Olivia Bax, * 1988 in Singapore,
lives and works in London
The Upper Hand
In the studio the work requires constant handling.
During a pandemic, surfaces are dangerous.
Can the sense of touch be felt through screens?
To make a monoprint, one needs to draw on the reverse of the paper. Peeling the paper off the inked plate reveals which marks have been transferred.
In the virtual world, there is no front or back but the scale of work can be manipulated.
I am interested in the contrast between the line and the solid.
Hot Spot is punctuated with two yellow handle bars.
No arm span could reach the two points.
In the viewing room, the yellow handle sits on top of a drawing of hand holding a similar handle. The drawing is called How do you do?
In the virtual world, there are no inside or outside spaces. Surfaces are flat. Sculptures are images.
Punch dangles on a long thin line connected to the ceiling.
I like suggesting mass but try to make all my work light. It must be easy to move.
In the virtual world, all work is floating.
In the viewing room, behind Punch, a hand considers the best placement of the same object.
Is it the right way around? The drawing is called A-OK.
Henry Chapman,*1987 in Brooklyn, New York,
lives and works in New York
For this presentation, the cycle is introduced by a pairing of recent drawings between Luke Rogers and Henry Chapman. One is a clock, surrounded by some of my daily writing during quarantine, and expressing some of the conflicted emotions and reactions he had.
“One Year Later at Luke and Jody’s” presents a seasons cycle, with a fifth painting as postscript. On each canvas, a ring of color wheels encircle a portrait. “Fall” shows artist Luke Rogers reading in the studio, surrounded by in-progress paintings of the cycle. One of Rogers’ drawings is paired with one of Chapman’s as an introduction to this presentation.
In an accompanying text, Chapman writes about returning to Los Angeles last fall, where he stayed with Rogers to make this work. “Form speaks in patterns and repetitions,” he writes. So does experience. “I gave my return more significance than it really had… it was like going back to a pain.
Karim Noureldin, *1967 in Zurich, Switzerland,
lives and works in Lausanne
Karim Noureldin considerably extends the possibilities of the medium of the drawing by taking it into other dimensions.
On the occasion of our NEW VIEWINGS project, the artist implements his multidisciplinary approach, distinguished by a fine balance between works on paper and textile works. By transforming his large-scale drawings into precious carpet works, the Swiss-Egyptian artist helps in preserving the rare, century-old ‘Panza rug technique’ from Western India.
Using both bold shining colours and fine lines on a white background, his works unify the artist’s passion for abstract forms and fine substances.
Andreia Santana, *1991 in Lisbon, Portugal,
lives and works between Lisbon, Vienna and New York
The premise of this investigation and works is the literary-archivist work Strange Artifacts – a Sourcebook on Ancient Men, by William Corliss – a first edition that compiled, for several decades, numerous archaeological objects not equivalent to the museological status of artefact.
These objects or phenomena were found and described in the archeologists‘ field diaries during the expeditions, but most of them did not become the targets of the necessary attention regarding their description, explanation and origin. From Corliss‘ countless collections, descriptions and sparse illustrations, Andreia Santana created a series of sculptures that evoke the shapes of these objects in an attempt of a historical re-inscription that initiates an anachronistic dialogue in evitably implicit in contemporary artistic creation itself.