GAZING INTO THE VOID
The opening show of the gallery consists of 17 internationally established artists, more of them representing the elite of international contemporary art.
The theme is of the exhibition is an examination of psychological theories and their influence on minimalistic art – hence the title “Gazing into the Void”. The common denominator is a presentation of the formalistic and neo-expressionistic language and configuration, showing the artists’ intuitive and unconscious effortless technique and artistic expression of “how not to paint”. The gallery presents a “playground” of the artists’ tactile, psychological and physical angle of working with materials and surfaces enabling the spectator to relate to “substance or no substance”, imagination and meditative art. Neo- expressionistic statements and the artists’ eclectic artistic craftsmanship formulate a new aestheticism, a new “white noise” showing examples of meditative art and giving examples of spiritual experiences. The abstract, formalistic synthesis of the French artist Bernard Frize or the seemingly playful, but nevertheless emotional and psychological metaphors of the British artist Martin Creed show an experimental, fermented technique of “process painting” and an unconventional abstract technique of painting. The works of American artist Tony Matelli and Swiss artist John M. Armleder are referring to the superficiality and the meaninglessness of modern society.
The monochromatic application of colors on the canvasses have found a distinctive language in Robert Janitz’ and Ron Gorchov’s tactile and poetic expressions. The works reveal the process of the painting technique and composition: Through a special technique of addition of employing oil in combination with vax and flour, Janitz is a master of showing a vibrant and psychological moving dualism. Gorchov’s oil-on- linen paintings on saddle-like stretchers, featuring biomorphic shapes are challenging the artistic vocabulary of traditional painting, expressing a new minimalistic abstract grammar. They are condensed in their tactile expression similar to the powerful, expressionistic bee waxworks of the young American artist Nick Theobald.
The spectator can in almost all situations penetrate the process of the painting’s production, read the structure of its grammar and maybe follow which decisions are taken and in which order. In this respect, they belong to minimalism. They reveal themselves to the beholder. Their effect, however, plays with illusion and is highly psychological, when we immerse ourselves into the work and really concentrate. We discover statements about existence, poetically and technically interpreted by the artists. In the staged perspective on translucency and subtle opacity, colors and imaginations appear and disappear.
Their existence and the spectators’ memory and unconscious mindset are evoked. Windows are opened and closed.
The gallery showcases an exhibition where the dialogue and interactive language of the artists are in focus. A show where artistic discipline and strict expression are exhibited aside from the frivolous and abstract surrealistic.
We are proud to welcome you to our first group show presenting a variety of emerging and leading international artists.
Jacob Bjørn & Thomas Gundorph