"As a contemporary paper artist, my art is a physical representation of my ongoing reflective journey. It is paper art, molded by instinct and an intellect influenced by intuition. It is paper art, molded by instinct and an intellect influenced by intuition."
My art begins with virginal white paper, on its way to becoming something else, an alteration, a complex form. My medium is paper pieces, hand-torn with a gentle physicality that removes the newborn softness and creates a unique ruggedness that contains encounters, travels, reflections, love, loss and happiness. Each layer is composed of paper pieces in all shapes and sizes, which serve as a basis for the next layer, minute, day, year or experience.
Everything is dynamic, a manifestation of the patterns, rhythm and exploration that is life. Everything is stop, regulation and boundary-free. It is a process steeped in femininity and labor, which attempts to reach the ultimate goal of purity and peace, not settling for anything less than the glorious artistic multi-dimensional adventure.
Danielle Rovetti is an abstract artist based in Johannesburg. After 20 years as a freelance graphic designer working on branding and marketing material for corporates, Danielle returned to painting 2 years ago. Danielle’s abstract paintings examine the worlds intrinsic layers and our emotional responses to our surroundings. The details reflect shifts in light, evoking a sense of movement and change. The artwork consists of many layers and different mediums creating a composed depth which is a reflection on the duality of life. The outcome is a representation of the dualities of light and dark, stillness and movement, and the competing forces within nature. Danielle uses concrete, oil paints and resin, which create both soft and rough textures within each piece.
What are the traces left behind by violence, war and excess? What mark does history leave on landscapes and people? Do man and nature show the violence they have suffered? Florian Süssmayr describes the consequences of actions that took place in the past but left their mark on people and places. Mostly there is nothing tangible to be seen. While his early “Colour and Football Fields” describe a football match, all they show is a deserted field. His interiors, with their lonesome tables and chairs, are places where something has taken place, something that can still be sensed but is no longer visible. Some landscapes from his new series are titled “Unknown Place, Poland” and stand for unknown victims in unknown places.
With Medusa-like magic, British artist Chloe Rosser’s photographic gaze transforms human flesh into sculpture. Rosser, who takes a page from classical nudes in poise and balance, otherwise departs from the idealized form for altogether new, distorted proportions.
“My art is not about what I see… Its about what I invite you to see” are the words of contemporary light artist Olivia Steele. Always symbolic and sometimes irreverent, her neon statements suspend time and motion. The interpretable phrases inhabit spaces of contradictory, confrontational or conciliatory meaning.
I create experiments, which originate from an invented movement called an "Unknown Working Process". This is when both pre-used building materials and art supplies are mixed together. I am interested in finding out how they might function differently when put in an obscure process. I get most excited when I start to see something happening, shapes and forms morphing into one another, as if the surface carries a sense of movement. I start to work on top of the new reconstructed surface once a collision has been made between the pre-used building materials and the art supplies. I want to acknowledge and illustrate this state of transformation. A gap consistently appears in my work due to the alignment between intention and process becoming disabled. It is this gap, which makes the outcome more interesting, as a constant break up between intention and process forms a magical moment.
Katharina Fristch is a German sculptor who produces bold, deeply psychological works of fairly quotidian subject matter, such as animals and people. They obscure and muddle the lines between reality, the surreal and the fantastic, by drawing on folk stories, art history and personal experience. Their appeal lies in the uncertainty created when these two worlds are meshed together.
Her rendering of familiar imagery into ambiguous and perplexing symbols asks the viewer to call into question their conceptions of previously understood representation. Utilising humour, particularly in the form of wordplay and double entendres, and social commentary, Fritsch’s works are intended to be both captivating and unnerving; she wants the audience to reconsider their own definition of reality, to reflect on the feelings and associations revealed by viewing these commonplace objects in a new context.
Peter Gronquist is a multi-disciplinary artist working in diverse mediums and materials ranging from video and painting, to sculpture and site-specific installations in our natural and built environment. Whether harnessing the wind itself with a massive, silver monochrome flag rippling in the middle of the desert, or activating the soft, penumbral glow around an industrial lighting fixture, Gronquist always leaves behind a record of frozen yet fleeting moments charged with his own personal subjectivity.
Roxy Paine is a contemporary American artist best known for his tree-like structures he calls Dendroids. In addition to these sculptures, Paine also produces paintings using computer-operated devices and robotics. “I’m interested in taking entities that are organic and outside of the industrial realm, feeding them into an industrial system, and seeing what results from that force-feeding,” he has explained.
Born in New York, NY in 1966, he attended the College of Santa Fe in New Mexico before returning to New York to study at the Pratt Institute. The artist first began exhibiting his work during the early 1990s, and produced his series of Replicants later that decade. In these works, Paine featured replicas of plants or mushrooms which are either poisonous or hallucinogenic when ingested by human beings.
Deep, complex and sometimes mysterious, emotions are fundamental to the human condition. They color our days and have a profound impact on the way we feel about our lives. Although all people should be able to control their personal emotions, there are times when that is not the case – when, actually, emotions control us. Korean artist Xooang Choi has created an impressive body of work that shows us the realism of the human emotion frozen in an instant. His art reveals the raw reality of modern life ordinary people face every day if they don’t confront the outer world. The artist’s interest focuses on social systems that manage and control people, their behavior and feelings more than ever before.
Born in 1975 in Korea, Xooang Choi obtained his MFA in Sculpture from the Seoul National University in 2005. Already during his studies, he became recognized for his tiny figurative sculptures made of painted polymer clay. However, since 2007 and his one-man show titled The Vegetative State, Choi’s figures have been enlarged in its scale, which gave more presence to his figurative sculptures that unearth dark emotions. The artist modifies proportions of the human-like characters or isolates body parts and takes them out of context to create disturbing and thought-provoking pieces that explore human rights, discrimination, society’s pathological state, isolation, loneliness, and sex and gender politics among other themes.