Currently on view at Harbour City, Hong Kong is “Sky is the Limit”, a new sculpture and paintings by Tomokazu Matsuyama (Vol 24). Curated by LA based Lebasse Projects in collaboration with Harbour City’s Ocean Terminal and gallery, the event centers around Matsuyama’s largest outdoor sculpture of the same name. At 21.5 feet of stainless steel, it is also the largest ever installed in Harbour City, which has previously exhibited artists like KAWS, Yayoi Kusama, and Yue Minjun.
On September 19th, Russian artist Ivan Alifan (previously covered here) will debut new paintings inspired by the “modern gaze” at the Unit London. His impressionist milky (it’s not milk) paintings are both mysterious and seductive, with underlying sexual subtext. This ambiguity is intended to provoke self awareness of the viewer, almost with a slight embarrassment.
Jana Brike is an intriguing communicator. For her upcoming solo exhibition “After the End of Time”, opening September 6 at FB69 Gallery in Munster, Germany, the artist produced a fascinating array of works created while staying in a cabin on a manor-house park by the Baltic Sea. These new paintings, she tells us in the following exclusive feature, are akin to a group of personal icons that relate more to a deep satori state of insight into one’s true nature.
Russian-born artist Sergei Isupov investigates binaries in human relationships — male and female, good and evil, beautiful and grotesque. Using clay as both a material for three-dimensional expression and as a canvas for his illustrations, Isupov capitalizes on all properties of what he finds to be the most open medium. He sculpts human and animal figures, and then adds illustrations in glaze. The paintings diffuse into the clay’s surface, like tattoos on his sculptures’ skin. Taken together, the two- and three-dimensional elements of his work establish a compacted but powerful scene of emotions and narratives.
There seems to be a history running through Carmel Seymour’s water colors, but it’s hard to pin down. Somewhere in the hazy but sublime gap between art and illustration, the paintings suspend an alternate reality in the canvas’ mid-air, depicting some hyperreal folklore in a wash of negative space. Seymour’s conceit seems simple enough: she places contemporary figures, such as girls in jeans and sneakers, in some private oasis, perhaps the figures’ dream landscape or perhaps some alien planet. But the landscapes where her figures exist are not so much ‘scapes as objects; entities without a before or after. Her water colors are deployed in highly restrained and linear strokes to focus on details, and then exploded to disrupt the hyperrealism and maximize the medium’s atmospheric emphasis. The paintings have no clear beginning or end, but beg the question: what’s the story here?
There’s a new generation of Taiwanese artists remixing modern ideas into their artwork, stepping away from visual traditions. We see it in Lo Chan Peng’s frightening, fashionable muses (covered here), Liao Chi-yu’s video art that references 17th century Dutch still life- and Chang Chia-Ying. Her Russian doll-like portraits of animals and chubby children stare into the distance with hollow, glazed over expressions on their faces. Likewise, the viewer is invited to look through them; their torsos are a window into an alternate reality. They are surrounded by mysterious fairytale gardens, inspired by the cartoons Chia-Ying watched as a child.