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Art Listings
LLOYD GILL GALLERY
'In absence' curated by Jamie Durling
Preview night will commence on Saturday 13th February and start at 7pm and
finish at 10pm. Free wine on arrival.
The exhibition will continue till 12th March.
Gallery opening hours are Tuesday to Saturday 10am till 4.30pm
The exhibition will include painting, photography and sculpture. Under
Jamie Durling's curation, the exhibition will show works which express a
sense of absence, solitude or emptiness. This could mean a fleeting moment
of solitude experienced by the artist or the subject of the image. 'In
absence' could be in the form of an image, which conjures thoughts of
absence, in its myriad forms, in the mind of the viewer.
Participating artists
Angie de Courcy Bower
Whilst a Fine Art student at Brighton University (BA Hons) and later,
Leeds Metropolitan University (MA), Angie's practice developed through
abstraction, minimalism, conceptual art and sculpture before returning to
figurative painting.
Fascinated by the complexities of the human
condition, Angie strives to give form to her ideas and feelings about life
and our connection to the world. Drawing upon archetypal and mythic
messages, and coupling them with contemporary concerns, Angie examines the
nature of consciousness: considering issues around identity, freedom and
love to cruelty, suffering and mortality.
Searching for knowledge and understanding in what may be hidden, even
dark, territory Angie tries to articulate the hopes and fears which
permeate existence and have such an impact on our potential. Like life
itself, the paintings may become joyous, gloomy, ironic, ambiguous or
funny.
In using the figure as a viable conduit for explorations of modern
culture, adopting familiar elements and painterly values, Angie aims to
create statements which are vivid and timeless, and which invite an
emotional immersion - with an engaging simplicity that not only belies
deeper philosophical speculation but also resonates with the insights of a
non-specialist audience, as a visitor once noted:
'As a non-artist I often feel shut out of art, as if artists are speaking
in a language I don't understand. Not so with this exhibition! These
painting spoke to me about my own life. Wonderful. '
Yuco Ota
H e A t
Through Yuco's paintings, she explores the idea of "heat" as a power
source linked through the natural and emotional world to us; a
synthesizing between our emotions and energy created from the heat in a
state of flux.
Yuco uses physical appearance of fire, smoke, embers, and ashes as
imageries of heat in her works. Yuco's responsive to the feel and look of
them. And she attempts to personify them from her visceral
interpretations.
Those who inhale and exhale heat, make her think of endless repetition of
birth, burn, and die. The similar process also repeats in the individual
mentality like a rolling wheel of fortune. Begin to be end; end is to
begin. Somehow, this natural order of things is depressing, and
emptiness. But still Yuco feels compelled to expose object that could be
carrier of heat as in flux and unchangeable karma.
They are corpse and eggs at simultaneously, and Yuco wants to preserve
them as adorable as she perceives.
Tahnee
Lonsdale
In 2007, Tahnee graduated from Byam Shaw School of Art. Her degree show
launched her straight into the real world of Art and Tahnee immediately
started showing my work in a number of galleries across the capital.
Tahnee now rents her own studio in West London, where she spends her days
and nights working on new pieces for exhibitions and commissions, amongst
many other things.
Tahnee's initial instinct is with colour, although storytelling plays a
very important role. Her paintings, done mainly onto large canvases,
depict strange and ambiguous stories wthin apocalyptic, surreal
landscapes.
Mirjam
Mölder-Mikfelt
Mirjam Mölder-Mikfelt is an Estonian artist, working in oil, acrylic and
mixed media on canvas.
At an early age she developed a serious interest and desire for
drawing.Since then, her life has always been filled with art and the
desire has grown into a passion.
She studied in the painting department of Tartu Art College in Estonia,
however, she decided that the most eligible person to teach her art is
herself.
Now, as an autodidact artist, she has evolved her own style and is
confident in everything she does.
Mirjam enjoys the process of painting, and needs to experiment constantly
always trying something new.
Over the last years Mirjam has become fascinated by the beauty inherent in
the human figure and has since been painting mainly nudes. Her work
focuses on depicting nudes in an untraditional, sensually exciting way.
She doesn't use
models and paints mostly by heart, finding realistic appearance and
correct proportions unnecessary.
Mirjam's use of colour is inspired by her synesthetic experiences and is
central to her work. She love the colours she sees and feels, the colours
of life, and love.
Mirjam has also a keen interest in photography. If she's not painting,
she's probably taking pictures or restoring old photographs.
Jo Seong Hee
This project is placed in the context of artistic urban photography as
well
as night photography. Urban photography is as old as photography itself,
but an artistic use of this subject was pioneered by Alfred Stieglitz, in
the early 1900s. He proved that cityscape scan have an aesthetic value.
Today, new types of media, such as video, pose a
challenge to architectural photography.
Jo's work aims to show that photography competes successfully with these
media,
as it is possible to create 'new', imaginary landscapes through a
combination of shots.
This project is an experiment to apply the technique of collage and
produce an
imaginary' panorama' of high-rise buildings and other urban features seen
by night.
The pictures each consist of three images tightly juxtaposed in one frame.
For Jo's
idea of a panoramic impression furnished by triple images She relied on
McLuhan's
philosophy regarding the extension of vision. By joining images, you
transcend the need
to read sequences sequentially. Hilliard and Scott McFarland also
'compressed' time into
single images. The result combines elements of collage and voyeurism.
Mark Morris
Marks work is inspired by the exploration of space around and within a
sculpture to create a subtle tension. The use of ceramic and Perspex came
from the desire to bring together the historically evocative with the
modern. These sculptures although all based around an angular enclosed
starting point are made up of strong individual components that vie for
recognition.
The circle sits in our subconscious as a strong reminder of all that
affects our daily lives. This balanced symbol touches us all; from the
understanding of our earth and the movement in the cosmos, through to its
iconic use in pagan religion such as the ancient stone circles of
Stonehenge through to modern day branding. The counter balance to this
iconic symbol is the line/slice, which opens up the area of
re-interpretation via the process of re-assembly to give the sculpture a
fresh presence.
Mark uses Perspex from the first cut in the wet clay to look at the
dynamics taking place in the piece, the Perspex opens up what was solid
and creates the floating effect within the piece. This is the enjoyable
and natural part of the creative process. There is then the skilled part
of making that first natural act work in the finished piece via the
reworking of the lines and getting the texture of the surface to come to
the fore as that becomes a crucial part in the final resolution of the
sculpture.
Tsendpurev Tsegmid
Tsendpurev Tsegmid is a Mongolian artist living in the UK, who
investigates issues of heritage and identity from the perspective of her
own cultural re-location. Originally trained in the discipline of
traditional Mongolian painting, Tsendpurev now works in a contemporary art
context. She uses photography and performance, combining both practices in
such a way that her work is difficult to categorise. In some cases the
camera simply documents a performance; in others the performative event is
staged in order to construct a photograph as the final artwork.
Tsendpurev uses clothing and costume to take on different identities and
to explore the issue of geographical and cultural displacement. In her
ongoing project Packing/Unpacking, Tsendpurev wears her mother's 'deel'
(traditional embroidered garment) in the context of both Mongolian and
Yorkshire landscapes. Alhough geographically separated from her family
living thousands of miles away, she is tied by her feelings of love and
kinship. This is expressed by wearing her mother's clothing (like an
'embrace') or dressing in a police uniform as a reference to her father's
professional life, during the Communist regime of his country. The camera
provides a way of examining these acts of identification and emulation,
and the multiple meanings that are produced once they are framed within a
Western context.
Familial narratives are also woven into a research project that
investigates the guarding of frontiers and the preservation of
territories. Tsendpurev examines the meaning of her country's borders from
the perspective of one who has flown over and beyond them. Living in a
globalised culture but still maintaining an attachment to her homeland,
she questions the use of the term 'nomad' for the millions of people
around the world who live in voluntary exile rather than following the
patterns and paths inscribed by previous generations.
Assuming an alter ego for the series Queen, Tsendpurev displays the sense
of pride located in her Mongolian heritage. The warlike prowesses of the
country's leaders, and the history of the Mongol Empire, provide a focus
for national feeling. However, there is also a sense of irony in the mode
of dressing up used to create The Queen. The clothing is purchased from
shops in Mongolia and the UK, produced by multinational retail companies
in a global industry that indiscriminately fuses styles and fashions. From
this available mix Tsendpurev chooses to create the identity of a female
warrior leader, as a re-enactment of ancestral power and authority. The
Queen adopts ceremonial poses using the sword as her most potent
accessory. However, she also reveals a self-reflective uncertainty as she
faces the camera. Queen has been performed in different locations,
including the Royal Armouries Museum in Leeds, where it was an
intervention in the museum's space of preservation, raising contemporary
issues of conflicting identity.
By Juliet MacDonald MA
Jamie Durling
Jamie's work is created in one of two mindsets each of which has a drastic
effect on the final piece. Often, Jamie will spend a lot of time
developing a coherent conceptual framework which will often originate from
an idea taken from the things that influence him as an artist; films,
paintings, books or everyday occurrences in which Jamie have played a
part or witnessed.
These ideas will then be researched and developed over time and often
culminate in a single photo shoot which will be overseen with meticulous
attention to detail, adding/removing objects from the frame which are
desirable/unwanted. These are more often than not narrative scenes which
require people to 'act out' certain parts in order for Jamie to achieve
the desired result.
The other side to Jamie's work is rather more spontaneous, and involves
very little thought and planning. The images shown here from Jamie's book
'One Hundred Colour Photographs' were all shot in this way, eliminating
the gestation period of a concept and 'taking' whatever it is that Jamie
sees in the moment for what it is, without any alteration to the frame and
its content, simply a moment.
FULL DETAILS
The Lloyd Gill Gallery
Lee House
13 Beaconsfield Road
Weston-Super-Mare
Somerset
BS23 1YE
enquiries@thelloydgillgallery.com
www.thelloydgillgallery.com
refocus-now.com
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