At least not this edition of humanity, maybe the next one: Humanity 2.0…Īccepting this view of reality means letting go of everything. In an interview with LensCulture, the artist describes the challenges of our ‘post truth’ era: “I don’t think humanity as a whole can accept and genuinely come to terms with fundamental randomness and uncertainty, the lack of absolutes. His work has an intriguing quality of timelessness and placelessness about it, to the extent that his images look as if they had been taken in an imaginary distant future, or a distant past, or even on a totally different planet. In the series, Cieślikiewicz shows a range of apparently unrelated scenes, its title hinting at the difficulty, even impossibility, of proving a link between all of them.
DEFAMILIARIZATION MINIMALIST ARTISTS SERIES
The name of his 16 part series derives from a hypothesis posited across scientific disciplines, which asserts that the link between two phenomena is random – the goal of the researcher is to disprove the null hypothesis and show that there is indeed a real, measurable link. With his cryptic series NULL HYPOTHESIS, Polish photographer Jan Cieślikiewicz creates a study in randomness. The imperfections are traces of the painting process and belong to the finished image – just as the work’s other parameters, and its colours do as well. During the creation and layering process, the artist consciously inserts such imperfections to visually explore how far these residual, visible traces point out that which, although missing, is still inherently present. Flaws and small irregularities supply the texture of the artistic process they provide orientation, and influence the work’s expressive content. Thereby, imperfections and the surface of the painting ground play an important role in her artistic technique. She works with iridescent and metallic pigments, which she applies in countless layers on (newsprint) paper, canvas, mdf or an aluminium ground. In her painting practice, Anke Völk is interested in aspects of surface, and of the dissolution of limits. The thoroughly painterly treatment of the latter is reminiscent of abstract painting traditions such as Pointillism, COBRA or Art Informel, although with their synthesis of poured colour and recognisable brush marks, each is capable of creating its own, very individual mood. She seeks new possibilities for testing painting's transformative potential, in order to achieve an equilibrium between an object’s painted existence and its physical one.įor her second exhibition in Drawing Room, Tompkins has created a new series of small, loose acrylic paintings on paper, an assemblage, the stool entitled ‘LB’, and new Digital Light Pools. In her artistic practice, Tompkins uses the mimetic qualities of paint and painterly gesture to interpret everyday objects. She often combines these with photographs found on the Internet, or painted stretcher bars that are covered with textiles, thus assembling subtle installations which accentuate the process of observing and experiencing space. She uses everyday objects such as knives, branches, chairs, plastic containers or mobile phones as the surfaces for her paintings. Hayley Tompkins (*1971, Leighton Buzzard) works in the media of painting, drawing and installation. Varnish, leaf aluminium on crystal mirrorĬourtesy: The artist and Drawing Room, Hamburg From the oscillation between repetition and variation, Mosler develops a game of meanings and attributions that never quite works out, leaving us with enduring mysteries. The neon objects are supplemented and spatially expanded by new mirror works and collages. In her second exhibition KNOT FOLLIES in Drawing Room, Mosler shows new three-dimensional neon works that, in continuation of the artist’s examination of ornament, deal with the topology of mathematical knot models and float in space as a complex curved trace of light.
In 1997 she was represented at documenta X in Kassel with a ground relief of quartz sand in the Zwehrenturm of the Fridericianum.
The sculptor and installation artist Mariella Mosler (* 1962 in Oldenburg) operates with her work on the boundary between autonomous sculpture and site-specific interior ornamentation.
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