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3/11/2004

Those who can will and those who ant suffer

Le Salon for Art Collectors, London

Salon for Art Collectors in Brussels

Once upon a time, the photograph was perceived as a visual truth. We knew that paintings might lie, but never the camera. With the advent of computer technology that permits the alteration of photographs, this myth has been shown as the nonsense that artists knew all along. The acrylic paintings in Carol K. Brown’s Encounters series seem “more real” than many photographs we see in our daily lives, in spite of her obvious manipulation of realty. In her work, Brown combines and alters multiple photographs, often of the same person, and then meticulously reproduces them in paint. The resulting images reflect relationships that never existed, but appear plausible, nonetheless. The paintings seem photographic at first glance. They are small and upon close inspection reveal the tiny brush strokes of acrylic paint.

Céline Berger’s paintings are incredible. They often look just like photos. One has to approach her figurative paintings with the same consideration as an image in its full sense. Here, the frame of representation leads us to concentrate on the problem of the middle centre point- or in its absence- within the depicted scenes, when the scenes themselves subsursively question the artifice character of popular culture.

Izumi Chiaraluce’swork is about a reflection on travelling, the paradox of identity. It is one, as it has many facets, often in between to "be and not to be", the awareness of a memory and amnesia, "horror and amor vacui".

Cedric Christie has been building a name for itself in contemporary art circles with a number of well-received exhibitions since he gave up being a car mechanic and turned his hand to art full time several years ago. From snooker ball sculptures to monochrome portraits on solid aluminium, he sets out to produce work, which is 'beautiful in its emptiness'. His sculptures challenge the viewer to make sense of throwing away statements and intrigue with their overlap of purpose - he uses colour for aesthetic satisfaction, to update the monochrome tradition and to query the role of colour in pubic culture. He will be showing some new neon pieces.Cedric Christie appears courtesy of Rocket Gallery, London.

Katy Lynton makes paintings, which suggest an extra-ordinary journey- out of the mundane and into the magical. She draws from her past experiences revisiting a particular place or emotional state and intuitively recreating them on the canvas. Exuberant colours and soft organic forms are offset by hard-edged lines and an artificially heightened surface pattern. Lynton blends real world references with a highly personal symbolism to create mystical landscapes.

Charlotte Marchand n’a pas peur de son pinceau. Elle le mord à pleines dents, tantôt le long d’une frise précise, tantôt sur une tâche aux traînées turbulentes. Elle peut dissimuler aussi, sous des impressions photographiques, des collages. Enfin, elle peut le dompter, avec des silhouettes subitement concrètes. Tout cela se partage l’espace de la toile dans une juxtaposition de régions aux frontières incontrôlables.

Comment mieux résumer le travail de Charlotte Marchand que par cette phrase de F. Penelle : « auto détermination, force, déséquilibre, partout du déséquilibre, une peinture sans béquilles, qui n’essaye pas de se tenir bien droite ». Cette peinture sans béquilles force le spectateur, pour le plus grand plaisir de la démarche artistique, à se tenir bien debout devant la toile et à y participer pleinement. Francois Delvoye

In her work Sophie Smallhorn explores colour, volume and proportion. The forms of her wall works are small, simple, clean and geometric. Geometry and saturated colour are centre stage in her compositions, combined and contrasted depending on her intuitive sense of play. There is no theory, science or system in her approach. Texture is not admitted - the chance element of light and the controlled juxtaposition of form, volume, weight and colour are all she requires to make these complex scenarios that are journeys for the eye and mind.

Hervé Saint-Hélier captures moments in time through haunting photographs from his urban travels. He uses a camera like a brush, which makes the printing magical. A visionary who is putting his talent into photos, Saint Hélier reveals the incredible eye that he is renowned for in France, and now in the United Kingdom. His art is featured in many private collections worldwide as his photographs take the viewer on a dream-like journey with powerful images that remain in the psyche over time.

Maurizio Savini started using chewing gum five years ago. As it seemed to him a more versatile material compared to those used by “traditional” arts, such as painting. Belonging to a popular culture, chewing gum does not have a statute of its own within institutional art. Nevertheless, in Savini’s work this material is redeemed and acquires a capacity and an expressive dignity of its own.

Alberto Simon, a Brazilian photographer living in Berlin, is sharing here with us his experiences of Love Hotels in Brazil. The vivid colors and the kitsch ness of those works will allow the viewer to be set in a wonderful atmosphere.

Jeanne Susplugas will show a large number of drawings as an installation where same themes are developed in multiple mediums. The body, medicine, objects, landscapes, portraits – mostly in fragment – takes strange shapes. Her drawings lecture at different levels; tender or grating, funny or sad, but mostly sensual and emotional. Susplugas evokes the big issues of our time: aesthetic surgery, over- consumption of medicine, relationships and their place in this today’s society, fashion victims. She invents an imaginary world inspired by fairy tales: a pink castle made of bosoms, forest of vibes, populations of angels and devils, drugs/dogs, a running hair dryer, and, crying figures…

Jeanne Susplugas has this capacity to project the viewer in front of himself, in front of his own desires and frustrations. Her work is reinforced by the use of everyday life objects and images that we each privately experience. When we view her works, we feel a bit of ourselves, our: feelings, dreams, and sensations… however minimized they may feel for not being “serious enough.”

Emmanuelle Villard prefers to weave the surface of her canvas with possible ornaments or physical irregularities, questioning the validity of painting today, stimulating feminine evolution in life and artistic creation. No one can escape the seduction in Emmanuelle Villard’s work. Her paintings, flashy and colourful, produce a shop-window effect, like sweetshop or clothes shop windows or stalls at a fair. You want to eat them.

Le Salon for Art Collectors showcases international emerging artists in private homes, an ideal setting that helps break through the many barriers surrounding contemporary art. Le Salon provides a comfortable learning environment, while letting art-enthusiasts imagine how a piece of art would look in their own house. Prices are affordable and clearly marked, and the atmosphere is without the pressures of a gallery.

Vernissage: Thursday November 4th, 2004 from 6 to 10 pm

Portes Ouvertes:
Friday 5th to Wednesday 10th November, from 2 to 8pm
With the exception of Saturday 6th of November which will be open from 11am to 4pm
Or by appointment (please call Vanessa on 0494 421 735)

Rue des Laines, 26 - Brussels, Belgium
Petit Sablon

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