Ewa Matyja is a self-taught abstract painter who has taken the plundge into the world of art over 2 years ago afterlife career in fashion retail. Originally from Poland, lived for years in the USA, Ireland, and Germany. She had several solo exhibitions in Poland and also has been included in various group exhibitions and art fairs in Germany, USA, UK, Italy, and Poland. Her works dealing with intuitive forms, expressive lines, and colors. She is often inspired by texture, material manipulation, and the unconscious mind, with an interest in how art can become a bridge between artist and viewers. Her art reflects endless optimism and abundance of energy. She inters weaves lines, colors and objects with energy, some of it tinged with shades of culture visiting places, but always reflecting the artist character and perceived world view, shaped by her journey and experiences. For Untitled Space, Matyja created a new body of work inspired by unlimited textures of traditional Chinese paper. Fascinated by visual features, it’s structure and weight; Chinese brushes that give the painting the rhythm with the use of traditional ink used to create variety, balance, and empty space. She explored the relationship between traditional materials and their influence on artistic forms and techniques, which gave her freedom in term of artistic conception, structural composition and method of expression.
Ja Min Yie was born in Seoul, Korea. She received her BFA in Illustration from the Rhode Island School of Design and her MFA in Painting from the Marchutz School of Fine Arts. She recently attended the MASS MoCA Residency program and the Hemera Foundation Tending Space Fellowship. Ja Min Yie approaches painting as a phenomenological operation. She renders what is perceived as it emerges in the immediate present. The aim is to discard habitual assumptions that obscure perception, and instead see things nakedly, as they are. Her works sit between form and formlessness, where appearance arises simultaneously with its dissolution. Furthermore, in her works, a sheen of light emanates from the surface of passing forms, intimating the nature of their structure and substance. Yie is particularly interested in achieving this resonance between light, surface, and construction, and in the upcoming weeks, she will be studying still lives, hoping to extract a similar diaphanous presentness.
Ja Min Yie出生于韩国首尔。她在罗得岛设计学院获得了插画学学士学位，在马其兹美术学院获得了绘画艺术硕士学位。她最近参加了MASS MoCA驻地计划，以及获得了Hemera基金会的“趋向太空”奖学金。Ja Min Yie将绘画视为一种现象学方法论。她呈现出此时此刻的快速感知。目的是抛弃使感知变得模糊的习惯性假设，而是赤裸裸地看待事物其本质。她的作品介于有形与无形之间，在这种形式的出现与消散同时出现。此外，在她的作品中，一缕阳光从经过的形式的表面散发出来，激发了它们结构和物质的本质。Yie对实现光线，表面和结构之间的这种共鸣产生兴趣，在接下来的几周的驻地中，她将研究静物写生，希望能够提取出类似透明的现实感。
Web 网 - Lu Junyi 卢君意 (China 中国)
Junyi Lu is a painter from Guangzhou, China. Her works take a philosophical view of the absurdity of existence. Her paintings contain obscure expressionless figures set in whimsical and surreal scenes, intending to leave dumbfounded humor.
Artist Ergonomics 艺术家人体工程学 Art For Sale; Adults At Play 贩卖艺术，成人游戏 - TaeGyeong Yoon（South Korea 韩国）
TaeGyeong Yoon is a South Korean artist based in London and Hong Kong. His specialisation is in the background of painting and printmaking and has been recently facilitating between contemporary practices of other diverse mediums. The selected pieces in this exhibition illustrate works in progress for the artists solo show at the Untitled Space, coming October. “Artist Ergonomics”, 2019, can be seen as a continuation of his most recent work, “Sadistic Vibrations Incubator”, 2019, an enquiry of the personal economic pendulum that each artist uses to navigate through the growingly inaccessible economy with, as a response to Platform Capitalism by Nick Smicek (2016). Specifications of the chair had been tailored to the artist’s bodily measurements that relate to the type of labour involved in creating the pieces for this show. “Art For Sale; Adults At Play”, 2019, will be completed as a perspectival installation regarding micro and macro scale influencers of the re-visited theme of ‘encounters’ that play in accordance with the notions of production lines and exploitation of labour (also referring to the text, The Mushroom at the End of The World, Lowenhaupt Tsing, 2015). To which, the most notably evident, the instrumentality of physical space at the expense of children. As an extension to his research that began in 2017, of Adventure Playgrounds and Learning development of children and young adults of various cities with regards to independent mobility schemes around various urban environments, Yoon explores the idea of play in relation to the familiarity of materials. In this piece, he has chosen woodblocks to create constructions that are measures of surveying materiality incoherence to space in Zhujiajiao.
TaeGyeong Yoon是创作在在伦敦和香港的韩国艺术家。他的专长是绘画和版画创作，最近在其他多种媒介的当代实践发展不同的创作。本次展览中展示了TaeGyeong即将于十月在无题空间举办的个展中的部分作品。可以将《艺术家人体工程学》（2019年），作为他最新作品《虐待狂振动孵化器》（2019年）的延续，这是对个人经济摇摆的询问，每位艺术家都可以使用“它”，在日益增长且触不可及的经济中导航，作为回应 Nick Smicek撰写的《平台资本主义》（2016）。椅子的规格是根据艺术家的身体尺寸量身定制的，其尺寸也与创作该作品所需的劳力类型有关。《贩卖艺术，成人游戏》将于2019年完成的装置作品，以宏观和微观影响者的角度，重新讨论了生产线中和剥削劳动力中“遭遇”的概念（参考文章《世界尽头的蘑菇》，Lowenhaupt Tsing，2015年）。其中最明显的是，物理空间的工具以牺牲儿童为代价。作为对他自2017年开始的研究的一个延伸，Yoon围绕各种城市环境的独立出行计划，探索了各个城市的儿童和年轻人的“冒险游乐场”和“学习发展”，他探索了与熟悉材料有关的娱乐性。在这件作品中，他选择了木工的方式来创建建筑，以测量朱家角与空间的物质不一致性。
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