Exhibition

I Dreamt in the City

5 Sep 2013 – 8 Sep 2013

Cost of entry

FREE

The Vyner Studio

London, United Kingdom

Address

Travel Information

  • Buses: 55,26,48,106,254,388
  • Bethnal Green/ central line
  • Cambridge Heath Station

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Prints by Francisco Centofanti. Music by Ian Hawgood and Manuel Mera

About

We would like to invite you to our Next Exhibition Opening Night.

The Vyner Studio presents "I Dreamt in The City".
Urban visions by Francisco Centofanti and accompanying music composed by Ian Hawgood and Manuel Mera.

SHOWCASING
Our Art Gallery will be showcasing prints of the original paintings by Centofanti.
All pritnts will be for sale.


LIVE EVENT
The artist will attend the opening night performing and inviting visitors to intreract with a large scale started canvas to be finished between the artist and the public.

BUYING PRINTS
This is a great chance to buy signed prints by awarded artist Francisco Centofanti.
Prints can be reserved in advance.

Contact info@thevynerstudio.co.uk
Subject "I Dreamt in the City Prints"


GALLERY HOURS
Sept 5th - 8th
Opening First Thursday Sept 5th 18.00-21.30 hours
6, 7 and 8, 10.00- 18/00 hours


EXHIBITION STATEMENT
These paintings were created as testimonials of a metropolis in the midst of the pains of growth, vibrant witnesses of a city in the future, advance images of its own gestation.
The series touch on that element of concepts of the future which is very much concerned with isolation and being alone after all has faded and left. The works show a city devoid of its population with usually only one being in existence. However, despite the understanding that as a result loneliness should abound, there is a communication between the lone being in the landscape, the sky, the posters and billboards, the structure of the city itself. As such we are left with beings that are not actually lonely, but simply alone.

The accompanying music leads one into the painting suggesting a sound which is appropriate and resonant with its time. The deep, not wholly auditory, instruments and sounds resound like long forgotten memories which should be of the past yet are of the (or indeed a) future. Subtle structures using a range of high frequencies determine this element of memory and insight, whilst the seeming simplicity and openness of the tracks allows the listener/viewer to be more personally involved. The music completes the paintings like a soundtrack for a film. They create yet another dimension in which to explore. It allows the viewer to focus on the abstract narrative and emotions in the paintings, while letting the viewer to journey further into the paintings.

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