Untitled - FPS Free Painters and Sculptors
FPS group – Free Painters and Sculptors are making a guest appearance in POSK Gallery with a small show of works following their successful show in Menier Gallery in Southwark in December.
Dijana Bekvalac, Pasquale Cesare, Alexandra Harley and Joanna Ciechanowska are showing drawings, sculptures and paintings. Invited guest artist; Wojciech A Sobczyński.
Curators: Joanna Ciechanowska and Wojciech A Sobczynski
POSK Gallery, 238 King Street, W6 0RF
Nearest tube Ravenscourt Park
Exhibition open daily 5 – 16 January, 2014
10 – 9pm. Free entry
Private View - 9 January, 6.30 - 9.00 pm
‘My practice explores the boundaries of abstract picture making, playing with and dissecting its language, touching upon the infinite substrata of the visual within its scope. My imagery evokes cartographic landscapes and self-referential visual systems, which exist in a condition of fragile order. It is about the obsessive mapping of space and the gathering of time invested in the production of an image. I am also greatly influenced by the actions associated with handwriting, its traces and aesthetics, its ephemera, lines and the grids that guide it. I graduated with a BA Hons in Fine Art, from the Chelsea College of Art and Design (University of Arts London). I am an associate member of BAR, affiliated with the Willesden Library Gallery, where I have been regularly exhibiting since 2007. I am also a resident artist at the Departure Foundation and a member of the Harlesden Gallery Group and FPS. My most recent shows include the Threadneedle Prize Final 2012, the Cork Street Open 2013, the FPS Summer show and Open 2013. I have also exhibited internationally at BWA (Ostrowiec Swietokrzyski, Poland) XI International Autumn Salon of Art 2012: Homo Quadratus Ostroviensis.’
Alexandra Harley ARBS
Although ideas are drawn initially from the use of the moving figure, I have tried to eliminate a literal depiction. These sculptures convey a sense of movement, animation and an expressed feeling of imbalance and unease. I try to encapsulate a combination of movements rather than just a static pose though the sculptures are not themselves kinetic. I look beneath the skin to expose the underlying movements, rather than the outer surface, which masks the tensions and stresses contained within. My sculptures seek out and emphasize the stretches, twists, pushes and pulls contained within a movement. My work is not static, either in its feel or in its subject matter though the ‘movement’ in the material is not literal. With the AA2A award I have been working with clay and exploring new ways of joining the elements of a sculpture’.
‘I work predominantly in oils and pastels, sometimes using collage and cut outs from photographs, my own or others. The starting point is often an idea provoked by situation that causes controversy, an argument or creates two opposite points of view. I try to transform this imbalance into visual image that provokes similar reaction in a viewer without taking either side of an argument, but rather bringing the two sides as close to each other as possible, in a visual sense. This translates as trying to blur the border between the real and abstract, trying to create an image that is neither happy nor threatening but one that causes the viewer to feel uncertain, unsure what he is looking at, therefore evoking reaction similar to the starting point which could be a political controversy, a religious tension, or a threat of an environmental catastrophe. The images used are often accidental, and on the opposite spectrum, it is their proximity when they are brought together that I am trying to use, to create tension, restlessness and therefore provoke even more dispute about the original argument. Sometimes, though it is only a surface excitement of paint on paper or canvas, but still provoking the viewer to have a second look hopefully discovering a part of a painting he hasn’t noticed at first. What interests me is an image in disguise.’
Exhibited in Whitechapel Gallery, Royal Academy, The Mall Galleries, D&AD Illustrators-London, Paris, NY, The VI-th and VII-th Biennale in Poland, Edinburgh - The Summerhall Gallery (Summerhall TV – ‘artist talk’), and recently, the Mernier Gallery.
Summerhall TV http://www.summerhall.tv/2013/artists-talk-quality-of-everyday-life/
‘I studied at the Academy of Fine Arts in Rome and was taught and mentored by the artist Cesare Tacchi and the art historian Lorenza Trucchi. My working methods tend to exploit the vast possibility of hand tools by carving in a direct manner. Projects that involve drawing and planning are also an integral part of my practice, which I apply to specific ideas. These two different approaches are part of my personal process of learning and experiencing; they lead separately to the creation of abstract organic forms and figurative archaic subjects. Mediums that I prefer and use are stone and wood. My work involves ideas about changing the given purpose of specific materials. I am particularly interested and fascinated by the process of transforming the appearance of discarded materials and I find inspiration in nature as well as different forms of crafts and art. Literature plays a fundamental role in my process of visualizing an idea for a project. The personal story and the words and acts of a person can be very significant in this process. Ultimately it is the material and medium itself that determines form and line. The end result is not in the object or shape but in the interaction with the person viewing the sculpture itself.’
Wojciech A. Sobczynski
Born in Poland, has lived and worked in London since 1968. He first studied art at the Academy of Fine Arts in Krakow under Prof. J. Puget. After finishing his studies in Poland he came to London and became a student at the City & Guilds of London Art School followed by the Slade School of Art, University College London, where he studied under Prof. Reg Butler. His work has been shown in a number of galleries in England, Scotland and Poland.
‘I have always striven to build an artistic bridge between the art of the past and the developments of the contemporary art. The use of colour in three-dimensional structures has encouraged me to experiment with ever wider forms of expression and spatial interaction. The interplay of colour and form has a dominant role in my work whilst the content is considered to be more peripheral. Whether working in a two or a three dimensional format, I am always exploring different ways of unifying painting and sculpture. My interests are firmly anchored in contemporary trends and in the pursuit of innovative means. I am searching for a dialogue between culture - in the widest sense of the word - and my personal reflection on the times we live in. In this endeavor, I feel I am in a never-ending confrontation with my very own ‘self’.’
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