A path, a glow, an explosion of splashes of color. Natural elements like a dance create a rhythm. Space and time merge into a deep emotional expression.
The carnality of colors and soft shapes merge into a constantly evolving composition that moves through a symbolic language of what is known and what is perceived.

Botanica Papapveri decomposed

All living organisms are in constant evolution. This was defined by Charles Darwin in his theory of the evolution of species, and this evolution carries a share of randomness and variation.
With the  upsurge of nanotechnology, biotechnology, computer science and cognitive science, new anthropological narratives appear redesigning the shapes of a human being fixed, transformed or even enhanced . Homo sapiens can now manipulate his DNA, transgress natural selection and eliminate the element of chance.
 
Vision of a better world or an apocalyptic world?
 
 All along my artistic works, I have been questioning the ethical aspect/part of these narratives, and I would like people to develop a critical thinking  on the human condition and  his future. 
I would like to describe the flows, the waves from then considered as vital energies which transcend the Human being in all the aspects of his human condition. The human being is a living being, among living beings interconnected and animated by vibrations. The only way the human being will adapt to his environment, is by understanding and accepting his humanity and  interconnection with Nature.


Illusion of life

Hedonism Bottles

Digital collage, photographic self-portrait (Photography by Magda Kaczmarska)
Belt Mask by Kitsch Doom and Roisin Gartland.

Belt Man & Meryl (2021)

Triptych, cement, aerosol and emulsion on board, oil and aerosol on board, oil on canvas 


Primal Element

Cate Wind's work aims to visually capture and reproduce feelings from situations, experiences, crises and life cycles. Light and color play a central role in her work, along with the material glass. The work "It has happened, Life. Life happened."  is a dynamic and finely structured sculpture, in which it does not seem to be clear whether the yellow rods of glass penetrate a supposed "body" or grow out from the inside like thorns and spikes.
The work skillfully oscillates between violation and defense.

(Text Christof Zwiener)

It has happened, Life. Life happened.

"Muraqqa" AudioVisual Painting
By Orkhan Mammadov - NFT edition 02/03

Listed as NFT on Foundation.app - https://foundation.app/@orkhan/muraqqa-2-venice-biennale-2019-53931

A Muraqqa is an album containing paintings of different miniature styles from different periods in Azerbaijan’s history. The images present a conventional realism and static structure, but the narrative hides inner dynamics. Frozen moments contain rich variations of potential actions.

The artist has reproduced original miniature paintings and represented them as a linear digital story. The authentic traditional Muraqqa becomes a source for the construction of an alternative virtual replica. The artist has added his stories to the original content and created a video installation. He sets the characters of the Muraqqa in motion to play with plot development, and animated effects demonstrate its artificiality.

Viewers witness fictional storytelling that goes far beyond its original context. The miniature paintings’ stories are arguably fake from the outset because they are a product of the artists’ imaginations. The animation represents both fairytales and reliable facts. Following the pictures’ inner dynamics, the artist creates his vision of the represented events. This storytelling reveals the nature of interpretation. This process reveals how the manipulation of content happens.

The artist refers to Azerbaijan’s Biennale Arte 2019 agenda concerning the dissemination of fake news. People have unlimited possibilities when interpreting a singular image or a fact. Therefore, the artist motivates viewers to create new narratives and suggests other ways of connecting and contextualising images.

Artist: ORKHAN MAMMADOV
Curators: Emin Mammadov & Gianni Mercurio

Executor: Heydar Aliyev Foundation
Premiered at: La Biennale di Venezia

Medium: Video Art
Resolution: 4900 x 1080 px
Duration: 4:30 min

...

Official links
https://orkhan.art/links

Latest NFT Drops:
https://foundation.app/@orkhan

"Muraqqa" AudioVisual Painting - Venice Biennale 2019 / NFT edition

Stills from a duplicated and mirrored AI-Generated video

Trans/cendental

"Recess" is a series of objects found in a thrift store and painted in enamel and adhered to the wall.

Recess

Fixtures establishes a symbolic relationship between my family’s experiences and the socio-economic realities of 21st century blue collar workers. A broken porcelain handle my father excavated from the leveled American Standard plant becomes his surrogate. It is surrounded by 200 digitally fabricated PVA and porcelain replicas that were produced as stand-in’s that point to the anonymous millions that share his experience of displacement. Each copy is manufactured through the automated processes of 3D scanning and 3D printing, technologies frequently used in present day manufacturing. When combined with the original, these newly minted artifacts erect an abstracted, piecemeal, industrial ruin.

Fixtures

Medium:
Mixed Media on Canvas

Dimensions:
25 cm x25 cm x2 cm

Year:
2020

Description:
Encontros meaning "encounters" in Portuguese simbolizes the effect and consequences of every amalgamation - emotional or physical. Textures made out of heavy acrylic grow at every merge, emulating the reaction or outcome of these fusions.


Encontros

21 gauge annealed steel wire

64” x 60” x 5”

Better Half

12" x 12" acrylic and mixed media, framed

View from Above

Happiness and its Longevity

Inception

24” x 30”
Oil paint on canvas
2020

Many times “caring” actions will bring people closer together, but it can also make people uncomfortable with too much attention. In this series of works, Interpreting Discomfort , I discuss how much attention is too much? How is this feeling of discomfort formed? For the attention given by others, we all want to classify it as concern, but too much attention may become a kind of pressure. This kind of pressure which is hard to get rid of. In many cases, we can’t even be sure that this pressure comes from the others or our own overreaction.

In this series of works, a lot of hands, eyes and figures are used to express my concept. The unusual combination of hands and eyes to achieve the goal of horrible and stressful, just like how we feel in life sometimes. No one likes to be stared at by other people, and no one want to be pointed at by others. Except for hands and eyes, by including additional elements from everyday life: mobile phones, nail polish, mirrors, etc., I show that these situations can happen to anyone at any time. I use this series of works to discuss with the viewer the comfortable distance of interaction between people.

Interpreting Discomfort #1

Per Sonare

FEMME AU CHAPEAU ROSE À LA DÉRIVE (détail)
WOMAN WITH PINK HAT DRIFTING (detail)
Metal flower planter, metal, metal tripod, oil painting fragments, chicken wire, metal tongs, pistachio shells deposited on the ground, 96 in x 54 in x 54 in, 2020. 
DRIFTS DRIFTING PHASE II Installation Project. Photo: Anne-Marie Giroux

The DRIFTS DRIFTING PHASE II installation project proposes a questioning of human and artistic drift, a theme that Anne-Marie Giroux has been exploring since 2014. Taking a critical and mocking approach to the relevance of the very essence of the art object, the artist also questions the relevance of being an artist and most specifically, the importance of being a woman artist. Composed of three-dimensional works developed with traditional mediums and recovered materials, the installation is presented as a still life, fragmented with multiple « self-portraits » of the artist and her art, adrift.

In the continuity of the DRIFT (2014-2018) and DRIFTING (2017-2018) series as well as the DRIFTS PHASE I installation project (2O19), it is during the Covid-19 confinement of spring 2020 that the artist undertook the creation of the DRIFTS DRIFTING PHASE II installation project. In December 2020, she also had the opportunity to complete an artist residency that allowed her to refine the project and create in situ at Galerie ERGA in Montreal. The artist now plans to present the project publicly.

Anne-Marie Giroux attaches great importance to the creative process. One of the peculiarities of the project comes from a desire to push the practice of painting and sculpture further. She challenges herself to compose with the surrounding material in her studio, whether it is with the oil painting fragments that dried and that accumulated, plasters and cements created for previous projects, materials and objects that have piled up in the studio over the years.

Greatly inspired by the work of Duchamp (transposition of the object into art), Ed Rushcha (conceptual aspect) and Mathieu Lefèvre (questioning and relevance of being an artist), she has created a series of three-dimensional works offering a poetic and minimalist in situ that will be able to transform and recompose itself in the spaces that will host it.

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