SURFACING: WORK BY EMERGING ARTISTS FROM THE UK AND ITALY17. Oct - 1. Nov 13 / ended The Studio Building
10AM- 5PM Mon- Thurs, 10 AM - 4PM Fri
SURFACING: WORK BY EMERGING ARTISTS FROM THE UK AND ITALY
urated by Becca Pelly-Fry and Liane Lang
Private view: Thursday 17 October, 6.30 – 8.30pm (all welcome)
Exhibition open: 17 October – 1 November
A new exhibition opens at the Griffin Gallery on 17 October, presenting work by emerging artists from the top art schools in the UK and Italy. The show brings together three young artists currently studying at the highly acclaimed Royal Academy Schools in London, with three students from Italy’s prestigious Fine Art Academies in Venice and Milan.
Rebecca Ackroyd’s practice has always involved an on-going dialogue between drawing and sculpture. She is interested in the objects’ ability to “perform in multiple ways”, and sets instinctive compositions that “reflect and re-appropriate everyday objects”.
The work of Marisa J. Futernick is nurtured by an on-going obsession with the past, specifically that of America in the 1950s and 1960s. She attempts to navigate her complex relationship with the failed promise of the American Dream by intertwining the personal with the historical and fact with fiction.
Ziggy Grudzinskas explores the notion of “abstract figuration” through painting and printmaking. His focus is on the different types of marks and gestures that can be applied in a transitory moment of action.
Oscar Isaias Contreras Rojas’s work looks into the vast metaphor of the voyage as a “personal and social development”, a way to discover our weaknesses and limits, but also our strengths and our freedom.
Isabella Nazzarri creates ambiguous abstract paintings, obsessively “feeding from images and retaining a memory of them”. She gets her inspiration from a wide range of different types of images, and works around the idea of mutation, in their depiction and in their meaning.
Patrick Tabarelli’s artistic research revolves around the mechanics of perception in relation to alienating images. Through his painting technique, he installs a “dichotomy between the processes of creation and the final aesthetic”. Using “the simplest instruments”, recycled or created by himself, he constructs precise and sophisticated paintings that echo digital images and open what he calls a “perceptive uncertainty”.
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