Spring Salon

About

In her most recent series of paintings Anna Borowy arranges portraits of persons with animal companions and detailed landscapes of nature in the background. The figures in the front are lucidly contoured and distinct, which corresponds to to their noticeable proximity to the viewer. Consequently their bodies are partially „cropped“ at the borders of the paintings – or perceived differently these bodies have been extended into the space of the viewer. In conjunction with the astonishing plasticity of the characters, the viewer quasi finds himself in company with them in front of a dramatic but rather distant background.
The basis for the formation of Borowys‘ works—irrespective of all conceptual arrangements—is an open, processual flow. The artist is dynamically exchanging with the form taking on her idea, i.e. she exposes its shape and details while painting. The result is a vividness which the mere draft cannot anticipate.

The paintings of the Swiss artist Florian Fausch are utopian architectural landscapes with a formal language which follows its own laws. These are places as well as „non-places“ at once, circling the concept of the painting. Landscape and interior space are being unfolded and splintered, interlock with each other again and form something entirely new.

Lori Field crafts exquisite and wondrous worlds, dreamy yet unsettling, floating somewhere between Alice’s looking glass and the Brothers Grimm’s darkest forest. Here, part-creature, part-humans, nearly all tattooed, coexist among flowers, baubles, butterflies, and lace. Whether they are masked, or true hybrids with twin kitty heads or antlers springing from their hair, they are nearly all female, their attendant mystiques running the gamut from sugar-and-spice to the huntress Diana and the temptress Eve. While well grounded in the history of art—Bosch, Raphael, and Redon come immediately to mind—Field’s paintings are refreshingly defiant of tradition, in a world of their own.

Armando Mariño was born 1968 in Cuba and now lives and works in New York City. He studied art in Havana and Santiago de Cuba in the 1980s and 1990s and at Rijksakademie van Beeldende Kunsten in Amsterdam between 2004 and 2005. He has since exhibited his paintings all over the world including solo and group exhibitions in Paris, Ontario, Copenhagen, Madrid and Miami among other cities. Mariño has won numerous awards for his paintings and his work is held in such notable collections as that of Deutsche Bank, De Nederlandsche Bank, The Coca Cola Foundation and other significant public and private collections in Europe, Central America and the USA.

In his recent series of oil paintings with the title „Silent Green“ Armin Völckers interprets and recreates the models of classical tableaus. The viewer faces in one image the homage to the artworks of Völckers‘ precursors as well as an ironic dissociation from these by clichéd exaggerations and the addition of irritating artifacts. Armin Völckers changes colours, outlines, proportions and specifically contents of the originals, to generate a stylistic and contextual potential. Consequently the original images serve as powerful vehicles for anachronisms and stylistic inconsistencies, which Völckers integrates so organically in the existing templates, the original narrative ist not only modified but clearly expanded.

Armin Völckers was born in 1963 in Berlin and grew up in Rio de Janeiro. From 1983 to 1988 he studied Visual Arts at the UdK Berlin.
Beside painting Armin Völckers has also worked as a screenwriter, film director and producer of animated series for children. His debut feature film „Leroy“ won the German Film Prize (Lola) for „Best Children‘s Film“ and „Best Musical Score“.  Armin Völckers is a member of the German Film Academy.
Armin Völckers‘ paintings are in international private and public collections such as The World Bank (Washington DC), HypoVereinsbank (Unicredit), Schering AG (Berlin), Sir Paul McCartney, Patricia Highsmith (Estate).