‘I am Solitary’ exhibition at Gift Vyner Street Gallery

3^rd March 2011 – 16^th April 2011

The latest group exhibition at Gift 10 Gallery showcases along with Beers. Lambert Contemporary Art an extended range of emerging artistic talent. The central theme is embodied in identity: artists express the journey in a representative way, as well as conceptually through various mediums.

Eleven international artists exploration over the notion of solidarity embeds diversity, imagination and self-exploration. All the artists have conveyed the notion with use of peculiar medium and techniques. The showcase is finely balanced with conceptual and installation artworks in relation to figurative visual art form.

Andrew Salgado’s figurative portraits on canvas are immersive, even engaging viewers to interpret the model’s mind. His thick scope of brushstroke technique adds likeness and energy. Among Salgado’s artwork, large scale it is also synonymous to current showcase. Grace Kim’s black and white archival pigment prints are simplistic yet profound. Its pureness is embodied in dreams explored through a journey of mediation and death. Imaginative abstract world by Jin Han Lee entrenches solidarity in communities.

A masterpiece that truly catches a sight is Adam Ball’s fine white hand cut pattern. Its calming and appealing composition draws viewers to his mesmerizing imagination. Similarly, Lindsey Bull traditional paintings on linen depict characters seen as ghost-like in a subtle and interesting form. Winston Chmielinski draws the importance on a gloomy shadow behind a reluctant profile.

Alvaro Sanchez-Montanes explores depth through photography, encountering an exit in his conceptual approach. Alternatively Joshua Bilton draws attention to his fascination with a notion of buckle in a staged set.

Series of installations exhibited are inspiring and evoke somber substance such as Sarah Pager’s ‘Hole’. Andrew Friend’s installation, device for disappearing (at sea), takes solitary into a level new, while a photography installment by Tom Lovelace derives its significance in profound concept.

The inspiring exhibition offers an insight to everyone interested in innovative and groundbreaking talents in contemporary art.

Pictures courtesy of Gift 10 VYNER ST & Beers.Lambert

Sarah Pager ‘Hole’

Andrew Salgado

Tom Lovelace

This week I discovered a new gallery whilst visiting Vyner Street district during the famous first Thursdays. Based in east London, The Vyner Studio has an alternative touch to contemporary art. The current group exhibition 'Untitled' is fabulous, bit of Terry Richardson, bit of evil Picasso perhaps even. Foremost it is vivid and intriguing.

Leandro Quintero

Vinicious Jayme Vallorani

Vinicious Jayme Vallorani

Vinicious Jayme Vallorani

Clemence de La TourduPin

Anna Laurini

For further information about the artists' check out

www.annalaurini.com

www.leandroquintero.com

www.vjvallorani.com

www.clemencedelatourdupin.blogspot.com/

Photography: Katre Laan

Advertorial

Kiaora resort kissing paradise

Published in Finance Monthly (Gourmet Travel)February 2011 

If a pure paradise is as tempting to you as Pandora’s Box then Kiaora, a luxury resort at Península de Mara is the place to be, says journalist Katre Laan. Located in the Bahia region, it’s one of Brazil’s isolated wonders. Endless white sandy beaches overlook Atlantic Ocean and tropical coconut groves and swinging palm trees set stunning scenes.

  

Balancing luxury with eco friendliness, simple Asian style adds to the resort's hidden luxury. The location is ideal for couples desiring exclusivity, relaxation and an enjoyable atmosphere. Rooms are beautifully surrounded by sunlight and there’s an emphasis on comfort. Loved-up couples desiring privacy can choose from various types of bungalows ranging from luxury to master. Largely the bungalows embrace an isolated getaway in a tropical scene: enormous space, private pools, king-size bed and a jacuzzi.

The soul of Kiaora resort is influenced by French Polynesia, embodying local culture, the scenery of a paradise with an that eco-friendly touch that’s so signature to five star Brazilian retreats. A peaceful setting of a temple at the resort's Armonia Spa offers range of massage types from delicate Watsu technique to Pindas delivering feelings of well-being to the most jaded of travellers.

Asian rituals embody an important role in the Armonia’s Spa where recommendations are outlined for people in love or for other romantic occasions. Ritualistic, rustic and slightly unreal, Mayrau is designed for a long healthy life and complemented with a spa menu that also includes Foot Spa, Pindas Massage, Milk Bath and Red Berry Cocktail.

Local Brazilian cuisine is strongly influenced by African and Portuguese cultures. Indulge yourself with wine from local vineyard’s and gastronomy with either an international and regional palette. The food menu is garnished with seafood, poultry and meats plus a platter of lighter options. There are also two bars in the tropical environment.

Apart from relaxation and romantic walks at peaceful local beach there are available several leisure activities for all type of vacationers. Península de Mara offers everything from volleyball to boat trips, jeep tours around the Peninsula and snorkeling in the ocean. Land tours for exploring natural reef are also popular as are walking and biking trips to Taipu de Fora. The water tours and boat trips to nearby tropical islands, deep-sea fishing and visits to the fascinating Tremembe waterfall all come highly recommended.

For passionate business people, Kiaora resort includes the Directory room, overlooking Atlantic Ocean, with the necessary technology available to occupy a meeting with 60 people.

I have reservations about sharing this remote paradise with Gourmet Travel, however enthusiastic to pass on my Insider knowledge and bring to light a hidden gem. For all who love to venture off the road less traveled, head to the tropical, comfortable climates of the Kiaora hotel. 

'A' exhibition by Remi Rough and Steve More

@ Blackall Studios 1st - 11th Feb 2011

Remi Rough and Steve More started off as graffiti taggers in the 90s and returned to white cube gallery instead with an artwork strongly embedded in graffiti. Current ‘A’ exhibition, draws parallels and looks at how the two graffiti artists (Rough and OneMor) have grown from a stereotypical and regulated graffiti world to an expressive abstract art without taboos.

Art is very much about trends, repetitions and moving in cycles like fashion. Steve More shares how he truly disliked 80s because it seemed so cheesy to him, where now all the kids love it. “As an artist I don’t think you make a choice to follow a trend, but there is an underline current that always drives you.” The title of the exhibition ‘A’ reflects such a diverse list of meanings to both of them. More shares his perspective how the concept ‘A’ symbolises a beginning: “what we do now you can feel it is starting to transform to something else.” Rough‘s excitement is reflected in doing a show with an icon rather than title. The show is also examining “the artistic relationship” between them.

The artists met at about 1992 and over the years they were tagging in Edinburgh and London. Both of the artists share similar points of view on leaving graffiti scene. Rough’s shares: “I think I have done everything I needed to do and you can only write your names so many times in a different type and letters and 3D.” In 2003 more decided to move across the planet and work on his visions in an isolated environment in New Zealand. “I had to pretty much find a new way of communicating to be honest. I kind of changed direction, the materials I was using.” He talks passionately about looking behind the surface, its substance, his fascination with texture of walls on the streets, passage of time and erosion. On contrast, Rough’s work delivers a profound depth in a 2D surface, graphically constructed through use of vivid colours and minimalism in focus, reflecting direct roots in graffiti arts.

In graffiti scene immediacy is an important factor. His fascination with Martial Art, Tai Chi has injected slow pace movement in to his artwork. On contrast, Rough’s work has formed its shapes and context over the time to extreme minimalism. There are aspects to Rough’s work, which he talks about passionately; colour and tension. “Graffiti is an expressive art form that is not going to go. It is not going to disappear, it is just going to re-manifest itself in different ways.”

Talking about IDOL’s More feels connected with works by modern artists like Tapies, Ben Nicholson and Robert Rauschenberg. Rough remarks graffiti artist FUTURA’s ethic. The warmest words from both of the artists are devoted to Jaybo Monk. I am curious if they are making a comeback to streets as both of them are actively engaged in non-commercial projects under Agents of Change. Rough shares the emphasis is on a group of eight creative artists collaborating within spaces.

Pictures courtesy Ameliaphotos

Steve More 'Red Blue and Void'

Remi Rough 'Chrome Blush'

'A' exhibition video:

http://vimeo.com/19661559

Gabriel Orozco @ Tate Modern
19th January - 24th April 2011

Gabriel Orozco is an internationally recognized artist who captures urban momentums. His work reflects stories through objects his has found in urban cityscapes. His artwork, be it a installation, photography or a painting, invites viewers to re-discover the connotation of his found objects only in a different context. After travelling and discovering multicultural cities, the streets especially have inspired him to connect with reality and express it in a spontaneous way.

The primitive and metaphorical approach he possesses transforms his artwork into a notion of a momentum, accomplished with significance. His obsession with circles, geometry and symmetry revolve around human roots and immediacy. Widely known for using different mediums, he is clearly keen on experimenting and evokes an interaction between the viewer and his artwork.

He invests times into objects he finds fascinating and a connection, like the famous skull Black Kites (1997) illustrated with a geometrical pattern. Perhaps he might have been reflecting his own experience with mortality when at the time when one his lung collapsed. Another object he discovered while in Paris was a Citroen DS, which he re-built into a LA DS (1993). The new miniature form of the car represents its effective mobility in modern societies. He also encountered a lift, which he saved in Chicago at 1994, which he fantasized with in relation to Pink Panther before gravity had compressed it. The notion of his subjects embodies a sense that we live in an overcrowded and compact society where commodities have a short life.

The attention he pays to detail is incredible, the unusual features captured through natural light in photography of subjects like mankind, animals and urban spaces. Without a doubt, Orozco is on a mission. While most of the residents of multicultural cities would not stop to explore an abandoned object but pass it, then again Orozco presents it as a remarkable spectacle.