like blocks have the density of engineering bricks and a smooth texture.
The interesting part of this work is rather using traditional sculpture materials, Salt Field No3 challenges this notion and embraces the effects of the sun, rain , wind, and city pollution. The condition of the sculpture continually eroding and crystallizing over time, so it would be different when viewing the other times. Also, the viewers are encouraged to participate and engage with the work as that salt dissolves under the influence of environmental forces.
From this exhibition, I have realised that making art really don’t have limits, neither methods nor materials, everything that are chosen by the artist can be the meaning behind of the work. (e.g. symbolising sustainability between erosion of the sculpture and erosion of the natural and man-made landscape.)
As I have been left over the ‘penguin army’ on my studio wall for a while already, due to the reason that I couldn’t think of how I can show it in a 3-dimensional way.
In the Linear Gallery show, I have used screen printing for the this piece. Since the screen printing workshop in year one, I haven’t been using this technique in my work, so this is the first time that I have finished a piece of work in screen printing. I have printed around or even more than a hundred of these penguins, so my arm have been in pain for two days. In this wall piece, I have used 25 prints (4 penguins in a print) so there are 100 penguins in total.
During the printing, I have tried two kind of papers, one is the yellowish paper, and another one is white paper, but I think the yellowish paper show the best result.