The Visible Light and Colour - cylindergallery Visible...sunburn from sitting too long in the sun. Throughout my work, I like to use visible light and colour to create a scene which

Menier Gallery London 2o Aug – 2 Sept 2018

CYLINDERGALLERY THE VISIBLE LIGHT AND COLOUR

‘Light and colour have inspired and intrigued artists,

scientist, writers and philosophers, for centuries.

Colours have become symbolic of our emotions and

thoughts, generating a feeling of endlessness

allowing the viewer to take in the artwork responsive

qualities. The experience of monochromatic light

offers another experience, an opportunity of

visualizing another perspective, of viewing the world

a third dimension. This exhibition draws in a

collection of selected artists by the Cylindergallery

to encouraging the visiting public to see the

relativity of our colour and light perception'

Angelika Millmaker

Aker Brygge I Mixed Media on Canvas 30 x 30 cm www.angelikamillmaker.com

I am a Norwegian artist, and the essence of my work is rooted in the colours and landscapes from Scandinavia and the traditional beautiful design of Nordic art. In the high northern latitudes, the sun bathes the landscape with light, colouring the sky with luminous shades of dark purple, deep blue and subtle crimson. The Scandinavian landscape comes alive during the long summer days and light nights of the midnight sun, and then becomes majestically silent as the autumn colours fade into the white snowfalls of winter. This quality of light gives colours a brilliance that is rarely found in other regions. The difference between the cool, cold almost whitish blue winter landscape and the bright colours of summer is very inspiring to me, and many of my paintings are characterized by bold contrasts between colours, textures, shapes and light. Although my paintings are never a direct translation, it may be possible to trace the pure white light of a winter day or the vibrancy of a flower in a variety of unexpected ways. Departing from a single vision from nature my paintings try to show her inner mechanisms and vitality not represented by appearance, but by the emotions these visions create in the viewer.

Sarah Bellon

Still Life (2017)

Acrylic on canvas

http://www.sarabeeart.weebly.com

Simple but fundamental questions animate the creative process in my practice: How does memory work? How can we investigate the standpoints created by memory through the pictorial element? Through memory we re-generate images, stories of lived experiences that in their own right are micro-existences with distorted colours, different compositional elements and perceptions. Memories are built through opposite angulations, in their becoming, with finished or unfinished results. My interest for colour contrasts and structure is fundamental and reflects the idea that ambivalent forces, when they meet, can create, destroy or find a fine balance in the composition just like the contradictions emerging from memories. This confrontational exchange generates a dialogue between the works as small fragments of memory and through a plan of combinations, which reveals its sustaining formal structure. Representation replaces reality with a series of signs that can be interpreted and reinterpreted differently every time like memories: blocks and defined lines represent finished poles and are mixed with the smudges of forms which are still evolving, in their becoming in a highly lyric approach to the abstract composition.

Oli Lyon

'Two Figures' (No.7) (2018) Oil Paint on Linen Canvas

(71"x53")

http://olilyonspaintings.com

Within my work I explore the human figure through the medium of oil paint on linen canvas. My practice mainly revolves around the portrayal of two subjects titled ‘Crucifixion’ and ‘Figure Alone’. My paintings examine the physical structure of the human body frequently presenting the figure in a state of contortion, constriction and isolation. Crucifixion is a subject that has fascinated me for a long time; I see the portrayal of the suffering figure on the cross as an armature upon which to express other feelings and concerns. I also enjoy the interplay between the curvature of the human form and the geometric shape of the cross. Although there are many very important and almost overwhelming religious implications attached to the subject, I like to predominantly focus on the Crucifixion as a brutal method of torture and execution. The subject easily allows the portrayal of the human figure in a state of suffering and torment. The subject titled ‘Figure Alone’ primarily depicts the human form in an empty space, focusing on isolating the figure within a vacant room or abstract landscape. Within this subject I attempt to portray mental torment, instead of physical pain. This is often achieved by the position of the figure and the mood and colour of the interior or landscape it is placed in. Another subject I have concentrated on is the depiction of ‘Two Figures’ which predominantly shows two figures in a cold and empty space, concentrating on the interaction between the figures and their individual interplay with the background. Often the figures are depicted fading or sinking into the background in an attempt to convey a fractured relationship between themselves or between the viewer and the subjects. One of the other motifs I have focused on is the constriction and contortion of the figure by binding or suspending the body or portraying the figure wearing a gas mask.

Alexandre Gondim

Cells (2017)

Acrylic on canvas 85x65cm

http://www.screamingunconscious.com

I am Brazilian and these roots are reflected on my art. Vibrant, colourful, tropical, full of

energy. I started painting abstract art, as my defined style, twelve years ago. Every painting I

make is a portrait of my unconscious, my thoughts, my feelings. There’s no explanation, no

specific meaning about what I do. The purpose of my work is touching people in different

and particular ways so each one can experience it by their own vision and emotions.

Currently based in London.

Alison Anderson

Blue Towers Series

Cyanotype

Not for sale

http://alisonandersonartist.co.uk

I am interested in the physical world that surrounds me, the objects and structures that it contains; exploring the everyday still life, the objects within it which resonate, expressing their character and formal qualities. Taking notice of the familiar landscape of our lives, making it less familiar by experimenting between representation, abstraction and with colour and light and making this process visible through the media of photography, drawing, painting and collage.

Yelena Safronova

Where Do You Want to Go?

Ink on Paper

47 cm x 62 cm

http://www.safronova-design.com

I’m inspired by the vibrant, diverse, creative crowds of New York, and I try to relate that through my work. In these paintings I observe people in their daily lives, catching them off-guard in candid moments. I’m interested in who these people are and how they relate to the world. The relative unpredictability of using water and ink help me explore the delicate balance of accidents and intentions in life and in my painting technique. Sometimes the water flows and carries pigment exactly how I imagined, but usually it doesn’t; as soon as the painting dries, I must accept whatever accidents happened. In life, sometimes things happen as we intend, but usually we learn to accept the happy accidents.

Matt Durrant

Flow (2018)

pigment on paper

40 x 23.6 cm http://www.matthewdurrant.co.uk

Matt is a photographer who uses post-production techniques in his work to convey new and altered colours to change the perception of the original subject.

Matt’s subjects focus mainly upon the natural world, such as flowers, trees, skyscapes and waterscapes. However, he also works with architecture too. Through this alteration, Matt aims to create new ideas, concepts, feelings or emotions upon the pre-conceived and to challenge our visual opinions.

Matt is inspired by colourful prints and fabrics created by designers and aims to emulate this sense of colour, light and form through photographs.

Flow' represents a summer's day sky. The sun is shining in the background, creating light behind the clouds. The image is viewed as if seen through a prism of only pinks, reds and purple clouds upon the blue sky. I love to visually challenge what we see around us and manipulate the natural light sources to create images which visually make us see the world around us differently through colour. 'Sunburn' consists of slightly darker clouds, blending with the sun, sky and white clouds to give a mix of dark shady and light moments. The colours in the image are what I imagine the sky to look like when people get sunburn from sitting too long in the sun. Throughout my work, I like to use visible light and colour to create a scene which represents a particular feeling or emotion. In my final image 'Sapphire and Botanic', I caught the light hitting the centre of the flower. I think it's wonderful how light can really elevate a particular part of the photo. The colours of the flower in this image I feel evoke an almost natural jewel like quality, as if a sapphire was represented in the natural world.

Bo Cosfranz

Shadows 2

Acrylic on canvas, 2017

55 x 65 cm

http://cosfranz.com/

A London-based fine artist, working with acrylics, textile, print, and sculpture.

I create art by extending tangent lines out from corners. I follow a strict process, my own algorithm. The concept is to artificially impose order and structure to organic elements.

In the Silhouettes and Shadows series, light and colour is used to create two layers, the figurative foreground and the abstract background. Light reveals an area of colour, or a shadow on the face, which becomes the subject matter of the portrait. Tangent lines extend out from the shapes' corners, giving the structure of the background area. The areas between the tangent lines in the background may be filled with colour, which become lighter or darker as the areas overlap, creating artificial light and depth.

This creative process is an attempt to remove the individuality of the depicted human shape. The corners which give each figure its character and energy are subdued by the addition of the tangent lines and coloured areas. Although each human figure is unique, the rules applied during the creation of the work impose a sense of conformity. The organic curves of the shadows on the face are caged in by the geometric lines. This visual imposition of order reflects the balance between the wilderness of human nature and the constraints we impose on ourselves as members of society.

A different approach to the tangents is explored in each series, but the core rules always remain. Each series of work should be seen as a chapter of a bigger, continuing story.

Dahbia Miloudi

Sunny Day

Mixed Media Artwork

Acrylic Painting and Photography

303x400mm

https://www.instagram.com/dapamob

I started painting 6 years ago; I am also fan of travelling and photography. I decided to join my three passions and create new artwork using photos captured all over the world and my photographed acrylic paintings, using new technologies I merge both, a detailed work is done on the different layers which gives a unique result. Each of these artworks has a story and expresses different emotions and feelings.

Abigail Phanggungfook

I’ll send a Text Message ( 2018 )

180cm x 150cm

Oil on canvas

Phang Gung Fook was born in London to parents migrated from the West Indies. Originally trained as a textile designer, she established a practice as a freelance designer producing designs for the American home furnishings industry. Following a career break as a stay at home mother she commenced study for a MA in painting at City and Guilds Art School, graduating September 2017.

Phang Gung Fook’s work describes the multiplicity of her family life describing a raft of emotions and the journey she has undertaken. The topics are important to her they are intrinsically linked to who she is today. The autobiographical aspect of Phang Gung Fook’s work links to the representation of her domestic space. Painting enables her to express feelings and experiences in the materials. Inspiration comes from intimacy shared with the subjects.

Although subjects are sometimes deep and personal, the underlying message is the everyday stories and experiences we can all relate to. Phang Gung Fook injects humour and subjectivity into her work, painting enables her to express feelings and experiences. Dogs are a significant feature of her work, she uses dogs as a metaphor for the people they represent, creating ambiguity. The narrative in her work is not always immediate to the viewer her expressive painting technique and naïve language adds to the drama and raw emotions of her paintings.

Stephen McGowan

Valley of the Dolls

Mixed Media

Size: 30 H x 20 W x 1.5 in

Stephen is a multimedia artist and creative who has worked across the fashion, music

and magazine industries and has styled music videos, commercials and fashion

editorials as well as making costumes/garments for films, shows and events. Stephen

initially studied drawing and composition in Ireland and then trained in design and

construction in London. Stephen often mixes images from shoots that he has styled

with painting, and surface decoration and distortion. Primary interests include

science fiction, psychology, literature, storytelling, cinema and classical illustration

Richard Heley

"Alive" (2018)

Acrylic on canvas

121x121cm

http://www.saatchiart.com/richardheley

I'm Richard, an artist, fine art painter, interactive painting with children, poet, story writer,

songwriter. I have a specialist Art & craft teaching degree earned while I lived in Australia.

I've supported myself by occasional teaching, but didn't feel comfortable having a different

150 children through my classroom every day, so over the years i've contracted lots of

construction work and mostly taught myself decorating, carpentry, tiling, plastering etc. And

done so many arts, crafts, poetry, film workshops that I've lost count. I've toured

internationally performing poetry and stories. I've got a huge amount of paintings, drawings,

stories, poems, songs which are ripe to embrace the world but just need some good

marketing, one of the tasks which I've found difficult. I was raised as a Christian but have

come to value Buddhist thought however I respect anybody who is trying to make sense of

this transitory existence. I am deeply committed to the arts and spend most of my time

practicing my skills. I like films, sport especially football, bike riding, gardening, planting fruit

trees, viewing the arts, performing poetry, stories and songs. Politically I'm left wing/

humanist. See some of my artwork at http://www.saatchiart.com/richardheley

Sueko Hamilton Ritchie

'My memory of a colourful life' (2018)

Acrylic on canvas 210cm x 70cm x 10 canvases

http://www.sue-hr.com/

My interest is the relationship between viewers and my work. My main practice is focusing on how viewers perceive my paintings and their resulting physically interact with my paintings.

Buddhism heavily influences my native Japanese culture. As such, I see the world as in flux with many continuous cycles – light and shadow, hard and soft, seasons of the year. I explore the use of colour systems to create a visual ambiguity in my work that requires viewers to move around or through my paintings and participate with my work, seeking alternative vantage points to view the work. I create optical illusions by experimenting with colour systems, light and shadow.

The development process for ‘My memory of a colourful life’ was understanding the origins of my visual identity and how non-Japanese people react to colour usage. This is an experimental painting towards a common visual language bridging Japanese and Western cultures. Clouds are one of the main motifs in Yamato-e and a common motif of Western landscapes. My challenge is to combine optical and psychological perception to represent the concept of my visual identity utilizing light and shadow within a colour system.

I have begun to incorporate more of my Japanese cultural background into my work, using a combination of hard edge techniques with traditional calligraphic brushstrokes, an additional cycle with parallels to the pervasive and continual cycle of construction and destruction present on a volcanic island chain like Japan that suffers from frequent natural disasters such as earthquakes and typhoons. The combination of organic and geometric forms is common in Japanese traditional crafts and Kimono textile patterns, representing the co-existence of humans with nature, a fundamental Japanese philosophy and one of my sources of inspiration.

Kirsty Badenoch and Sam Coulton

SCHIZOPHRENIC PANOSPHERES

4-piece cyanotype exposure onto stretched cotton (840 width x 2500mm length) Hung on timber

back-frames

www.kirstybadenoch.com http://samcoulton.wixsite.com/sgcarch

Kirsty Badenoch

Kirsty Badenoch is an artist and architect working between the realms of landscape, urbanism and the imaginary. Her work centres around dynamic relationships between the natural and the manmade, exploring fluid geographies and the interplaying forces that shape a place.

Her artistic research into vulnerable landscapes transposes site readings into alternative cartographies of time - mapping memory and event in places more clearly defined by states of continuous change than by their physical form. Experimenting with traditional drawing methods, her artistic process is driven by chance, working with slow material processes and erratic drawing mediums that embrace unpredictability through their material nature.

“The Disappearing Islands” maps the endangered islands of The Maldives, one of the most remote, beautiful and fragile places on earth. The third most threatened country by rising sea levels, these tiny islands are home to 400 000 people and are constantly being reshaped by the ocean in a daily battle against submergence.

The map plates preserve six of these endangered islands as relics of how they once stood. Overlaying mappings of oceanic change over the past five years, the hand- etched copper sheets are exposed to a series of long-term acid erosion processes. The plates takes several weeks to erode, embodying the slow yet persistent degradation of land. The resulting topographical models preserve a frozen moment of islands caught in transition.

Since the drawings were made, two of the islands have been abandoned by their villagers. The embossings pressed from the plates are almost invisible - ghosts - as the islands will themselves too soon be.

“Schizophrenic Panospheres” is a drawing collaboration with Samuel Coulton exploring weather temporality through cyanotype blueprint exposure.

Two weather diaries kept simultaneously across remote sides of the world are exchanged, amalgamated, drawn, erased and redrawn by two pairs of hands. The ephemeral tracings are exposed and developed across the ocean, as the clouds movie across and interrupt one another until one is indistinguishable from the last. Memories of light and water are drawn through light and water itself.

Kirsty has won numerous awards for her works, recieved extensive support from the Danish Arts Foundation for her research, and taught experimental architectural drawing across Scandinavia. Her works have previously been exhibited in London, Copenhagen and New York.

Samuel Coulton Having recently graduated from the Masters of Architecture programme at the Bartlett School of

Architecture, University College London; my work is driven by a desire to represent complex spatial

experiences, with a temporal and material focus. I have explored the relationship between the

material and the immaterial, to further in the tradition of an argument for architectures which do not

just hold physical presence but also emotional resonance. Celebrating the passage of time,

materialising moments of a passing cloud and highlighting the annual solar bleaching of a facade

have all been investigated.

Vicky Paul

The Kiss

acrylic on canvas 50x60cm

https://www.vickypaul.com/art

My artwork is inspired by spirituality and Mother Nature and is a direct reflection of the inspiration I receive intuitively from my surroundings. As a self-taught abstract artist my main motivation, other than bringing love and light to people, is to portray the inherent beauty and energies that exist in both the seen and unseen world around us. Abstract painting is closest to my heart because it gives me the freedom to personally express myself and enables me to convey the Universal energies I feel guided to bring through. Creation and creativity are part of our spiritual growth and personal empowerment, and my goal as an artist is to present spirituality in a modern, creative and accessible way. My colour palate is determined by my mood and general feeling. I work spontaneously and rarely begin with a set plan in mind, often guided to the meaning and title of each painting after it is finished. I let each work evolve intuitively until there is an explosion of energy and colour on the canvas. This really excites me as an artist and I am fascinated by this process, which is how I want people to feel when they look at my work - energised, excited and inspired to open up to new possibilities.

Kim Bo Hyeon

Photography with Grid (2018)

49cm x49cm

I am interested in challenging the boundaries between painting and non painting, with sculptural concerns exploring structures, materiality, and photogram. I tend to combine found objects and digital images into my painting, especially those that can reveal the aspects of three-dimensional anthropomorphic identities, and surreal and mythological qualities.

Recently I have started making more digital printing works in combining with sculptural paintings and objects where are usually relying a wall and a floor as three-dimensional form.

The using of photographic language is the pictorial format of embracing all the different and unknown things around a new space in which multi layers of time made through system of digital space. As such, image-objects have agency; each of them become subjects.

With continuity by virtual influence on temporal qualities, I accept an indexical relationship to a time and a space at a given moment which can be hybrid quality. This is like the way I become acquainted with diverse of global cultures with complexities as a contemporary artist but also at the same time I am still in somewhere at threshold as terraforming of X equal Y.

Tom Dearie

Keep That Rainbow on a Leash (2017)

Acrylic on Canvas 60 x 80cm

https://tomdearie.com/

My paintings are made through the cumulative build-up of history, some of which is present some of which is lost. The painting is informed as much by what is no longer seen as that which is. The abstract forms in the work are often constructed simply through line. The slow process by which the paintings are made is at odds with the instinctive gestures of drawing; I savour the communication between the primitive and contemporary. The paintings are constructed through a slow process of decision-making, reaction, editing and correction. The creation of the final surface is born from a patient dialogue between the material and my own impulses. There is no set composition when the painting begins, and the final result is simply an accumulation of layers, some of which remain visible, others buried become a mere trace. It is this form of painting archaeology that I really enjoy. The images that are revealed consist of gestures and remnants, suggestive of something greater and moments of transition. There is always a feeling that the work could carry on being made. The image is a moment frozen in

time rather than a conclusion.

Julia Medynska

Mother knows Best (2018)

Oil on Linen Canvas 20 x16 inches

http://www.juliamedynska.com/

My painting explores the violent psychology of the individual. My current work has shifted from large-scale narratives to smaller still life and portraits. The small paintings, not larger than a note pad, are material evidence to a violent act. They unveil a macabre scene.

Since childhood, I have faced the struggle between the private drama versus the public persona. I was five years old when my family escaped Poland. Settled in Berlin, the five of us lived in a single room. My domineering grandmother, the family matriarch, was determined to fit in with the affluent Germans and hide our impoverishment. She manipulated her two daughters to climb the social ladder through a series of advantageous and abusive marriages. In order to blend in at a very prestigious private school, I learned to "put on a mask" and hide the embarrassing reality of my home life. In my paintings, I see myself as a film director composing narratives from unrelated source images to develop an uncanny dramatic scene. I search for my “actors” either in vintage black and white photography or film stills. Inspired by their body language, I invent a story. Its setting is either taken from a 19th century still life painting or a film still. What attracts me to an image are sombre colour temperatures and contrasting lighting scenarios. I aim for a beautiful yet ominous atmosphere, creating a world where physical harm has been inflicted. I intentionally keep blur facial features and or use animals as a stand-in to resist describing an identity. Instead the actors become archetypes and their physical activity an allegory for a psychopathological world. Each painting is a horrid secret where I can choose to lift the curtain.

Rose Magee Fat Lady of Malta (2017)

Oil on canvas backed board

42 x 30 cm

https://paintingsbyrosa.yolasite.com

Rose Magee is a British painter living between Berlin and Malta, originally trained as a tattooist and in the profession for five years, she is now pursuing an artistic career in the restoration of archaeological objects. She feels drawn by the art of the first half of the 20th Century and uses a mix of these artistic movements such as Precisionism/ Cubism/ Avant-Garde as well as realism and surrealism. Her work is characterised by sharp lines and dramatic lighting with bold colours capturing everyday objects and landmarks. Working in oils on canvas, Rose has showcased in an independent Maltese gallery and is currently working on a collection of human form inspired paintings.

Dovile Antusaite ‘The Outsider’ Acrylic and 24k Gold Leaf on Canvas100x120cm,

www.dovile.co.uk

As an artist, I am very subject-‐orientated and I concentrate only on the impression and vision of the

surrounding world. I aim to represent the complex interrelationship between my imagination, my reality and its

interpretation, so to bring together the simplicity of forms and the complexity of ideas of my artwork. To me

-‐ abstract art is a fictive visual storytelling, making reality visible, which otherwise we can neither see nor

describe. I want my paintings to secretly communicate with the viewer and to pass on to him/her only the

directions and suggestions. Through my abstract paintings the viewer gains access to the infinite depths of his/her

own story. My ultimate aim is to address the concept of self-‐identity, which is continuously challenged and

altered by the surrounding world. Through my work, I want to heighten the underlying tension of

individualism experienced by every generation of our society. My artistic practice is mostly driven by global

contrasts and universal contradictions. I am interested in societal collectiveness as well as personal transformative

processes. I am fascinated by the subject of individualism and its place in the current social, socioeconomic and

cultural environment. Geometric forms and limited range of colours dominate my paintings. It admittedly was

the influence of my first art teacher that fuelled my fascination with mid 20th-‐century and post-‐war artists.

From defined and elemental colours to abstract reductions of surrounding details, was what drove my

interpretation of art itself. As a young artist and student, I worked on and researched Suprematism,

Constructivism and Abstract Expressionism, eventually adopting the philosophies into my work. My long-‐lasting

admiration remains with Kasimir Malevich, Rothko and Arnulf Reiner. Overall, my work is driven by the

physical construction of ideas. I aim to lead viewer’s attention into the greatest depths of his/her personal life

journey. I want to give the viewer an ability to engage his/her own opinion and thoughts on self-‐identity and

societal collectiveness. My goal is to challenge the viewer by confronting him/her with hidden symbols, and

deeply questioning his/her own perspective -‐ all through geometrical abstraction. Ultimately, I aim to execute the

physical manipulation of materials in order to construct an imaginary allusion and ideological experience for the

viewer. I am extremely interested in awakening of my artwork. I am inspired by the idea, that the artwork could

initiate a dialogic and highly sensory relationship between itself and the viewer. In some of my paintings I

use gold leaf aiming to simulate this ‘engagement’ between my work and the viewer, who needs to observe the

artwork from several angles in order to witness the metamorphosis of gold leaf and the painting as a whole. I

don’t use gold leaf in all of my paintings. Even then, I deliberately try balancing different materials, investigating

paint notions and saturation of pigments-‐ ultimately creating inescapable organic surfaces and dynamic abstract

compositions. I am thrilled to take a part in the ‘Blended’ exhibition. I am excited to embrace its unique and

strong message along with my own artistic approach and personal view. My whole artistic practice is composed around the viewer and his/her relationship with my work.

Jim Cross Series 17, No 26 Medium: oil paint on paper Size: 69 x 101.5 cms

http://www.jimcrossart.com

These paintings attempt to capture the continuous process of becoming, of being fashioned from sedimentary particles through the alchemy of paint. The works are multi-layered, embodying an improvised process of deposition, erosion, excavation and modification; an incessant process of entropy and decay, allowing colours to appear, fade and rematerialise over time and happenstance. The final image is built using a variety of techniques - mono-printing, dragging, scraping-back and reworking - giving depth to the paint surface and allowing earlier moments to emerge or disappear. Each piece is made over a period of weeks or months, with paint-layers representing numerous points in time and place, a record of countless journeys, diversions, decisions and discoveries. Colour, light and texture play an important role in the fabrication of these paintings. Not only do they animate the surface, they also bear witness to what lies below, giving hints and suggestions as to what might become visible or leaving traces of what has been eroded and lost through time.

Sonia Chana

Reflect (piece with 2 x female face) Oil on Canvas

[email protected]

The female gaze to me is not about pleasure or even power; it is about presence. The female gaze is about women.

The female gaze derives from the desire to tell stories, no matter who they are About and to share thoughts and feelings and experiences. The female gaze is not

only about making political statements, but, "our presence is a political statement.

© Cylindergallery 2018