GROUP SHOW

Photography-Painting-Sculpture-Video

JAN ALBERS, SONJA BRAAS, DIETER DETZNER, HERBERT HAMAK, JOYCE PENSATO, CORDY RYMAN, SOPHIE WHETTNALL, KATERINA ZACHAROPOULOU

DECEMBER 5, 2001- JANUARY 26, 2002

Jan Albers creates shelf boxes enveloped in printed fabric with exotic motifs printed in Holland for Indonesia and Africa. These motifs contradict with the everyday objects of urban life on which they are represented. Through his work, Albers is trying to erase the borders between art and everyday life.

Dieter Detzner, has a conceptual approach to art. He is exhibiting polyurethane foam cut-outs in the shape of paint splatters, in vivid colours. His works combine a decorative appearance with a scientific research into the explosive forms of paint splashes.

Like Dieter Detzner, Cordy Ryman is also working in the gap between painting and sculpture and creates objects that emphasize space. He builds three-dimensional constructions out of press-board, bolts, wire, plastic trays etc., that serve as canvases for his linear pencil marks and brushy paint strokes.

Incorporating Pop subjects in her paintings, Joyce Pensato transforms them into abstract expressionism. Using an iconic Pop imagery of cartoon characters as Mickey, Donald and Felix, that Pensato considers as the everyday myths of American culture, she represents them with black and white enamel on linen. Pensato, considering the cartoon as a distortion of the human figure, she distorts it herself to emblematize the aggressive, anxious psychological quality that is the content of her work.

The monochromatic nature of Herbert Hamak’s works connects them with the development in Modern art whose declared intention is to exclude from painting everything which is not an essential part of painting itself. Any representational function is negated, while colour, which the artist uses in thick layers, becomes manifestly the main characteristic of his work.

The work of Katerina Zacharopoulou revolves around the way that women carry within their body the transient symbol of a life that follows or that has preceded. Her work deals with and comments on the relation between women and their archetypal desires for love, marriage, maternity, beauty, their quest for Fortune, their use of fetish images.

Sonja Braas, by craftily weaving photographic and painted landscapes, she creates allusions to a genuine nowhere. The use of photography which presumably “never lies”, seals the believability of her works.

Sophie Whettnal’s photographs and videos carry us away to a motion, that is the main characteristic of her work. This motion is more of a passageway; a passageway through landscapes and cityscapes.