29 August 2021

Teodora Axente. Becoming III, 2012 (Taylor Art Collection, Denver).


Oil on canvas: 50 x 33 cm. Teodora Axente (2021): “In order to define these two sides of the human being, the material and the spiritual, I chose to wrap my characters in cheap but shiny materials such as foil or cellophane ornaments that evoke the individual's dependence on the consumer society but also highlights superficiality. For example, the Becoming series evokes precisely that self-denial of the human being. Self-denial is effectuated in a ritual in which my characters are either on their knees or levitating above a chair from which only the legs remain, indicating the self-struggle”.

Visit > Taylor Art Collection, Denver.
Visit > Teodora Axente official.
Visit > Teodora Axente at: Galleria Doris Ghetta, Rosenfeld Porcini.

27 August 2021

Sarah Harvey. Falling Pleasure, 2010 (private collection).


Oil on linen: 151 x 134 cm. Sarah Harvey: “…I have become increasingly excited about the abstract elements in these works, and the interplay between light, colour and water. The emerging patterns are becoming more apparent and dominant, drawing the eye not only towards the main focal point of the human form, but also to the surrounding areas, which are of equal significance

Visit > Sarah Harvey official.
More > Sarah Harvey at: Saatchi Art, James Freeman Gallery.

18 August 2021

Henri Matisse. Bathers by a River, 1917 (Art Institute of Chicago).


Oil on canvas: 260 x 392 cm(!). Originally part of a 1909 Russian commission with Dance II and Music (State Hermitage Museum, Saint Petersburg). Rejected, and reworked in 1913-1917.

Visit > Art Institute of Chicago.
More > Henri Matisse at Wikipedia.

8 August 2021

Kurt Peiser. Embrace (‘Embrassement’), ca. 1920 (private collection).


Oil on canvas: 50 x 61 cm. Auctioned at De Vuyst Lokeren, October 2015. Kind of a young Tom Waits vibe with this Peiser guy.

More > Kurt Peiser at Wikipedia.
More > Kurt Peiser appreciation.

7 August 2021

Lisa Brice. Untitled, 2019 (artist’s portfolio).


Oil, synthetic tempera, ink and pastel on linen: 203 x 105 cm. Lisa Brice (2018): “I am drawn to the ambiguity that people and places can hold. Sometimes the compositions of my paintings feel like cinematic outtakes: the moments between directed actions, when the figures are ‘on their own time’, self-involved, performing only for themselves or one another. There are infinite possibilities embodied in these transitional states of being, which could also be a time of day, or adolescence, or gender, or rooms that feel like threshold spaces – thinly veiled interiors with glimpses of the exterior, grilles or indoor plants, typical in the tropics. These are all thrilling states – a kind of magical suspension”.

Visit > Lisa Brice at: Stephen Friedman Gallery, Salon 94.
More > Lisa Brice at Wikipedia.

2 August 2021

Christian Rex van Minnen. Reglaze the Pizza Dynasty, 2018 (artist’s portfolio).


Oil on panel: 61 x 76.2 cm. Christian Rex van Minnen (2017): “I never want to be provocative just for provocation's sake. I'm really cautious about being too ironic, or even flippant. I think it has to come from a place that's sincere, otherwise it comes off the wrong way; so what you say is true. The power of the technique itself is that you can kind of put anything behind it and it'll look good. In history, that's been a very manipulating force. You have to be careful. What is the message behind it? And if it's devoid of message, then it's just manipulation”.