Through the use of simple gestures related to actions, patterns, colors, structures, or even moments, this group of artists investigates the ways in which perception operates and responds. Just as time doesn't pass identically to everyone, looking at images/perception is not an identical experience. In this sense, the works in this two part exhibition explore cognitive stimulation and interactions with different fragments of the unconscious mind.
While exploring visual illusions and playing with perception to find the dividing point between what is real and what is not, these artists build a sensorial vocabulary –made of light, objects, patterns and colors– that serves as a path towards awareness, emphasizing that, over all, we're not external observers but a part of it all.
Hewson is an Irish artist based in Dublin. Her work is continually searching for ways to access and explore the unconscious mind with the equal desire for excavation and escapism. An instinctive and impulsive approach to image making is adopted to find an abstract sensory vocabulary that activates and celebrates this area of brain activity. Hewson investigates the level of importance that pattern, colour and structure has to the human psyche and how it creates cognitive stimulation from an unconscious level.
The Encyclopedia of Things is a photography series in which I collaborate with individuals in their home environments. Each individual selects personal objects that are meaningful to them, which they arrange for the camera in a temporary installation. Whether memento or heirloom, everyone has their own talismans: objects containing a value only significant to its keeper.
The meaning of such objects gets assigned silently, internally, and yet, reveals so much about who we are. The objects are often portals that allow us to travel to key moments in our lives, and we keep them to create a sense of permanence against the impermanence of reality.
The meaning of such objects gets assigned silently, internally, and yet, reveals so much about who we are. The objects are often portals that allow us to travel to key moments in our lives, and we keep them to create a sense of permanence against the impermanence of reality.
My sculpture and installation repurposes found and ready-made objects, often combined with clay components and woven elements that I intuitively create. Precariously assembled, the works are wild and wacky, yet in balance as they ride up a wall or come tumbling across the floor. My process embraces chance, explores relationships and relies on resourcefulness. I improvise and play, allowing objects and materials to surprise me with their infinite possible combinations. Discarded things that most people overlook, I instead make noticeable. Working on the street and the studio, I examine how worthless fragments and simple gestures can be transformed into unexpected art experiences.
Linda Loh is currently in Melbourne, Australia, but she has been based in New York City on and off for the past two years. As a multi-media artist, most of her work has its origins in sources of light. She distorts and transforms these, exploring the elusive form and materiality of digital space.
My art works are like an entrance or exit across the border between reality and unreality. It is like a “Gate”. The works cause viewers to experience visual illusion or new perception with colors, shapes, materials, composition and environment.
I believe that experiencing visual illusion or new perception through my works will open your entrance or exit connecting the reality and unreality, by the feeling that you have never had before. It is expressed not only in terms of effect, but also in color, shape, arrangement and so on.
Based on feelings or memories, my work process delves into the complex undercurrents of intimate and collective interactions.
The blurry boundary between perception and experience always inspired me: I am interested in the randomness of emotion through art by imaging abstract visuals based on the subconscious.
Exploring forms and lines in my map compositions, I form disaggregated grids and imaginary topographies exploring social tensions and relationships, instead of addresses and landmarks.
The blurry boundary between perception and experience always inspired me: I am interested in the randomness of emotion through art by imaging abstract visuals based on the subconscious.
Exploring forms and lines in my map compositions, I form disaggregated grids and imaginary topographies exploring social tensions and relationships, instead of addresses and landmarks.