The exhibition invite you to investigate the other side of Brussels and come to discover eight contemporary artists in a unique converted warehouse.
Carol K. Brown, Cedric Christie, Lili Fantozzi, Charlotte Marchand, Lawson
Oyekan, Georges-Pascal Ricordeau, Sophie Smallhorn and Jeanne Susplugas
Vanessa Suchar invites you to investigate the other side of Brussels and come to discover eight contemporary artists in a unique converted warehouse
Vernissage: Saturday February 14th, 2004 from 2pm to 6 pm
The exhibition continues Sunday 15th, Monday 16th, Tuesday 17th and Wednesday 18th February 2004, from 2 to 8 pm or by appointment (please call Vanessa on 0494 421 735)
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. Brownâ€™s Encounters series seem â€œmore realâ€ 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.
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. Cedric Christie appears courtesy of Rocket Gallery, London.
Lili Fantozziâ€™s work can be defined as kitsch, or recycling of consumer societies outdates elements. Found in flea markets, attics and churches, the Virgin Mary, Saints and sculptures of all origins are given a new life. Each expresses her sensibilities. It is the need for open-mindedness, tolerance and truth that feeds Fantozziâ€™s inspiration, paintings, and passion. The kitsch art of happiness.
Comment mieux rÃ©sumer le travail de Charlotte Marchand que par cette phrase de F.Penelle: "auto dÃ©termination, force, dÃ©sÃ©quilibre, partout du dÃ©sÃ©quilibre, une peinture sans bÃ©quilles, qui nâ€™essaye pas de se tenir bien droite". Cette peinture sans bÃ©quilles force le spectateur, pour le plus grand plaisir de la dÃ©marche artistique, Ã se tenir bien debout devant la toile et Ã y participer pleinement.
Life experience is considered as subject for Lawson Oyekan's work, the creation of form, (socio-aesthetic -sculpture) realized in the archaeological material clay, that is essentially the physicality shaped by natural rigor of our psychic evolution. He often uses the naturally choreographed drama of circumstances of society as subject of study and also a starting point for the work. A form representing the state of man in our society, and with particular emphasis on common faith and healing, for example the realization of anaesthetic physicality of coming up for air is best represented in clay.
Elizabeth Thomas says about Georges-Pascal Ricordeau, â€œAlthough his reputation as an artist was growing, after a series of irreconcilable difficulties, he found himself living in the streets of Paris with nothing to his name. So, in this era of street culture, Ricordeau started to work with what was available in that environment: street materials. He gleaned whatever he could, recuperating things as commonplace and artistically invisible as plastic bags, with supermarket or even luxury labels, and began weaving them into cords. Later, the cord was formed into specific works... the result of this recuperation is inspiringly fresh and even humorousâ€.
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.
Jeanne Susplugas comes back with her magical lens and macro photography, on a new series. â€œDes photos sâ€™enchaÃ®nent et dÃ©filent, affichant sous tous les angles possibles deux corps imbriquÃ©s lâ€™un dans lâ€™autre. (â€¦). Dans ces photos, la vÃ©racitÃ© de lâ€™apparence charnelle, est aussi illusoire. Ce ne sont que des Ã©bats de plastique, soulignant le caractÃ¨re Ã la fois pervers et bÃ©nin de gadgets Ã la physionomie plus vraie que nature. Le rose et les poupÃ©es sont parfois trompeurs. Ne pas mettre Ã portÃ©e des enfantsâ€. She will also be showing a video, in the cosy environment of a bedroom.
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.
For further information and images, please contact Vanessa Suchar at +32 (0)494 421 735
Galeriste sans galerie
Rue des Ailes, 10- Brussels, 1030, Belgium