Lars Elling‘s paintings are layered narratives told in a fragmented visual language that incorporate allusions to film and photography, sometimes also invoking nostalgia with references to private photo albums.
In Elling’s large canvases, human bodies rarely take entirely conventional forms. Rather, their faces and limbs melt into nonfigurative elements–atmosphere, blurred color, scrubbed-out regions of neutral tint–gesturing toward a broader horizon, nodding at persona and narrative while ultimately frustrating any drive toward coherence or story.
Sigmar Polke was a German painter and photographer who experimented with a wide range of styles, subject matters and materials. In the 1970s, he concentrated on photography, returning to paint in the 1980s, when he produced abstract works created by chance through chemical reactions between paint and other products.
Polke launched Capitalist Realism in response to Pop art, exhibiting the first works in this genre in Düsseldorf. Polke took as his motifs such ordinary food items as chocolate, sausages or biscuits, isolating them and apparently depriving them of their tactility in order to elevate them to the status of aesthetic signs.
Known as one of the most influential photographers of street culture in the new millennium, Boogie emerges once again to spark our curiosity and narrate authentic stories in his own raw style. A Wah Do Dem, Boogie’s sixth monograph, and his first one in color, takes us far away from the familiarity of the West, and throws us into the noisy and cryptic underbelly of Kingston, Jamaica. Through his pictures, Boogie illustrates both the madness and humanity of a complex place, where poverty, violence and crime are often dominant elements of daily life. He relies on his instincts to gain the trust of people who live on the edge of society, and to photograph their world in an honest and objective way. “I was waiting in a back alley, all the way down the lane, in one of the sketchiest neighborhoods in Kingston. It was pitch dark, and it felt like I had been waiting forever. At some point, a guy wearing a creepy horror movie mask and carrying an M-16 appeared from the dark,”Boogie writes in his introductory text, “Even though I was brought there by a friend of a friend, I was really nervous, you never know when things might turn ugly. After a brief introduction, I started taking pictures of the guy, roll after roll, I couldn’t stop. It was the last night of my first trip to Kingston, Jamaica, and at that moment I knew I had to come back again very soon.”
Julie Cockburn is an artist based in London. Her work is best defined by its delicate craftsmanship and by the transformation of every day and found objects into works of art. Cockburn’s pieces are elaborate, intriguing and beautifully executed, with an autonomy that makes one want to believe their existence.
Her photo-based collages embellish and distort vintage images using tools that range from embroidery to Photoshop. To begin each piece, Cockburn trolls junk shops and garage sales for old photos, often studio pictures from the middle of the last century. She scans them and uses the computer to plan what she wants to do. Then she transfers the digital sketches back onto the original, and proceeds to cut or sew or draw or paint. The results subvert the decorum of the tidy portraits and landscapes she chooses, making something strange and beautiful.
People have been escaping reality since the dawn of the frontal lobe, but since the dawn of video games and the internet, humans have almost disappeared completely by creating worlds of their own, virtually. British artist and photography student, Ollie Ma’ showcases this new paradigm of reality by integrating photography with images from the popular video game, Grand Theft Auto V, to create his series, Open World. He highlights the feelings of dislocation and disconnection of young people growing up in small British towns. The results are simulating and stimulating to the senses.
Copenhagen-based artist Philip Overbuary uses reality to fake digital images, using magnets and magnetic ferrofluid for an experimental photo series called Ferro.
Ferro stems from Overbuary’s work as commercial photographer where an overwhelming number of his commissions request heavily Photoshopped and 3D-rendered images. He enjoys using analog technology, like oscilloscopes and TVs with antennas, so it’s immensely satisfying for the artist to use mediums like ferrofluids to create images that look computer-generated but aren’t.
French artist, Charles Pètillon, changed landscapes in the last couple years with insanely beautiful installations of white balloons called “Invasions” in France and “Heartbeat” in London’s Covent Garden.
The artist stated that he wanted to encourage viewers to examine spaces they frequent or take for granted more closely. Structures like abandoned houses, playgrounds, basketball courts, and what is considered the heart of London, Covent Garden, were transformed into magical, awe-inspiring creations that, even with his photographs, bring the viewer into the presence of his or her own life, the absolute here and now, noticing life around us and within.
Filmmaker and photographer, Ben Tricklebank explores the humanistic need for control through its illusory existence in technology. Endec, his current exhibit at the Gazelli Art House in the United Kingdom, is comprised of two installations, one of which is a new series of photographic prints featuring a female figure partially submerged, yet fully coated in marbled, milky-white fluid.
The swirls of black dye ripple around her body and simultaneously controls, and is controlled by, the motion of a light reflecting pool where audience members can effect the speed and direction of the ripples. This symbiosis of struggle and accord between the figure and the liquid allows the creative process to shape the unexpected outcome of each ‘canvas.’ As one image on display states: control is an illusion and illusion is control.
The second installment of the two-part exhibition is also named, Endec, and will be a short film deriving inspiration from the installation and photographic series to follow. Alongside Tricklebank’s solo exhibition, concepts of control, surveillance and security will be examined in a group show featuring artists working with VR (virtual reality) technology in their practice. Displayed on the first floor, this show within a show will introduce the new medium for the first time within the gallery’s context, surveying ways in which the Summer 2016 release of Oculus Rift might influence trends, commercial and institutional engagement and artists working in this field. A full list of artists as well as contributing partners will announced shortly.
Endec will be on display May 13th- June 25th, 2016 at the Gazelli Art House UK