No. 15 Niushetouwan Road, Luxu Town, Wujiang District, Suzhou, China
Artists:
Aysha Nur (Singapore)
Chloe Po (Singapore)
Nima Hassan Beigi (Iran)
Olivia Grizzle (United States)
Rodolfo Edwards (Chile)
Yen Phang (Singapore)
无题空间艺术家驻地计划群展
BY THE WATER - 在水边
2017年11月26日 - 201711月29日
中国江苏省苏州市吴江区芦墟镇牛舌头湾路15号
艺术家:
Aysha Nur(新加坡)
Chloe Po(新加坡)
Nima Hassan Beigi(伊朗)
Olivia Grizzle(美国)
Rodolfo Edwards(智利)
Yen Phang(新加坡)
By the Water - is the first group exhibition presents by Untitled Space Artist in Residence in Luxu, Suzhou. Six artists from four countries exhibited new works created at Untitled Space Artist in Residence in the past three months. Works focus on the new exploration of the resident space and the space of water town, as well as the rethinking on urbanization in China. Works reflect the dialogue between artists and the resident space and Luxu - a thousand years old ancient water town and also show the active extension of artists' self-creation.
Three Little Birds, Acrylic on Chiffon, 60cm x 80cm, 2017
Three Little Birds, Acrylic on Chiffon, 60cm x 80cm, 2017
Three Little Birds, Acrylic on Chiffon, 60cm x 80cm, 2017
"My work explores various themes ranging from personal experiences that I gather from traveling journeys since childhood. Growing up as a mixed race of half Turkish and half Pakistani, I am exposed to various cultural perceptions and views while adapting to many different cultures, languages, and people. This has allowed me to see both the Asian and Western perspective and get used to them very quickly. My approaches to art making are detailed and abstract, with a representation of nature. As a landscape artist, giving my works meaning is essential in connecting with my audiences, as they are related to my personal identity. Engaging with local artists in my hometown and abroad, the exchange of ideas about art today and how it functions in society, spaces and institutions has allowed for my artworks to find relevance to contemporary art."
'Sentiments' is a series of Sculptures that draws a subtle relationship between the fleeting nature of existence with that of time. Acting as figments of personal objects that the villagers were washing by the river, the series explores the notion of memory and it's intangibility due to repetition and routines of daily life. Plastic is a material that is easily disposed of, similar to that of time and memories that pass by fleetingly. Hence, the series uses the material of plastic as a dimension of memory, fleeting and subtly resisting against loss. The Colour blue used in the series explores the blue hues of blue china. It thus acts as a reflection of historic symbolism; fusing history within that of memory.
Self-Portrait, Oil on Canvas, 2017 / 29-Year-Old Male with AIDS, Oil on Canvas, 2017
Incision Mandala, Oil on Canvas, 2017
Self-Portrait, Oil on Canvas, 2017
This series of works created at the Untitled Residency continues the artist’s investigation of the tension between spirituality and rationalism in modern society. All of the works are based on medical photography, with the two diptychs (Self-Portrait and 29-Year-Old Male with AIDS) based on photographs of the inner back of the human eye, or the “fundus”. The human eyes are a common image in Grizzle’s work because they have consistently carried a spiritual or religious connotation as the windows to the soul. While in contrast, western medicine often represents rationalism and the Enlightenment. Therefore paintings based on ophthalmology photographs are the ultimate way to highlight the tension Olivia is exploring.
Excercise of Speed and Expansion, Mixed Media, 2017
"The City narratives and its system of inner transformation such as its human component are aesthetically and discursively represented in my work. I express in my paintings, the relationships between stable and mutable, between permanent and ephemeral, while building a reflection space about the limits of domestic elements within a moving scene into an undetermined and generalized space, open to endless directions which exceed the architectural plan-view. Through such technique, perspective amplification, I state the territory crisis as a unity within time, becoming the architect of eternal transformation. From another angle, in most of my work is present there, the invalidation of the local, favoring the global territory, as if the dividing or geographical lines would be displaced by the globalized model, understanding urbanism at a parallel level to the interior in a scene guided by the postmodern access."
“How do we see “clean”? In “Clean River”, “Looking for the WC”, and “How to Wear White”, I use mainly melted bar soap as a painterly medium. It resulted not so much in a singular project, but a development of my painting practice in various movements, by using soap to paint fishing nets and wall sections, as well as encasing fragments of broken roof tiles. What is “clean” after all when depicted materially, whether we’re talking about body-hygiene and the landscape of health (of a functioning body or body politic), or its corresponding moral associations? What becomes of white, whether as negative space or material imposition on existing objects, as deliberate hue or non-color.”