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BIO

Laura Killer

*1992, Krumbach

since 2020
Fine Arts Studies / Prof. Gregor Hildebrandt
// Academy of Fine Arts Munich

2019
Cycling around Canada & USA

2014 – 2018
B.A. / General and Comparative Literature Studies
// LMU Munich

10/2012 – 09/2014
B.A. Art and Multimedia (not completed)
// LMU Munich

Photo: Credit: Ilvie Schlotfeldt

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JEAN PHILIPPE LAGOUARDE

Jean Philippe Lagouarde 7680b_n1 – 156 x 100,5 cm

Jean Philippe Lagouarde Video

Jean Philippe Lagouarde October. 2023 Sundays Gallery

Jean Philippe Lagouarde October. 2023 Sundays Gallery

JEAN PHILIPPE LAGOUARDE Process

JEAN PHILIPPE LAGOUARDE Process

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BROOKLIN A. SOUMAHORO – ARTIST STATEMENT

I am drawn to dualities and the interplay of oppositional forces. By stripping my work down to its most essential elements—line and color—I create artworks where contradictory ideas can coexist: stillness/chaos, violence/peace, time/timelessness, abstraction/figuration…

In my paintings, Energy field, I use carefully planned structures as a basis for intuitive mark- making in which gestural lines simultaneously form an underlying grid. The improvisational execution of the paintings ensure that each work is unique, with unrepeatable patterns that shift according to each viewer’s perspective, including myself. Each painting poses a physical challenge, which I ultimately enjoy.

With the Lightning Field drawings, I connect the mysteries of nature with the tradition of abstract art. Each colored line in his drawings is measured upon lightning size and visibly hand colored to create a melodic composition, with geometric patterns that change upon the viewer’s perspective. By referring to lightning bolts – a still partially unknown phenomena that occurs 100 times per second and 8 million times per day and causes a visceral reaction in those who experience it – I challenge the underlying paradox of something so beautiful and yet so dangerous.

In an era in which we are clearing away outmoded systems and ways of being, I use abstraction to engage with our emerging future. I choose to move towards complexity, mystery, and paradox. My practice is a direct response to my lived experience navigating the physical and spiritual world and a collective humanity.

Link to artist page

Link to Q&A with Brooklin Soumahoro at Copenhagen Contemporary

Link to upcoming solo with Brooklin in Copenhagen

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The Cut Outs

Adrian Altintas’ paintings are the results of an exploration of representational perspectives. He studies the role of painting in today’s world and deals with the question of which qualities of the medium can continue to exist in the times of digitalisation and how these qualities are still valid.

In his cut-out works, Altinas cuts holes and shapes into thick white panels and paints on their flesh.

These cuts dissolve depending on the perspective and merge into further surfaces and coloured areas, drawing attention to the wall and thereby opening up the boundaries of the painting gradually. Through this the supposed limitation of two-dimensional painting is unleashed and extended by the component of space.

The coloured hole reflects onto the wall, adding depth and dimension to the painting. In this very area of the cut, in which the painting and the wall are immediately in relation to each other, the white of the wall appears open in contrast to the white of the panel. This fragile in-between space is activated and exposed, and becomes the object of the work.

Adrian Altintas  (*1989) lives and works in Berlin.

Text by – Isabel Coldewey

Link to Q&A with Adrian Altintas at Copenhagen Contemporary

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My work responds to the informational and visual overload and circulation of imagery, especially in cyberspace. Through painting I take it to a much slower, analogue realm to magnify and clarify the details that we so often miss in the mass of digital consumption. I am investigating the condition that is the shift in perception of images as they become a pure sign-exchange.

An image works merely as a communication unit and it is very distinct to verbal interpretation. The methods I use for collecting source material create a great foundation for two-dimensional works – I use records, documents, material artefacts to explore different personal archives and collections.

That requires field work and anthropological methods of data collection and challenges to find meaning in the vast visual world’s complexity. My works are being made collaging photography, printing, using classical oil painting techniques and industrial paint spraygun.

I am interested in creating a complex representation of the material human knowledge dissolving into the digital and how this notion of the physical archive is or is not open to representation.

Through collaging digital and physical matter together, I am emphasising the culture of snippets, clicks, bits, glitches, screenshots, numbers of opened windows, various screens, perception of scale and matter and it’s contradictions.

link to Q&A with Gabrielė Adomaitytė

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Feature / Richie Culver

I have never seen myself as a painter.

It is something I try to distance myself from. My work is largely autobiographical, naturally this gives me plenty of space to manoeuvre, be it sculpture or mixed media works using images I have collected from my phone.

The majority of my work atm begins and ends with my phone, something I have a love hate relationship with.. mainly hate to be honest. But it is a vital tool to my practice.

Trying to work with it rather than against it. I realise technology will move on so it’s something I can be slightly at ease with for now knowing this is not Permanent although the works will be.

When I started making work i started with photography and text, it has now come full circle and photography is back in the driving seat, albeit using my mobile phone to snap mundane moments of my life rather than the more serious approach I used to take with a camera.

Through photography I gained some vital information that would lend a hand throughout the timeline of my work, composition, colour, timing etc. Language came next.

I am subconsciously downloading information, phrases, words, conversations I hear, that always makes it’s way into my notes on my phone, then i usually blow up large scale on canvas as visual Proof of my inner dialogue. This is my main resource for my work today.

It has taken time, but finally the time is right to give text the front seat within my work. Titles were always one of the more enjoyable segments of my process, to have them as the focal point in my work has not been easy, or perhaps it was too easy ? And that is why it has taken so long.

I spent so many years trying so hard and over thinking my entire life and process.

I was brought up fairly religious, I lost this element in my life for sometime. Since having my second Child and other life circumstances, I can say there is definitely some kind of faith back in my life and that also reflects heavily in my work and the way I work.

Something has been lifted and my process has became seamless and free.

When I paint, be it the more conceptual text works or the Photo paintings, i work in one go. Performance elements within the studio help the subtle gestures and abstractions within the work and the painting slowly takes shape.

Sometimes blindfolded once the text part is visible on the canvas. I try to give myself as much of a disadvantage as possible.

I enjoy luck and error most, Luck is something that’s I have been brought up believing in heavily, that one day my life would change for the better because I found a four leaf clover or for the worse perhaps because I walked under a ladder.

I think growing up this affected me deeply thinking my fate was in the hands of fate.

This state of mind is still with me today so I try and guide it all into my work. It has a really strong grip on the outcome of a painting. Naturally my sculptural works are a totally different concept, but with my paintings it becomes a moment where everything stands still and I work from quite a youthful fearful place.

The outcome on a good day will look like it has been worked on by someone else which is where the freeness comes from.

On a bad day… there is no such thing as a bad day.

Featured artist Richie Culver 

Link to Solo Show 2021 Richie Culver Sundays Gallery Copenhagen

Listed on >>  20 Painters Who Are Shaping the New Decade

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Photocopies of advertisements, newspaper pages and scientific illustrations have been a substantial part of Aribert von Ostrowski’s artistic material and medium since the late 1980s. They have often served as an iconographically associative background for his drawings or paintings, have covered sculptures, or were part of context-specific installations.

Often the “paintings” consists of original newspaper pages, which are each laminated on canvas and first edited with a felt-tip pen, then sent several times through a DIN A2 black-and-white copier. This process uses master illustrations as well as various cut-out copies of the originals. Thus, literally multi-layered paintings emerge whose production traces, similar to Wade Guyton’s inkjet paintings, constitute an essential component of the visual vocabulary.

Toner that runs out, creases in the newspaper paper or “grids” created by the edges of the copy;; deliberate technical “errors” that produce blurriness;; irregularities owed to the copying process – all these influence the aesthetics.

Despite the incorporation of these mechanical means, von Ostrowski’s works are never concerned with redefining or even questioning the concept of authorship as such. On the contrary, the interventions by pen present themselves explicitly as handwritten utterances.

The artist thus has blacked out certain sections – either in a decidedly geometric manner, for example when rectangles let entire blocks of text disappear, or in the spontaneous style of “abstract-expressionist” painting. However, the painterly effect only emerges when magnified: what in the original appears to be a lapidary “telephone doodle”, when enlarged suddenly materialises as an expressive brushstroke gesture.

Text from – Buss, Esther: Carried Away (Over the Railroad Tracks). In: Texte zur Kunst March 2011, vol. 21, issue 81.

Esther Buss on Aribert von Ostrowski at Gallery Christine Mayer, Munich.

CV –  Aribert >>

Link to Gallery

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Daniel Boccato’s faceworks  series. Inaugurated in 2015, Boccato’s faceworks can be considered a peculiar interpretation to Donald Judd’s characterization of Specific Objects as entities that are neither paintings nor sculptures. Made of epoxy, fiberglass and polyurethane, Boccato’s faceworks are monochromatic reliefs, wall-mounted vertical topographies whose varying scale and formation accentuate a blown-up image of a cartoon-like face in the midst of spastic expression. Unlike the abstract Minimalism of Judd’s Specific Objects, Boccato’s faceworks culminate in a row of subjectively figurative images which represent the confrontational complexity of the face.

This complexity is represented in several ways. Boccato’s faceworks are frameless. It is as if they were stiffened and frozen in the course of growth and expansion. As such, they react to the boundlessness of the face as an agitated dynamic topography. In addition, the faceworks are also headless, detached from the support of a head. They address the uncontainable nature of the face as an emergence that cannot be delineated within a head. They tell us something deep about the face of the other, or rather, about the absolute otherness of the face, the transgressive energy of its appearance in space. Boccato’s engagement in defamiliarized and fragmented facial expressions carries his work away from the Minimalist context and reveals its affinity to Surrealist art and specifically to the Surrealist fascination with dissociated face parts (Man Ray’s hovering lips can serve as one example out of many more which come to mind).

Boccato’s interest in defamiliarization takes a different route. The second series presents a new group of works. Begun in 2018, the group consists of concrete cast sculptures depicting sitting lions, which, similarly to the face reliefs, stare at the viewers, inviting their eye contact. The sitting lions are lifted off the floor, placed on the upper surfaces of ready-made elements and objects which the artist utilized as pedestals. The defamiliarizing effect of the lions is double. As replicas of garden lions or of gatekeepers, they rearrange the gallery’s inner space into a web of thresholds between indoor and outdoor spaces. At the same time, when positioned above ground, the sitting lions also revive the heraldic symbol of a rampant lion.  As a result, they transform the space into an indeterminate situation transcending the conventional distinctions between the inanimate and the revived, the symbolic and the actual, the imaginative and the material.

Much like the faceworks, the lionworks don’t translate the world into images, but materialize images into three-dimensional phantomic presences in real space.

Ory Dessau

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I am a painter. In order to understand what painting can do today I have made works that exist on the margins of what can be understood as painting.

I have written the word ‘invert’ on my studio wall. It reminds me, when I am working, that I must invert and subvert the conventions and traditions of painting if I want to find new forms and new functions for it.

I make physical paintings and an encounter with one of my works is not solely a visual experience. The paintings are constructed in such a way to encourage movement to explore them from left to right and from outside to inside. The word ‘painting’ is a verb as well as a noun. It is important to know what a painting does as well as what it looks like.

In my early London paintings from the 1990’s onwards I was working to develop the physical qualities of non-image based work. These early works were stretched canvasses and I used oil paint, primarily lead white and pencil or oil pastel. They were in line with the conventions of the European tradition. These paintings referenced the urban environment. They were designed to slow down the perception of the viewer and to be luminous.

I have collaborated with archaeologists from the School of Archaeology, University of Oxford, for many years. The visceral and temporal qualities of the excavation sites gave me many things to think about – they are so rich in material, form, colour and characterised by a tangible sense of time. Working alongside archaeologists educated my senses and I learnt to understand and respond to landscape as material. The resulting paintings have roots in the British landscape tradition but the intention of the work has been shifted to offer a broad sensory experience rather than a visual depiction.

I called the resulting works ‘Pit Paintings’. They expose their interior spaces and voids, which are as important an element as any flat front plane. They introduce movement into the equation for the viewer and undermine the convention that paintings have a static and single viewing point.

I have made sculptural works, in particular ‘Trench 10’, a central element of the Segsbury Project, 1996- 2003, but it was always in the service of trying to understand the parameters of painting and the relationship of time to material.

The fabric I use to make my works is 15-ounce cotton duck canvas. It is a traditional material of painting. I am interested in it for its own physical qualities not just as a support for an image. I buy 50 metre rolls of canvas, which I wash in hot water to remove the starch the manufacturer puts in it to make the cotton rigid enough to weave. I lay out long lengths of the washed canvas on my studio floor and then I soak my own paint into the fabric. It is dry pigment mixed with rabbit skin glue size. This medium is called distemper and its dries to a non- reflective matt surface. It soaks into the fabric and the pigment is caught in the cotton fibres rather than sitting on the surface like oil paint. This is my raw material.

Other works are called ‘Wallspines’. They are rectangular canvas sections that are hung next to each other at 90 degrees from the wall. They are the conventional rectangle form that is common to most painting turned sideways. Since my rectangles have no sides (they have no stretcher) you can see inside them. The edges of the canvasses line up and form a number of repeated vertical lines. I am drawing lines – not with a brush or a pencil but physically with the canvas itself. I leave all signs of how the works are made, and how they are supported on the wall, as an integral part of the finished painting.

This year I have been in Rome at the British School as an Abbey Fellow in Painting. I have come to see the historical links that painting has with sculpture and architecture. In Rome I took lengths of canvas out into the city to mark and cut the fabric in contact with the hard surfaces of the walls and the streets (a development of contact paintings made in London and in landscape on excavation sites). These elements are stitched together back in the studio to take their form as a painting. These paintings share qualities we associate with architecture and sculpture and I embrace it.

We live in an emphatically image-based culture. The stress on the visual in everyday life inevitably suppresses the other senses. It is my hunch that painting – a medium so implicated in the development of image – is the medium best placed to critique the way we use images in contemporary life. I am working to give painting its body back and as a consequence, a better awareness of our own.

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I like most the part of my practice in which I start to emotionally confuse a piece of cloth, an image of skin, and a landscape. By using conditions of visual simplicity alongside labor-intensive and bodily processes, I am interested in the engagement between my body’s matter and the organic and geologic matter that I work with.

Although I consider my work to be within a painting discourse, I use mostly textile techniques such as spinning, weaving and dyeing. I see these practices as allowing material variation, as well as touch (my own, a place’s, a process’s) to be recorded into material form. I spin the wool I use, by hand because it allows for the variation of line to be determined by the energy of my body, and the qualities of the fleece. I then weave, boil, and compress to create textile material of wavering density and with memory of spun contour.

My wool is mostly sourced from Northern New Mexico- nearby to where I grew up- and the colors of the sheep determine the colors in my pieces.

The translucent components in my works are fragments of silk or linen painted with ground stone or graphite, and dyed with plant dyes such as indigo or walnut.  I construct loose topographies for the ink to pool, but more I love seeing how liquid determines it’s own path.

The wool and silk are sewn together in geometric forms and then stretched, or sewn into free hanging wall works.  Most recently I’ve been incorporating sculptural elements into both my paintings and separately, in installations (such as “Oracles”).  These elements are generally stone (carved or found), or cast metal, and identifiable as elements from the body or the natural world.

The land (especially the tough/ delicate/ vast space of the west) continues to be my most enduring inspiration.  I believe though, that attention and care can be fostered by awareness of small or porous moments as well as vast.

Coming to a spring in which it is easier to notice individual blades of grass because they are covered in mineral deposits.  The changing feeling of the sun on one’s face as it moves behind a cloud.  More than anything else, I would like my practice to center in the study of the potentially vital relationship between the noticed/ touched/ cared for object and growing a practice of tenderness to our external world.

Also note upcoming solo show at SundayS Gallery 2020

BIO:

MARTHA TUTTLE

Born in Santa Fe, New Mexico, 1989

Lives and works in Brooklyn, New York

2015 MFA, Yale School of Art, New Haven, CT

2011 BA, Bard College, Annandale-on-Hudson, NY

Link to Artist Page >> Martha Tuttle

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My work usually starts with looking for some kind of time-related concept. After all, I am really interested in topics that pertain to helping us structure our lives, more specifically how we manage day-to-day moments and measure time.

Therefore, I started to work on the piece “Angenommen ich werde 50” (“Suppose I reach my 50th birthday”) in 2016. Back then, I watched an incredible movie entitled “Zur Sache, Schätzchen” (“Go for It, Baby”) which is from 1968. There is a scene in the move in which the maincharacter draws 18,250 crosses on his wall, each one symbolizes a day and he removes one a day until he turns 50. I was quite inspired by the idea of being able to organize your life almost as a coordinate system. This led to the creation of this triptych with 18,250 lines, which provides you with an idea of what 50 years of life looks like when depicted on a wall as the number of days.

Eventually, I showed this work to a friend, who teaches physics at Leipzig University. He informed me that my work is reminiscent of something referred to as the string theory, where physics tries to use this theory as a “global form”. According to the theory, everything is made up of strings, which subsequently swing and vibrate. In fact, if you stand in front of my work and focus on one point, then you do have the impression that everything is moving. However, viewing the composition in its entirety provides you witha true sense of calmness, completion, while highlighting the different layers and theharmonic sound of the graphic structure and painting.

Generally, I start by preparing the canvas with special acrylic layers and rabbit skin glue to achieve an elastic and durable dark foundation. The next step is to apply tape to the surface and cut every single string to the right length. Afterwards, I administer some transparent layers, thus creating clear edges. The final step is to paint in oil on the last two to four layers, which creates a subtle depth and also serves as a pleasant contrast. Most of the time, I use for frames a color called “Fleischfarbe” (flesh color), which I have used for approximately six years. The color can be found in circa 90 percent of my paintings and is my homage to artists who have influenced my work.

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Never mind that he doesn’t have a web page.

Never mind there are about ten postings (at the time of this writing) when hash tagging his name on Instagram.

However, do mind his very first solo show “The Pragmatic Protagonist”…and is catching the eyes of savvy art collectors.

Meet Jaymerson Payton. The 26 yr. old Atlanta-based new artist whose flare for the abstract strikes all the right chords of a seasoned mature artist. Except he is not.  It’s Jaymerson’s debut solo show at Mammal Galley, a nondescript artist space on a sleepy urban downtown street.  Actually, the show was a last-minute venue replacement after the first gallery closed its doors a few months earlier.  As the saying goes, when one door closes, another one opens. For Jaymerson, a little bit of luck and timing was on his side, otherwise we would be reading a blank page.

The Pragmatic Protagonist features three large-scale unframed canvases, a sprinkling of works on paper and a found car seat sculpture that coalesce into a smartly curated show overflowing with unexpected style and sophistication, especially for an artist this early in their career.  Opposite of Jaymerson’s reserved demeanor, the brash bold large canvases (oil, oil sticks, spray paint) wrinkle of grit and orderly chaos and are back dropped by a limited muted color palette that punches the viewer with reds and yellows.

For example, one of the show’s prominent works, Ezekiel 25:17, is centered on the quote recited by Samuel L. Jackson in the movie, Pulp Fiction.  According to Jaymerson, the scripture speaks on the turmoil man faces in the quest of deciphering whether he is the Shepard or the Sheep being led through the valley of darkness. Essentially dissecting the question of right and wrong, and how it dictates who we are, and what we stand for. Much like Jackson’s conscious, the piece is divided into two visual planes. One side marked in chaos the other side marked in a grid like structure to stand as a visual representation of formality.  Both sides joined in the center of realization commonly described as an epiphany.  Having this piece in the exhibit was very important as it visually captures the essence of the entire body of work on display and their relation to the title.  It is a simple rendition of the combining of good and evil. Understanding they must coexist in order to provide balance and growth. Ultimately leading to a better understanding of one’s self on the search for enlightenment and truth.

“This first exhibit will always be a special memory for me,” said Jaymerson.  It’s a great feeling having my ideas on full display for the world to see.”

Jaymerson, who recently graduated with a B.A. in Studio Arts at Georgia State University, exudes a quiet confidence and is fully committed to staying the course of art making, even if that road leap frogged him to the attention of European collectors.  Cautiously optimistic, he remains humble and flattered while welcoming the crash course learnings of behind-the-scenes art world happenings, shipping and art handling, etc.  But then again, Jaymerson prepared himself early on for the twists, turns and curve balls to come his way.  The opening of his artist statement is befitting of where he is today…and tomorrow.

“Through life’s complex endeavors, we experience moments when we must face the incumbent fork in the road. We are granted the opportunity to choose the path we take in most instances, which in turn shapes our individual experiences in unique ways. These are often happenings of chance leaving us very little time to prepare our reactions.”

What is next for Jaymerson?  Just prior to his debut solo show, several elite art institutions including SAIC and MICA, as well as Goldsmiths and the Royal College of the Arts in London accepted Jaymerson into their MFA programs. However, his practical sensibility points him to a full ride MFA at California College of the Arts in San Francisco. (Side note, August will be his first time he steps foot in CA unfamiliar with its surroundings and no personal connections).  In tandem with his MFA studies, Jaymerson started working with Gallery Sunday-S for a formal introduction to European arts scene. Call it life imitates art, as Jaymerson is the pragmatic protagonist, an emerging young artist with a bright future of talent and focus.

(Full Artist Statement)

Through life’s complex endeavors, we experience moments when we must face the incumbent fork in the road. We are granted the opportunity to choose the path we take in most instances, which in turn shapes our individual experiences in unique ways. These are often happenings of chance leaving us very little time to prepare our reactions.

We become who we are from the choices we have made. The human lifespan is one of, if not, the most interesting examples of life that exists on our planet due to its ability to vary between each individual. As we travel through life we attempt to create situations that coincide with our idea of a “good life” but there is no concrete definition to what that actually means. The only hope we have is from the faith we focus on the decisions we make. Carefully concocting a remedy for hardships with the belief that one day we will reach our full potential. In this body of work I have attempted to translate my life experiences through a plethora of paintings, drawings, and sculptures to visually convey my reality and the ideals I have come to question along this path. As life continues to move forward and seconds tick away there is just enough time to make your next choice the one that shifts your life one step closer to your destiny.
Bio
Jaymerson Payton

B. 1992

Education:

BA Studio Arts Georgia State University

MFA Candidate – California College of the Arts, San Francisco
Solo Exhibitions:

“The Pragmatic Protagonist ” Mammal Gallery, Atlanta, GA,  2018
Group Exhibitions:

“Thunder Foxes”, Camayuhs, 2018

“36,200 feet” Murmur Media Atlanta, GA, (Oct, 2017)

“A Pack of Cigarettes” Murmur Media, Atlanta, GA, 2017

“M4: Second Severn Crossing”, Hathaway Contemporary Gallery, Atlanta, GA, 2017

“Reflex” Eyedrum Gallery, Atlanta, GA, 2016

“People’s Choice Art Show” Greenpoint Gallery, Brooklyn, NY, 2016

“Midnight Sublime” Metropolitan Warehouse, Atlanta, GA, 2016

Curatorial:

“The Pragmatic Protagonist ” Mammal Gallery, Atlanta, GA, (April 2018)

“36,200 feet” Murmur Media, Atlanta, GA, (Oct, 2017)

“A Pack of Cigarettes” Murmur Media, Atlanta, GA, 2017

“Midnight Sublime” Metropolitan Warehouse, Atlanta, GA 2016

Publications:

Camblin, Victoria. “The Lies That Tell the Truth.” ARTPAPERS, Jan. 2017, p. 38

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The know-how in my opinion is first of all a savoir-être. I am a weaver. At 24, I weave the invisible threads of an intimate story that does not know how to say otherwise. Trained in textile handicraft training in London – Central Saint Martins – I acquired the weaving skills that taught me a job, a safety in doing it, but also the daring of incorporate more contemporary elements from other arts: painting, drawing, collage, sculpture and photography. I could add calligraphy, poetry, exploration is infinite.

On my old wooden loom, I weave miles of coiled threads that are released and mingle according to a well-established and thoughtful framework. Weaving is the art of miscegenation. I juxtapose photos, paintings on paper, materials, colors, folds and folds. It is a dance with the craft, a ritual and slow dance with the arms and the whole body that repeats endlessly the ancestral gesture of the craftsman, which requires physical commitment and self-sacrifice. All this should not be interrupted, I would lose my own drawing as the thread of my story.

After a long preparatory work, I choose my natural paper and linen threads, dye them, put them on the job, collect my images from everyday life, my own photos or those cut from magazines, I assemble them, paint them again or redraw them, then I print them on weaving by the process of sublimation or digital printing. It is an adventure playground where living universes are created that move and question. The stakes are there: it’s about capturing something of the energy of the world, and using the threads like the spider that weaves its web, making a mechanical work a unique piece.

link to artist page >> Marie Hazard

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The N-paintings seem to lack “color” but the often thinly painted black and white forms are not monochromes. André Butzer is a colorist, “I will always be a colourist and nothing else” and the color choice of black and white is the result of the inclusion, or acceptance, of all existing hues; the destination, or starting point, of color potential.

The N-paintings also lack “figures” but the tonal rectangles upon rectangles within rectangular canvases are not a minimalist movement. Visually deviating from Butzer’s previous vivid surplus of figurative expressionism, the N-paintings are painterly, but as with his approach to color, the pictorial state has reached a density so intense that all figurative indications obliterate, or merge, into what appears to be singular non-specific entities: Bild(overarching German term for image, picture, painting, holy field). While the N-paintings appear to depict rectangles, they are in fact not, because Butzer neither believes in nor can physically recreate the “earthly measurements” that constitute a scientifically geometric rectangle. Butzer clarifies the difference between “real world” and “artistic” geometry- the latter of which does not adhere the former’s constraints. Butzer is interested in artistic perfection, what we see is Butzer’s “painterly geometry” which “is about Heaven, God, N; something other than the world and the rules applied within the world we exist in.” This dematerialization of form directly displays the infinitely enduring potential of all possible imagery due to its lack of constraints of conceptual and physical properties (fixed imagery); it is the birthplace of imagery, “it is where all I made came from and all I will make will come from.”

The N-paintings are an unreachable, un-picturable likeness of N, presented in the only way that a non-space can be, through a medium unapologetically and acknowledgingly unable to represent reality and remaining parallel: painting. The non-chronological nature of painting is “made to be the medium of N because it is about relation and proportion, never about time, process, progress or accumulation.” And for the paintings which appear to deviate from the specific visual nature of the N-paintings, such as Butzer’s addition of his first post-N [sic] work, a chromatically-rich figure painting, there is no difference. Each is just as complex, neither is simplified, they “all belong together. The N-paintings are the true beginning.”

Link to Q&A with Andre Butzer

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Having grown up in the post-industrial Ruhr area, Nils has always taken his incentives from the assumedly wrong and broken. The imperfect and the flawed are central vantage points of his work.

During his studies at Kunstakademie Düsseldorf in Tal R’s class, he continued to search for a form of painting-oriented expression that oscillates between „high“ and „low“ culture like a seismograph, capturing the minimal tectonic shifts that move him and others, choosing a carefully, playfully, dangerously reactive approach.

The paintings are venues in which he goes on a rampage until the needed forms materialise. The methods of sampling and rearrangement compose the resonating cavities which he is comfortable to shout into.

Nils mostly uses construction materials such as corrugated polyester, paint substrate/non-woven fabric, plaster, dust, sand, studio scraps and water-based car varnishes.
Using these creates the necessary effects concerning materiality, colouring and viscosity, while the fast application allows giving up control in a manner pivotal to his work.

Nils spent his youth doing graffti. When he started studying, he realised that, for him, graffti is a dead end. If there’s a way in which graffti has infuenced his work, then it lies in the nature of the coincidental moments when something fails.

To Nils, giving up traditional painting with a brush means acknowledging/working with the narratives that lie in objects/materials that do not directly call for his creative action. Their assumed errors become further factors of reference/manipulation.

Reflecting on the way non-fctional approaches enable creator and beholder alike to engage with „reality“, has lead him to further incorporate essayistic, non-fctional, dialectic methodologies into his work. Contradiction, opposition, negative capability – the ability to remain in a state of insecurities, secrets and doubts without nervously looking for facts and reason – as well as appropriation and sampling are central to his current work.

Nils >>    “In a story by Bolaño I found a quote that captures the urgency I feel about the (hyper-)real and the aesthetic potentials of that which is readily found: „We believe that we have everything under control, we believe that what we miss is not important. But everything is important, we just don’t realise. We believe that art happens on one side of the street and that life, our life, happens on the other side. We don’t realise that that’s a lie.

If there’s two sides of the street, that also means I could choose between the impulse that develops originally „from myself“ and the impulse that reality passes me on. But if the sides of the street are as non-existent as the frontier between fction and non-fction, then there is only one path, and it contains lies, projections and facts alike.

I seek to interrogate the gravity of the contemporary that evolves from this way of thinking. My works exist at the border of painting and readymade, they reject securities, because to me, the moment of doubt that lies in every new try is their core. “

BIOGRAPHY

German, b. 1987, Dortmund, Germany,

lives and works in Düsseldorf / Germany
STUDY

2014 Degree at Art Academy Düsseldorf

2013 Master Student of Professor Tal R

2009-2014 Düsseldorf Art Academy

Upcoming Solo Show at Sunday-S Gallery Copenhagen 2018

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Julia Selin works with painting. She keeps the canvas flat on the floor, sitting, standing and walking upon it while working. This approach opens up for the unexpected, like a shoe print, or a mark made by a hand or knee on the ”wrong” spot. These missteps move the work forward as Selin integrates the incidents into her process. She describes it as a collaboration between herself and her mistakes. The fatty and gel-like paint is always kept transparent, white is never used. Instead, she lets the white primer of the canvas glow through in order to achieve light. 

The motifs oscillate between figuration and abstraction. Her main interest lies in how to add paint. Forms and images dissolve and create new formations in a slow decay with the definite end in a compact darkness. Selin enhances the bodily presence by letting smudgy brush strokes meet aggressive gestures, which expose the canvas and let light flow through. The motifs together with the distinct physicality of the oil paint, that which smells, flows and stops, create a collision of impressions – an analogy of the senses. 

Julia Selin was born in Trollhättan 1986, lives and works in Malmö. She graduated from Umeå Art Academy 2013. For the past year, she has exhibited at the Moscow International Biennale for Young Art, Gallery Wallner and Gallery Ping-Pong in Malmö. In 2017 she exhibited at Galeri Flach in Stockholm and Ystad Art Museum. She will attend in a groupshow at Sunday-s Gallery in Copenhagen. She has also received Ellen Trozig’s grant from the Malmö Art Museum and Jenny Linds travel grant from the Royal Swedish Academy of Fine Arts 2016.

– Stina Malmqvist

Link to upcoming GroupShow at SundayS

Link to Artist Page

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“The Souvlaki-specialist and Greece-connaiseur Mr Zekoff has begun to exist as a philosophical painter and overall craftsman serving Eros and Aletheia already since a long, almost historical time.
His works made out of magic and dark reflection are testimonies of truth, brain and beauty. He has been in love with mankind through his sharpened pencils that penetrate papyrus and paper in a most tender and hyper-classical way. His expression is beyond style: there is a tragic and most abstract refinement of the most possible potentiality in life and death, included as a permanent bonus and deluxe-version of a forthcoming 22nd-century visualisation of hope and optimism.”
Dr. Steffen Krüger – Rangsdorf, 11.5.2017

Josef Zekoff will participate in the Group Show opening June 9 > Selvskabt Modvind

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One really can’t have a clear sense of the project without understanding the material processes involved.

First, using a four-harness floor loom, Cook manually fashions pre-dyed cotton and linen fibers into a plain weave, the same simple, overlapping pattern used to produce traditional artist’s canvases.

Almost like a drawing, a plain-woven canvas is constructed line by line, with each incremental cross-stitch at once a product and a literal illustration of the creative act.

With its array of levers, pedals, and reeds, the loom-based weaving process is highly repetitive, physically taxing, and above all, slow going; it takes a full week of concerted effort to produce just one of the 40-inch x 7-yard sheets of single-colored canvas he uses as his source material.

Once completed, those sheets are cut into shapes, combined and composed, and sewn together into a single unified canvas, which is then adhered to conventional stretcher bars and finally encased in a self-made wooden frame.

Ethan Cook’s sewn and woven works use repetition to explore how failure might be more of a symbiotic accompaniment to perfection. Using simple geometric shapes and a muted, limited color palate, his works are nourished by structural simplicity. The snags and inconsistencies allow these works to reach beyond the tropes of Modernism.

Born 1983 Texas

Upcoming Solo exhibition at Sunday-S Gallery in Copenhagen – April 28- 2017

Link to Q&A with Ethan Cook

Link to Artist Page >>> Ethan Cook

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Wolfgang Voegele’s work shows a process from concept to intuition – always focussing the painting itself. Drawing on the very beginning of painting and art,

Voegele creates an own vocabulary by using archaic and simplistic forms and lines. These compositions are based on a computer-generated sketch, which then are applied to the canvas – and fail by doing so. That failing in transforming sketch to painting is crucial for his work process: an accurate transformation is impossible and therefore fails, composition changes, painting sets in.

Wolfgang Voegele herewith provokes a collision of concept and painting. This approach can be seen within all of his work. Especially the black paintings seem to refer to print or etching at first appearance. But taking a closer look, an immediate form of painting will be revealed.

After applying the computer-based sketch to canvas, a highly physical process starts: along the sketch, the artist applies black oil colour on canvas by scratching with a bristled and nearly broken brush. The physical energy of this act is transferred to the painting and the brushwork appears equally vigorous. In contrast to that gestural part, light and filigree lines within the composition are also delivered. Voegele adds, if any, selected elements of colour to his work. For the series of what he calls Cut Paintings for example, yellow is the only colour that works for him.


The initial sketch therefore operates as a base for the painting process and will be rejected, will loose significance, will be filled with intuition and taken further by the artist’s act of painting. The initial concept from the beginning of the work process so becomes more and more irrelevant for the painting.

Following the intuition, coincidence becomes a certain part of the work process: Accepting the coincidence as a consciousness, elements of the artist’s surroundings, the studio ́s floor for example, are added to the painting.

Continuing with the use of archaic and simplistic forms the artist sometimes works with a different approach to it: In place of a composition of various forms, Voegele here works with a simple amount of geometric forms. He eliminates, combines, multiplies and mirrors these forms in a intuitive way and therefore starts a complete new development.

This intuitive process never seems to be done. The artist produces a completion by attaching a wooden frame to the paintings. As a certain part of his work, the frame provides a defined space for the painting and even gets a part of it. 
Taking a second closer look, lines and forms in Voegele’s work seem to result in representational elements: a forest, clothes, bodies.

But as soon as the spectator spots anything that seems to be physical and tries to integrate it into the entire artwork, the seemingly representational elements vanish. Only landscapes sometimes allow associations, which work in context of the entire piece.

Link to Artist Page

Wolfgang Voegele Solo Show 1 Sept. Sundays Gallery

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Otis Jones’ works contain an ineffable quality allowing the viewer to focus on their essence. His abstract, circular wall pieces are provocative and engaging without leading the viewer by the hand. Jones liberates his audience by leaving them to consider the formal elements of color, scale and composition to achieve a personal and emotional response, shying away from attaching too much meaning to his work himself.

And while the viewer may initially respond to the physicality of his work, Jones also conveys a deep sense of spirituality within each painted surface. The physicality of the work is paramount for Jones. Works that at first glance may seem spare are, in fact, intensely physical. Jones uses part instinct and part experience as he works and reworks his surfaces, continually adding and subtracting.

Although Jones’ palette seems to be consistently monochromatic, further investigation reveals that each work is composed of various colors integrated, manipulated and worked to the point that the overall coloration is created by the visual tension of colors applied within the under painting.

However, there is nothing artificial about Jones’ choice of colors. They embody each canvas as if they were grown there. Despite the labor-intensive process, Jones’ works have such a natural quality that lingering fingerprints serve as evidence of hand. They remain as the truthful byproduct of handling, a signal that Jones does not want to be too precious about his work.

While Jones’ works have remained fundamentally consistent throughout his career, they continue to evolve. Jones is not interested in continually trying to say new things, rather he seeks out the best ways in which to convey one idea.

BIO

b. 1946 Galveston, TX
lives and works in Dallas, TX
EDUCATION

1972
MFA, University of Oklahoma, Norman, OK
1969-70
Graduate Studies – Montana State University, Bozeman, MT
1969
BFA, Kansas State University at Pittsburg, Pittsburg, KS

Jones received his B.F.A from Kansas State University in 1969, continued graduate studies at Montana State University and earned his M.F.A. in 1972 from the University of Oklahoma. He was the 1982 recipient of a Visual Artists Fellowship Grant from the National Endowment for the Arts and has taught at Texas Christian University, the University of Texas at Austin and has served as an Associate Professor and Visiting Professor at University of Texas at Arlington. Jones’ work can be found in many private and public collections such as the Dallas Museum of Art, A.H. Belo Corporation, American Airlines, Rosewood Corporation and Compaq Corporation.

Text curtesy of: William Campbell Contemporary Art

Link to Q&A with Otis Jones on Copenhagen Contemporary

Link to Otis Jones Solo in Copenhagen at Sunday S Gallery Oct 27th

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Danish artist Albert Grondahl works with photography, departing from traditional documentarism in his focus on the relationship between the photographer and his subject.

His main concern is the interaction with a given social context. In his work, the artist invests himself as he goes along, allowing for an exchange between personal narratives and cultural references different from his own. In the process, Albert Grondahl has abandoned ordinary printing techniques in favour of other ways to communicate recorded impressions such as the combination of emulsion on silver and gold; a return to the original chemistry of analog photography.

The physical characteristics of these pieces allow for a dynamic interplay between references and texture, turning each plate into a unique, non-reproducable surface. The uniqueness of each work may thus hint at the singularity of the original, captured moment as well as the fleeting spontaneity of the interpretative gesture.

BIO

2013-2015     MFA, royal academy of fine arts, Antwerpen

2011-2012      Ecole nationale supérieure de la photographie, Arles

2009-2012    BA, FAMU, department of Photography, Academy of Performing Arts, Prague

2007-2009   Assistant for Tal R

Solo exhibitions

2017   The Long Vacation or The Mystery of the Crates, Sunday_S Gallery, Copenhagen

2016   Methods of Tilling the Soil, Warte Für Kunst, Kassel, Germany

2014   Bayou, Exhibit No 9, New Jersey, USA

2013   River Palace, Galerie GAMU, Prague, Czech Republic

2012   Goodbye Horses, Warte Für Künst, Kassel, Germany

2012   An Island, Vadstrupgaard 1771, Samsø, Denmark

2009  We smoked cigarettes at grandmothers place, Gallery One Day, Copenhagen, Denmark

Link to Q&A with Albert Grøndahl

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Since 1990 Levine has created monochrome paintings. By slowly building up layers of paint, he exploits difference: for each work the canvas is often a slightly different color, tone, or weave; it may be stretched at different depths, creating thinner or thicker profiles; the shapes are almost but not quite square; and thin borders amplify the paintings’ varying surfaces. The process, which can take several years, is documented on the back, creating a kind of diary for each work’s growth.

Levine has written … “[monochrome painting is] a severe program, which on a bad day can seem myopic, self-righteous and beyond reproach, but on a good day reminds me of Tuesday Weld at her best: cold, controlled, an ethereal and sexy beauty on the surface, but with an obsessive, tragic and gap-toothed core, slightly uncomfortable with and misunderstood by the world, somewhat tangential to popular culture, and absolutely not boring.”  Link to artist page – Daniel Levine

Link to Q&A with Daniel Levine

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