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Faith
8-30 May 2004

Fri - Sun  1-6

Private View
Friday 7 May 6-9pm

Emi AvoraCarol Ho Katarina Ivanisin
Sharon Leahy-Clark / Simon Leahy-ClarkKate Palmer
Mark PearsonClaire PestailleSumiko Seki

Sumiko Seki - Bird Sings a Song


Simon Leahy-Clark - Untitled

Transition presents nine London-based artists all of whom have faith in painting. Using a variety of styles, media and approaches each artist explores what painting means to them as an individual in 2004. All of the artists are graduates of London schools, including the Royal College of Art, Royal Academy, Chelsea and Middlesex.

Emi Avora uses imagery from property leaflets, magazines and holiday brochures. The imagery is then manipulated to create dream-like spaces that hover between the real and the fictional.
In a similar way, Carol Ho uses images taken from the media. Focussing on female imagery, her colourful canvasses challenge the viewer’s perception of the representation of the human form.
Katarina Ivanisin’s cityscape series is based on photographs of the view from her bedroom window in her hometown Dubrovnik. The view is of the idyllic medieval city charged with past and recent violent and fractured history. The final pieces are C-prints, initially constructed as collages from torn newspapers and high gloss magazines. In her graphite and resin series, Ivanisin uses industrial webbing as both an applicator and a template for graphite pigment. The undefined space created actively engages the viewer as well as creates a meditative space for the viewer to occupy.
Sharon Leahy-Clark uses paint and clay to create poetry. Quickly made clay shapes are placed together on a circular platform in such a way as to suggest rhythm, structure and form.
Simon Leahy-Clark also employs alternative materials to comment on the act of painting. Using bubblegum in place of paint, his work is an absurd take on high modernism, and a response to recent trends in contemporary trends.
Kate Palmer’s complex surfaces arrive from mono-printing (using large expanses of plastic sheeting), painting, drawing, and erasure. The work builds up as a palimpsest, if you like, a series of layers in which the earlier survive as ghosts.
Mark Pearson’s abstract paintings also involve a high degree of process. Polymer paint is poured onto a canvas, resulting in unanticipated structures and patterns that can resemble anything from landscapes to neural networks.
Claire Pestaille appropriates images from historical painting, making subtle interventions to extend and disturb the narrative and meaning of the original work.
Sumiko Seki’s flower paintings highlight the passing of time and the transience of life. By juxtaposing unfocussed photographic backgrounds with painterly flower motifs, she creates two surfaces which are distinctly separate and have a dislocating effect for the viewer.

Faith was recently shown at CAS in Osaka, Japan, and is travelling to 1A Space, Hong Kong in September.