A world canvas
Ali Bansidar (New York)
My paintings are always the result of a visual philosophical debate that takes place in my mind whilst making the work. Once a painting begins, everything comes into focus and it becomes my job to try to make order out of this chaos. Insufferable Naturalist (the painting) hints at some of the thoughts I was having at that moment in time — at times personal, but also universal. I like the idea of being able to identify with every type of archetypal character within the painting, as we all have each of them within ourselves.
Marius Bercea (Romania)
Brothers of the Sun speaks of camaraderie between the subject and the sun that covers the composition, about the social factor that sunlight plays. This frame is also about the metaphor “being exiled in the light”. The work contains a balance between emotion and rationality, thanks to walking the fine, taut line between abstraction and figuration painting, resulting from the alchemical combination of air and light. Here, I describe the visible being invaded by a clear and engulfing sun.
Angel Otero (New York)
I create the first layer of my oil skin paintings on Plexiglas (acrylic plastic sheets), and cover its surface with layers of oil paint. After the paint dries, I peel and scrape it off in sheets, and transfer these to canvas. While making SK-RY, I wanted to challenge my typical process, so I decided to scrape the paint off the glass while it was incredibly wet, making it difficult to take the “skin” off in one piece. Instead, the paint moved in ways I didn’t expect, and I had to scrape it off, piece by piece, and then arrange the individual pieces on the canvas to construct the work. Using this experimental process, diminished my control over the work and allowed the characteristics and capacity of the paint to be more central.
Fiona Rae (London)
Liquid Sunshine is the Caribbean phrase for rain. I liked that something physical and perhaps gloomy could be changed into something ephemeral, beautiful and impossible. The cobalt blues and turquoise act as a kind of sea of brushmarks that the stars and panda float in. The dotted eyes or flowers or mouths repeat across the canvas, suggesting that the expressionist brushstrokes are animated for the moment into creatures and beings, existing along the orange, pink, lime green and yellow disruptions and splatters.
Till: September 20, 11 am to 6 pm (Tuesday to Saturday)
At: Galerie Isa, 132, Great Western Building, first floor, SBS Road, opposite Lion Gate, Fort.