SUMMER Marathon: Part 2 (David Noro, Shinuk suh, Ehryn Torrell

About

DAVID NORO: IF ONLY ONE COULD DISAPPEAR INTO THE REEDS LIKE A BURROWING TOAD
David Noro is a painter but other work categories include drawing, graphics, ceramics, and three-dimensional objects. Based on a personal archive of random words, texts, songs, and conversations, Noro relays fragments from every day which are poetically enshrined in his artistic practice. Central for Noro is that there is no preferred subject field. Works are created with a momentary and relational mind-set, where motifs arise and are constantly matured. His works unfurl prosaic stories where villains, heroes, and simple characters freely perform in narrations that can appear equally banal and intellectually complex. Noro lives and works in Amsterdam & Copenhagen. He studied at The Gerrit Rietveld Academie and The Royal Academy of Fine Arts Antwerp.

SHINUK SUH: POST-HUMAN SYNDROME
By voluntarily analysing himself, Suh explores the characteristics of the dominant ideology infused into him by the ‘Ideological State Apparatuses’. The artist visualises society as one giant system or factory and compares the process of injecting ideology into an individual to that of the production line of a factory. In addition, it emphasises the contradictions and dilemma of society after the Information Revolution by projecting the social phenomena in which the ideology is involved and the symbols representing them in metonymy. Metal and silicone, which are used as the main materials of the work, are depicted as the giant system and humans, respectively. The contrast between the two materials, with their different physical properties, highlights the alienated and neutralised human being overwhelmed by the huge system.

EHRYN TORRELL: FASCINATION WITH THE SEAM
Ehryn Torrell presents a body of 12 artworks in a range of media, each of which is based on montage imagery made with Vogue magazines. Torrell uses fashion magazines as montage material to destabilise images that use bodies to seduce and sell and to deconstruct normative images of gender, race, sexuality, and class. The exhibition will explore how montage, digital reproduction, textile, and embroidery have emerged in her practice as visual, haptic, and material methods to interrogate fashion images. Through the use of the hand-made, machine, and digital processes, Torrell’s work aims to slow the reading of images and call attention to their construction and materiality;  particularly interested in using visuality, touch, labour, and material presence to connect the viewer and artist in dialogue. Torrell’s process begins with a hand-made montage, where bits of imagery are torn from the pages of Vogue and pieced together on the canvas to create a new abstract composition. Various works are created from the initial collage painting starting point, using techniques like scanning, printing, textile printing, embroidery, and quilting.