Not So Absolute
11.12.2010 – 16.01.2011
On the occasion of her one year anniversary, Apice for Artists will present four artists who have recently aroused her curiosity. Although each of them employs an almost intentionally physical manner of exposing their practice, in formalizing images they all depart from different principles.
For Erik de Bree the canvas functions as a surface to construct, reconstruct and deconstruct. He reflects on the subjective manner in which we obtain information from our physical environment by treating found images of natural scenery as mere conditions to affirm the space of visual emptiness. By working in layers, he exposes the way we conceive the material world. This notion – of exposing and concealing – has resulted in a new series of works, Langolier Paintings, in which he dissolves parts of his accomplished painting and reaches a zero-degree of representation.
Whereas in Erik’s work,- imagery is the starting point for determining emptiness, Ran Zhang does the opposite, departing from the possibilities of an empty surface. In her series The Big Doom (2009) for example, she shows that the very existence of these small paintings solely depends on the pure form of painting. Not limited by any pre-set conditions, significance results from the working method. It is precisely the visual evidence, of dimension, line, shape or color, in terms of pure form of appearance, that gives the work its reason for existence.
Kristine Hymøller’s investigation concerns the way in which we relate to constructional space as a system supporting power, beauty and wealth. Her sculptural work is often build on a range of visual and symbolic models, borrowing from the formal language and color composition of Bauhaus and Constructivism. Recently, Kristine applies performative elements to explore the physical space occupied by the body. In her photo series Twosome (2009), a free-moving construction of performers combine wood boards in different compositions, questioning the extent in which personal space is technically conditioned.
As the sequence of postures unfolds like a narrative story, reflecting on the mechanical movement itself, Seán Hannan uses his background in film to create a visual scenery on paper. As a base for his video work, he draws scenario’s to frame his ideas on social questions. Both media interact, but on the level of content,- they also function independently. For this exhibition, Sean has realized a new series of drawings which resemble fragments of his memory, thus connecting the inner- and outer world.