Menu
The New Contemporary Art Magazine

Preview: “Nemora” by Juliette Losq at the Fine Art Society Contemporary

The photo-realistic works by British artist Juliette Losq (covered here) are like a portal to another world. Losq’s oil paintings and drawings on paper of forests are unique in her aggressive treatment of the medium. Her upcoming solo exhibition, “Nemora”, opening September 12th at the Fine Art Society Contemporary in London, focuses on this act of chaos in the wilderness. Her three new installations for the show are inspired by Rococo imagery and 18th-19th century Gothic architecture, visual styles influenced by faith, wealth and power.

The photo-realistic works by British artist Juliette Losq (covered here) are like a portal to another world. Losq’s oil paintings and drawings on paper of forests are unique in her aggressive treatment of the medium. Her upcoming solo exhibition, “Nemora”, opening September 12th at the Fine Art Society Contemporary in London, focuses on this act of chaos in the wilderness. Her three new installations for the show are inspired by Rococo imagery and 18th-19th century Gothic architecture, visual styles influenced by faith, wealth and power. Losq takes gothic objects like a fireplace, a grandfather clock, and the venue’s entire ground floor and creates a forest clearing with her work. It almost look like old wallpaper, but it is a wave of tumbling found materials with hand drawn landscapes. This sudden and dramatic change in environments rebels against order and the mundane with a malevolent fantasy. The result is what Losq calls a “nemus”, a pasture or grove dedicated to the sacrifice and worship of woodland deities. It is all part of an illusion meant to preserve an almost-forgotten past.

Images by Juliette Losq, courtesy of The Fine Art Society.

Meta
Share
Facebook
Reddit
Pinterest
Email
Related Articles
"Painting doesn't follow the rules of architectural space; it has a totally different set of rules. Why should it then behave exactly according to those rules?" This is the question that German artist Katharina Grosse asks herself as she creates her colorful explosions over earth, objects and canvas. Her works, previously covered here, are raw and produced quickly with little else besides the artist's spray gun.  The way that Grosse arranges colors has been recently studied in Gagosian Gallery of London's massive survey of Spray Art. Whether she is creating an outdoor installation or painting on canvas, all of her pieces are site specific, as in her latest exhibition, "The Smoking Kid," which closed over the weekend at König Gallerie in Berlin.
It’s no surprise that Saudi Arabia-born, Arizona-based artist/teacher Nathaniel Lewis was once a toy designer. Yet, although some of his newer sculptures have the bright, primary color schemes and wooden textures of old-school toys for children, the themes of series like “Little Terrors” are decidedly more complex. Depicting a TSA line, with workers, equipment, and explosives, Lewis confronts a common source of tension, anxiety, and frustration for adults.
Spanish artist Pablo Valbuena alters viewers' experiences with architecture with his projection-based installation art. Valbuena prefers to work in cavernous, abandoned spaces where he can use bright, white light to ephemerally draw on the walls. He typically arranges his projections to respond the existing architectural structure. As the geometric light projections in each piece shift, viewers' relationship to the space changes.
In his first exhibition in Hungary, Dmitry Kawarga's "post-human" sculptures and installations reflect on humanity's vulnerability. His "Anthropocentrism Toxicosis” series, in particular, is on display at the Ferenczy Museum, with works built with polymers and occasionally, usage of 3D-printing processes. The exhibition runs through Sept. 15.

Subscribe to the Hi-Fructose Mailing List