I have received a personal invitation to submit some of my recent pieces to an international exhibition organised by Artoze. I was a featured artist in the last edition of their magazine. I was very touched to be recognised and invited again:
Hope you’re doing great! It’s my pleasure to e-meet you and introduce you to this amazing opportunity that could be an interest for you and your beloved ones to let the creativity be showcased on an International Platform.’
I have spent the whole morning preparing relevant information and refining my artist statement. At the moment, I am ready to submit 12 paintings to be included in this show.
I have included a screenshot of the confirmation email below:
I have been invited by Al-Tiba9 to take part in an online preview of the new edition of their art magazine. Time: Jun 26, 2020, 14:30 Madrid
“Al-Tiba9 (الطباق) focuses on light as a manifestation of energy, a principle that makes it possible to reach the phenomenological world, an element of knowledge to achieve multiple levels of reality. This transgressive contemporary Arab show emerges between lights and shadows, human and artificial from here and there, reaching for profound hope but staying rooted in reality.“
— Mohamed Benhadj, Founder & Curator
Luca Rossinin, an Italian visual artist and fashion photographer, was a featured guest presenter. Her work was not known to me before. Her website is divided into three parts containing fashion, still life and collage. I become absolutely fascinated by her lonely, withdrawn and impactful art. Her style is original and unique and resulted in the creation of highly aesthetic and powerful images, which force a strong reflection on a viewer. They have a dream like quality and appear to visualise a world, which appears to be perhaps unreal. There are strong references to the old Dutch and Flemish masters in terms of her use of colour and chiaroscuro. Her models are withdrawn and absent minded. She is somehow questioning our perception of someone’s presence. Perhaps, her creative intentions are best summarised by her statement is below:
‘”Photography to me is not a way to document reality, but more the way in which I can suspend reality, with all its physical and societal rules, and turn everything into my dream of it. I love working with complex lights and low light, both in studio and in the open. My favourite subjects are portraits which tell dream-like stories; places which seem daydream scenarios; and surrealistic concepts created in my studio. My view over the world has been seriously affected by “dreamers” like David Lynch, David Cronenberg and Federico Fellini, with their ability to transmit the distinct and uncomfortable feeling of not being really awake. I come from the analogue days of the dark room, but my stylistic growth is very digital. I spent most of my life struggling to confine my artistic nature, so I achieved a PhD in biomedical engineering. It didn’t work, nothing works, there’s no cure against the urge to create and communicate, I guess.”
In addition to all of my current duties, I have spent the last three months working hard to organise an amazing and challenging venture called artpandemic.co.uk
Due to the many limitations of the current crisis, our summer show has been moved online. Despite these compromising conditions, which you might think, would prevent me from organising a major celebration of learning and achievement, I have put together something very special and much bigger than the usual final assessment exhibition.
As a leader of Art & Design at my institution, I have invited Hi-Tec and Digital to join with me for a unique online international exhibition. Additionally, I have approached a range of former students, staff and artists from all-over-the-world to celebrate creativity and resistance to the damaging impact of the current pandemic. I am also delighted that Richard Wilson – one of the most renowned British sculptors agreed to exhibit a range of his artefacts with us, including his famous architectural interventions.
The Virtual Summer Exhibition 2020 took place on Friday, June 19th at 6 pm UK time. A scheduled link was distributed to those invited and activated on the night. The celebrations were possible thanks to Zoom – a multi-screen videoconferencing and interaction platform.
During the Private View, I was joined by artists from 18 countries, who were supporting my innovative response to the crisis, by producing their own work to enrich the exhibition.
I was asked to make a statement for a press release in Devon Live:
“It’s really exciting in these difficult times to be able to construct an exciting and revolutionary platform for students to present their work. The prospect of disappointing everyone by not having a summer exhibition and denying our learners an opportunity to show their talent was unacceptable. The idea of organising this ambitious online venture came about from my involvement in the prestigious Dubai Ideathon 2020. I was selected out of over 300 applicants to play an active role together with 100 fellow international artists and designers. I realised then the potential in connecting hundreds of people simultaneously could be achieved, and immediately knew, this would be the perfect solution for our students”.
The notion of an online art magazine seemed the natural way to go to prolong and elevate the artwork long after the event and give the work longevity. I have worked with three Foundation Art students on the design and format of the brand new Art Foundry Magazine. The first edition includes interviews and work produced by Richard Wilson, alumni, current students and a selection of collaborating artists. This publication will be updated on a quarterly basis.
I was invited by Al-Tiba9 to the opening of its online contemporary exhibition that takes part in a Special EDITION – Al-Tiba9 Global 2020. It featuring artists from around the world in a series of online shows to reflect contemporary perspectives and inspirations that impact on our future.
This particular 8th Edition aims to give the artist a curated show and extensive international exposure that helps them to deal with the online technologies and confront their works and creativity in a virtual environment.
Opening exhibition 20.06.2020 at 6:00pm GMT+2
Featured Artists are: Alexandra Freitas (Portugal) – Joram Blomkwist (Netherlands) – Braun & Braunschweig (Germany) – Conceiçao Abreu (Portugal) – Gianni Lucchesi (Italy) – Hong Taeyang (South Korea) – Jieyuan Huang (China) – Joe Karlovec (USA) – Kaoru Shibuta (Japan) – Naoki Okada (Japan) – Povilas Daknys (Lithuania) – Raki Nikahetiya (Sri Lanka) – Ray Ewing (USA) – Ronald Gonzalez (USA) – Sarah Tompkins (Canada) – Wong Tin Wai (China) – Val Wecerka (Bulgaria) – Vasya Dmytryk (Ukraine) – Yvonne Lin (China)
The exhibition was opened by Anna Shvets, who is an art manager, an expert on trends in the world of art and CEO at TAtchers’ ART Management. She believes that art can be a unique language that unites countries and continents, culture and science. She is an internationally recognised arts manager.
I have researched and tested a great number of possible platforms for the final show. Unfortunately, I have found them quite disappointing. The most common concept is to based on echoing a feeling of a physical gallery. Frequently, the software is very slow and clumsy in operation. Additionally, the overall effect is more focused on the look of the space rather than the work itself. Art becomes somehow secondary to the meaningless decorations and textures of walls, ceiling and the lighting.
Alternatively, I have considered using a website, which is similar in design to behance.net.
I really like the simplicity, effectiveness and freshness of the front page. There is a grid of large block images, which is inviting and very clear. This website is able to accommodate a broad range of artefacts, including gifs files and video work. Photography on display is relatively high resolution and organised with order and structure.
Our group meets in Zoom on a regular bases to discuss possibilities for arranging the exhibition. All students are very proud and would like to present their research projects to the best of the abilities. Likely, Aristotle, who is one of our students, has offered to help everyone and donated both, his time and the use of his original software.
In preparation for my exhibition, I have carefully considered a range of ideas. My main intention is to make sure that the way, in which my work is displays reinforces its meaning. I would like to avoid using any unnecessary gimmicks and distractions.
In these unprecedented times, it is quite strange for a painter to accept that the final exhibition will not have a physical dimension. Frankly, I am saddened and overwhelmed by a lack of reality it terms of the experience of true colour, texture and painterly mastery of strokes. However, an artist and creative individual needs to seek opportunities in overcoming obstacles. Therefore, my intention is to excel myself and make the online exhibition even better, more refined and sophisticated. I would like for this to be a new learning curve full of controlled happy accidents, experimentation and deep reflection of what is appropriate in term of visual communication – my chosen language of expression.
The digital approach creates a new chance to experiment with a ‘space’, which supports and reinforces my messages in cohesion to deliver a holistic poetry about my painterly and video work.
Currently, I am planing for a long wall with three parallel and simultaneous video projections. This number can be possibly extended to four. I am in the process of working on a painting titled ‘Ravens and Crows Will Peck Us to Pieces’. It is quite likely that I will make sufficient progress to video another washing cycle. This image is different to portraiture. Therefore, I was relatively hesitant to include this image. However, on reflection, it summarises my overall responses to my research findings in a time of lockdown and social isolation. We are all subjected to mortality, vulnerable and fragile. The end of our journey is the only certainty in our lives. Death is the culmination of our waiting, while being suspended in the vacuum of hypnotic repetition.
The side walls of the gallery will be dedicated to the display of the actual paintings. I should be able to exhibit between 8 and 10 canvasses.
DUBAI, 15th April, 2020 (WAM) — The Dubai Culture and Arts Authority and Art Dubai Group have concluded the Dubai Ideathon.
The workshop sessions, held recently, brought together international experts from different fields, all working collectively to find solutions.
Beginning on the 22nd of March, the initiative began with online workshops where 70 members of Dubai’s cultural SME’s and freelancers came together to identify the primary challenges facing the local creative community, from which list of challenges was put together.
I was astonished that my comment was used in a press release of this event. The organisers have selected my words to support the value and meaning of the entire undertaking. A link to the article is below.
Day 2 was also extended to most of day 3. My team – 11B got very passionate about crating a holistic and xcohesive platform. Our concept was to bring people together in a time of crisis, social distancing and isolation.
We produced a very comprehernsive proposal for a range of ideas and supporting online platforms. I was selected by the team to present our proposal to the forum of 174 observes via Zoom videoconference. Our proposal was very well received and the team and I are awaiting further news on a range of possible developments.
It was quite amazing to be privileged to see the entire archiving department at the British Library. I had a chance to see the hidden aspects of preserving valuable publications and manuscripts by a team of highly sophisticated individuals. It was clear that the work process of archiving tens of thousands of photographs was very repetitive and mundane. It requires a lot of focus and patience. The team are highly motivated and full of intrinsic energy and passion. Their mission was to create archive files to the best of their abilities – true art forms, as they said.
I was also extremely touched to have my cyanotype experimentation photographed and archived by the team. Thank you ever so much!
This was a fascinating journey through the history of computer generated printmaking. The talk was delivered by a senior curator Doug Dodds and his assistant MELANIE. Both have amazing knowledge regarding the collection at the V&A and far beyond.
The content of the presentation covered a detailed explanation of and discussion about key example of computer generated art going back to the early 60s.
The overall experience was highly informative and truly inspirational.
I have finally organised to collect Burmese Captain from an exhibition at the Old Biscuit Factory. I am so pleased to have recovered this piece.
At the same time, I got a chance to preview a new exhibition of large scale dramatic paintings by Andrew Gadd. He studied at Falmouth and the Royal Academy of Art. His paintings resemble a combination of war inspired pieces from the Renaissance and Russian romanticism in painting.