WANDERING INTUITION HENRIK AA. ULDALEN PARALLEL: 18 JANUARY – 20 FEBRUARY 2021
JD Malat Gallery is pleased to present Wandering Intuition, a solo exhibition by leading figurative artist Henrik Aa. Uldalen. Presented on JD Malat Gallery’s virtual exhibition platform, PARALLEL, Wandering Intuition consists of Uldalen’s most experimental body of work to date. Created during the residency project Arthouse 1606 and recently exhibited in Mexico’s leading cultural institution, Museo de Arte de Querétaro, this selection of work marks Uldalen’s ability to draw from a nexus of inspiration to create a distinctive and experimental way of depicting the human figure.
Internationally renowned for his ethereal portraits of figures caught within refined and expressive regions of paint, Uldalen strives to capture liminal and limbo-like states of the human condition, visually translating ideas concerned with the metaphysical rather than a physical conceivable world.
The paintings in Wandering Intuition were made during Uldalen’s participation in last year’s Arthouse 1606 in Tequisquiapan, Mexico, an annual residency project where professional artists are invited to work under one roof for the duration of a month. During this residency, Uldalen was presented with the task of trusting his ‘intuition’ to inspire creativity and experimentation in an effort to authentically reflect a wider cultural context always in flux.
‘The making of Wandering Intuition has been an unexpected and revealing journey for me, allowing me to freely pursue instinct and intuition in my work. To let the road reveal itself whilst walking, with no map, makes for interesting travels, destinations you would never expect to find.’ – Henrik Aa. Uldalen
The goal behind Arthouse 1606 was to strengthen cross-cultural connections between a diverse group of professional artists. During the residency, Uldalen was able to draw from a nexus of inspiration, subsequently sparking a new avenue for his exploration of the human form in paint. The figures in these canvases are bound within abstract and textured flourishes of paint, a technique much more experimental and expressive in its nature when compared to the artist’s previous body of work. Wandering Intuition thus highlights the endless possibilities of figurative representation, and underlines Uldalen’s role as a protagonist in the wider field of contemporary figurative painting.
Born in South Korea in 1986 and raised in Norway, Uldalen has spent time in Barcelona, Florence and Mexico City, before moving to England in 2015. Uldalen gained an immense amount of experience through his travelling, which has allowed him to bring his own perspective to figurative painting. Through his work, Uldalen has made a unique impact on his international audience, helping him reach nearly one million followers on Instagram.
By virtually exhibiting Uldalen’s work on PARALLEL, JD Malat Gallery hopes to strengthen the dialogue between Uldalen and his international audience, as well as emphasise the connective and encompassing force of his art.
JD Malat Gallery is proud to present ecstasy, a solo exhibition by leading Turkish sculptor Hande Sekerciler. From the 27th of November until the 1st of January.
This new series of three-dimensional digital sculptures is presented on JD Malat Gallery’s online exhibition platform, PARALLEL. By situating Sekerciler’s sculptures in a virtual exhibition space, JD Malat Gallery seeks to highlight the progressive nature of Sekerciler’s practice and aims to underline her role as a protagonist in the field of contemporary sculpture and digital art.
Sekerciler was born in 1982 in Bursa, Turkey. She attended Marmara University, studying in the Department of Arts and Crafts Education from 1998 to 2002. Sekerciler is a sculptor renowned for her figurative forms, whose inspiration draws from artworks of the Hellenistic and Renaissance periods. Artworks from these periods act as a stimulus from which she experiments ideas of form and social issues through her sculpture.
While Sekerciler’s sculptures share similarities with Hellenistic and Renaissance sculpture, such as the nude form, as well as smoothed and patinated surfaces, Sekerciler does not focus on the notion of the ‘ideal’ that was extensively explored during these periods. The figures in ecstasy reject clothing and even hair to give little insight into a specific identity. This rejection of identifiable materials and form serve to free the sculptural figures from gendered and societal labels, urging the viewer to contemplate the body’s existence as independent from societal structures. Through a method of what Sekerciler calls, ‘purification’, ecstasy presents figures at ‘peace with their sexuality and orientation who embrace their existence’. Thus, this new body of work presents an important axis for reflection of the human ‘self’ in a contemporary age.
The figures in ecstasy represent Sekerciler’s search for ways of incorporating digital technology into traditional arts. To create the digital sculptures, Sekerciler undertakes a complex process that involves creating sketches on an ipad and turning this into three-dimensional models by using the sculpting software ZBrush. Sekerciler then uses Substance Painter to achieve different digital surface textures, such as ‘virtual patina’. These digital models become a step in Sekerciler’s process of creating bronze sculptures in real life. Using the digital models for reference, Sekerciler develops wax models which are then used to prepare high temperature resistant molds for casting bronze. After a process of pouring, cooling and ‘levelling’, the bronze sculptures are then completed with a unique chemical patina, developed by Sekerciler herself.
The digital sculptures in ecstasy have come to life through Sekerciler’s collaboration with GarageAtlas, a creative XR Studio that has been instrumental in developing the virtual exhibition space. The decision to only showcase the digital sculptures in a virtual exhibition space, rather than the bronze sculptures in an IRL exhibition demonstrates the artistic merit of the digital preparatory process and highlights the progressive and technologically advanced nature of Sekerciler’s practice.
By displaying digital sculptures exclusively in an online exhibition space, ecstasy presents a new avenue for contemplating the modes of engagement with sculpture. For centuries sculpture has been viewed in real life as part of architecture, as an art object in museums and galleries or as an object of worship. Against the backdrop of the current pandemic and with in-person engagement becoming increasingly difficult, Sekerciler seeks to develop digital sculpture and online viewing experiences in an effort to engage her international audience no matter where they are. In doing so, ecstasy challenges traditional methods of viewing sculpture and in turn highlights the inclusive nature of virtual viewing experiences. Therefore, ecstasy presents a new trajectory in the historiography of sculpture, technology and the digital arts.
ecstasy resonates with the contemporary age and highlights the innovative nature of Sekerciler’s work, demonstrating why her work continues to fascinate a global audience. Sekerciler has exhibited internationally in notable collections, which include Elgiz Museum, Istanbul, Turkey, and the Artist Causa Gallery, Thessaloniki, Greece. She was also awarded artist residencies including Artist Alliance International, New York, Unlimited, New York and 18th Street, Los Angeles. As co-founder of Piskel New Media Residency, in collaboration with Turkiye Bilisim Vakfi, and as director and curator of Augmented Istanbul, Sekerciler continues to use her expertise in new technologies and sculpture to develop new platforms of engagement.
“The beauty of nature is unsurpassable. Nature is the essence, the source and the inspiration to create.” – Conrad Jon Godly.
JD Malat Gallery is pleased to present NEVERTHELESS, a solo exhibition bringing together a new body of work from Swiss artist Conrad Jon Godly. Born in Davos, Switzerland, Godly is always seeking to capture the essence of his surrounding environment.
The exhibition represents a return to Godly’s favourite subject matter: the awe, terror, beauty, and suspense of the mountains. Godly has titled this exhibition in defiance of those who seek to pigeonhole him; yes, he has painted many mountains before, nevertheless, not one is the same, and this show presents a refined and powerful rendition of these phenomenal gifts of nature.
Godly’s unique style is caught between abstraction and representation. His paintings are never illustrations of specific mountains, instead his paintings are the product of his memory. In this way, Godly seeks to capture the emotional relationship that he has with them, creating paintings with a tangible quality; the ridges are deeply felt, the drops are sheer, the paint falls from the canvas. Godly breaks the boundary between object and viewer, letting the paintings burst into the physical space of the gallery.
From afar, the paintings appear photographic, with their realistic depictions of reflections on pure white snow. This is because of the 17 years Godly spent as a photographer before turning to the brush, which has gifted him an innate knowledge of light and composition. As a result, he gives light priority in his painting, masterfully manipulating the paint to give the impression of blinding sunlight or total darkness.
Godly’s understanding of nature’s essence allows him to create a narrative that becomes progressively darker in this exhibition. Firstly, there are his paintings of light. These canvases are his most photographic, flooded with blue and white; light emanates from the pictorial plane – focusing on hope. Secondly, there are the canvases concerned with mist. These works deal mostly in more pastoral greens and greys, split by a ravine that rushes through the centre. Finally, in his night paintings Godly revels in the theatrical nature of the mountains, lacing the thick paint with fear and danger.
Because Godly is constantly driving toward the essence of nature, his work presents a means for meditative contemplation: “My work is very meditative. That is the most important factor. And I work very fast,” he says. As Philip Maier states in ‘Conrad Jon Godly, Works +-’, “internalising these mountains has been the painterly exercise [Godly] has submitted himself to”. In internalising the mountains, Godly gets closer to his goal, and finds purpose for being. “I think the search for the essence is an eternal search,” Godly says, “...maybe it is also the search for the self, and this constant search until death is maybe the meaning of life.”
The pandemic has solidified his devotion to the mountains, convinced of their necessity. “I made a break and I took time to think deeply about our world, our society, the politicians... how humans destroy our planet. In these difficult times people are longing for real things.” In contrast to politicians, Godly suggests a mountain is always true to you, eternally, indestructibly.
Godly is in the collections of the Swiss National Bank, Switzerland, the UBS Bank, Switzerland, Credit Suisse, Switzerland, Julius Bär Bank, Switzerland, DAROS collection, Switzerland, and the GKB (Bank Carton of Grisons), Switzerland.
Bryce Watanasoponwong is a Thai-Australian artist with a passion for combining street photography and abstract art to create compositions that layer textures. He notes: “I love to explore surroundings most people pass by without ever noticing—worlds of daily lives that, upon closer inspection, open into stories of perspective.” The rippling water and sequin curtains are amongst his varied subject matter, where colours and shapes are seen close-up, obscuring the view and transforming the context of the image. The works shown here are from The Colours of Emotion series.
Thrilling (2019), The Colours of Emotion series, Bryce Watanasoponwong
Bryce has participated in numerous exhibitions and art fairs in Asia, Australia and North America. He made his first US sale in May 2019 and donated the proceeds to The Association of Community Employment Program for the Homeless. Early in 2020, he gave a personal interview for Australian Broadcasting Corporation (ABC) TV’s The Mix, which featured him and his photography, broadcast on Saturday, 14/03/2020 (https://iview.abc.net.au/show/mix/series/0/video/NC2016H008S00). In August 2020, he received an honorary mention in Life Framer’s STREET LIFE (https://www.life-framer.com/street-life-2020/), judged by the legendary conceptual documentary photographer Philip-Lorca diCorcia.
In-between (2019), Bryce Watanasoponwong
“Brilliantly framed on the streets of Dhaka, Bangladesh, Bryce’s poetic street story plays out in gorgeous primary colors picked out by the setting sun. A construction worker laughs with a police officer as a bus passes by, and the central subject catches our eye. It feels wonderfully illustrative of a place – ordered chaos; busy, vibrant beauty – and of the complexity of life as elements momentarily align before fragmenting off in all directions once again.” – Life Framer
Zümrütoğlu, I sell oil, I sell honey, my master died, now I 220cm must sell them II, oil on canvas, 260 x 220cm
JD Malat Gallery is honoured to present Atonal Drift, a new body of work by one of Turkey’s leading emerging artists, Zümrütoğlu.
In October 2020, Atonal Drift will bring together Zümrütoğlu’s highly expressive paintings and sculptures in an attempt to demonstrate how the artist explores the theme of the ‘dissonant and disharmonious body’ and the possibilities of figurative abstraction across different mediums.
The title of the exhibition, Atonal Drift, marks an extension of the progressive thinking first expressed by Austrian-born composer and painter, Arnold Schoenberg (1874-1951). ‘Atonality’ has been understood as a conscious attempt to avoid traditional harmony in music. Taking on the broadest sense of the term - as deviation from traditional structures and integral frameworks of different practices - ‘atonal’ in Zümrütoğlu’s new body of work denotes his ability to challenge the conventions of figurative painting to express a dissonant human form, while ‘drift’ demonstrates his shift from the canvas to sculpture.
Informed by Western literature, philosophy and music, Zümrütoğlu’s work to date has engaged with the darker side of human existence. With swirling strokes and splashes of thickly applied paint, Zümrütoğlu presents figures whose corporeal boundaries are pushed beyond their limits. Such twisted and visceral forms mark an expression of Zümrütoğlu’s contemplation of the darkness of humanity and bring to life what he calls ‘the disharmonious body’.
The dynamism of colour and fleshy painterliness which first captivated Zümrütoğlu’s audience through his paintings, is now offered to the viewer through his new sculptural work. After a visceral shock, or being hit ‘in the gut’ as Zümrütoğlu often states, one begins to see figures slowly emerge and materialise through the thick paint and ceramic forms. A careful encounter with these works will alert the viewer not only to the baseness of human nature, but also our desire to search for harmony amongst chaos. Engaging the viewer through painting and sculpture, Atonal Drift is a theatrical celebration of the best and worst of humanity in every sense and emotion.
The diverse range of work on display will enable the London audience to appreciate why Zümrütoğlu has caught the eye of a global audience as well as collectors from Turkey, France and Germany. Notable collections of Zümrütoğlu’s work include Istanbul Modern Museum, Turkey and Elgiz Museum, Turkey. Zümrütoğlu has also exhibited across the world in galleries such as Pilevneli Gallery, Turkey, Tammen & Patner Galerie, Germany and Galerie Ivan Ptakhine, France.
JD Malat Gallery specialises in contemporary art and champions a broad spectrum of emerging and international contemporary artists. The programme consists of an array of exciting artists supported by year-round exhibitions and contemporary art fairs. This exhibition underlines JD Malat Gallery’s wider international programme and seeks to strengthen the dialogue between artists and viewers across the world.
Zümrütoğlu:Atonal Drift 9 October to 14 November 2020 Exhibition Opening Hours: Monday – Friday, 10am - 6pm Saturday, 12 – 6pm
Art initiative supporting mental health charities to offer a lifeline to people devastated emotionally and financially by Covid-19.
When we attend concerts, shows and festivals, we’re caught up in the experience of the music: the sound, the lights, the performers ... the whole joyous event. What we’re not aware of, is the army of people working backstage to create those mesmerizing performances – the sound engineers, the set designers and builders, the make-up artists and countless other behind-the-scenes professionals who contribute, invisibly, to our lasting memories.
With live performance venues and spaces standing silent during 2020, those same people, many thousands of them, who should be pulling together to create the infrastructure for world-class performances, have lost, or are about to lose their jobs. With no likelihood of work for the foreseeable future, they are anxious and frightened. Many don’t know where to turn for help.
Enter #MakeItBlue: a group of live events professionals who came together at the start of lockdown. The group’s first campaign, #LightItBlue, used its collective network of contacts to prompt thousands of landmarks and iconic buildings around the world to light up blue every Thursday night, in a gesture of gratitude to all healthcare and frontline workers. The stunning images of landmarks bathed in blue light - from the London Eye to Niagara Falls - drew huge international media interest.
Since then, the original group of like-minded associates formalised into a community interest company (CIC), dedicated to raising funds and awareness for relevant mental health charities and initiatives.
Artists, designers, illustrators and photographers
#MakeItBlue’s mission is to support live events industry colleagues who are in need, and also to promote public mental health awareness through arts, entertainment and cultural projects.
The group is now reaching out to artists, designers, illustrators and photographers to ask for their help. The simple request is for creatives to:
Produce an artwork with a blue theme (any size; any medium)
Sign the artwork
Donate it to the #MakeItBlue campaign – by 13 November.
The #MakeItBlue team will auction the artworks in the run-up to Christmas. Proceeds will be donated to Samaritans and to Stagehand – the Production Services Association Welfare and Benevolent Fund, so that people in need can receive financial, emotional or therapeutic support.
The full story of #MakeItBlue, together with information on the charities it supports, can be found here.
If you are willing and able to donate an artwork, Sarah Webster at #MakeItBlue would be delighted to hear from you, so please email her at: firstname.lastname@example.org, or phone 07950 035897 for further details.
"In Connection"/ Group Exhibition curated by Mary Stefanou at Domatio Duration : 11th September - 20th September 2020
Domatio art space invites you to its Group Exhibition " In Connection" curated and conceptualised by one of its artist members, Mary Stefanou.
Artists were invited, through an International Open Call, to get inspired by her theme :
" In Connection "
'Connection' : Which other word more fully captures the function of art in terms of the vital contact between artist and viewer? What does an artist seek through the descent into his inner universe other than connection? What does the viewer seek other than the affinity of the beholding of his world with that of the artist?
Both of them made from the same cosmic material , just as all humans, they vibrate to the same oscillations that move everything else in our known and unknown universe, exactly as revealed to us by science and evoked by the poets’ imagination! Every element of the world, every creation, every creature of the microcosm and the megacosm of our infinite universe, floats in an orbit of connection with the other, until the moment of their complete convergence.
And so the artist and the viewer, themselves suspended in the realm of the cosmic whole that surrounds them, explore the essence of their existence, simultaneously asking questions and receiving answers from each other.
The redemptive quality of art, emerges through the process of our self-exploration, functioning as a vital means of connection with the past, the present, the future, and as a wandering through a ceaselessly changing journey of life. The lambencies and the explosions of the soul, the nuanced array of our emotional palette, the labyrinthian mosaic of our existence, our inner-most truth, find a ‘voice’ through the raw material by means of which we choose to express ourselves. It is a descent that beckons us to let go, to accept, το set ourselves free: a descent that strips one of the cloaks and facades that conceal our essence from ourselves and others. The cathartic sensation of this denuding opens the way to us forming a deeply meaningful connection with our self and our fellow human beings.
The creator, stands before the blank ‘canvas’, guided by the deep source of his being and, gradually, the borders between the conscious and the unconscious world are blurred. In a place where ones hand balances between rational and irrational forces, between the beats of the heart and the neural glimmerings of the mind, between the inner….darkness and light, between the masquerade and the denuding, between the burning and salvation, in a perpetual creative flow!
Art Historian Ifigenia Stefanou
Participating artists: Dorothea Ameda Paulo Amsel Jerry Chan Arietta Chandris Georgia Chatziioannou Alex Charisis Eleni Damopoulou Giannis Gigourtakis Giorgos Guizaris Susana Kalemou sarcophagus_maskara Paulius Sliaupa Evdoxia Stafylaraki Mary Stefanou Natalia Szewczyk Guest : Fenia Zia age 9.
11th September - 20th September Opening Friday 11th September 17:00-22:00 Mon-Sat : 18:00-22:00 Sunday : 12:00-17:00
* Special thanks to Graphic Designer : George Kastanakis Art Historian : Ifigenia Stefanou
* In Connection open call was widely embraced by artists abroad. So Domatio aims to keep Mary Stefanou's theme of "In Connection" for future exhibitions. Connecting us with artists from abroad who wish to showcase their art in Greece.
JD Malat Gallery is proud to present Presence in Absence, a solo exhibition by leading Irish artist Ian Cumberland. From 7 September to 5 October, Presence in Absence will show a series of hyper-realist portraits staged in engaging installations.
“Encountering the work of Ian Cumberland is a peculiar, unsettling experience, as if the viewer has intruded into a ‘space’ and a ‘moment’ to which they are alien. Positioned as an outsider, Cumberland’s series of multi component tableaux seem to offer a viewing experience that falls somewhere between an invitation to eavesdrop and an unintended moment of voyeurism.” David Campbell, writer and curator.
JD Malat Gallery is pleased to announce Presence in Absence, a solo exhibition by Irish artist Ian Cumberland, from 7th September to 5th October 2020. Born in Banbridge in 1983, Cumberland is best known for his hyperrealist portraits of isolated subjects in detailed interiors, exploring themes of mass media culture, surveillance and the notion of the human ‘self’.
Presence in Absence consists of installations that utilise portraits as part of a multi-part tableau, establishing a dialogue between objects. Cumberland’s works involve an assemblage of theatrical objects, adding abnormal touches and unsettling atmospheres within mundane interiors, giving rise to an acute degree of realism. The subjects are caught in moments of escape from their psychological containment, similar to one experienced by people during the pandemic. This is Presence in Absence, a social commentary on a sociological crisis.
Cumberland is meticulous with his choices, everything is precisely controlled from the colour palette, the outfits, the lighting and the overall set. This staging and organisation are a commentary on our society, how we are manipulated to believe in lifestyles and material goods. Get the Look 2020 perfectly demonstrates this by containing text that itemises the cost of every element in the staged scene with the neon sign reflecting our image saturated commodity driven world.
The woman is surrounded by objects of capitalist desire, get the look, the dress, the Persian rug. It is a command; we are being told what we should be wearing and how we should be living. Behind her, the television shows a still from some unidentifiable ravaged landscape, possibly caused by deforestation for the creation of materials, mass pollution in fast fashion, spurred on by our insatiable desire to get the look. Reminiscent of Brecht and his theatre sets, the individuals in Cumberland’s works are faced with a multitude of choices and possibilities and it is up to the viewer to decide what those choices will be. Although Cumberland begins the story, the audience finishes it.
Cumberland’s genius shines through when he challenges conventional ‘painting’ and produces something wholly original and unique, transcending traditional painting as we know it and questioning representational strategies. By utilising paintings within a wider installation, Cumberland adds another layer through which the viewer, or the voyeur, must engage with the complex subjects in his work.
Presence in Absence explores different manifestations of ‘Realism’ by bringing together painting and installation. In so doing, Cumberland presents a wholly unique experience of the effects of mass media, culture and control on humanity’s notion of self.
Cumberland’s work is in the collections of the G2 Kunsthalle, Leipzig, Germany, Hildebrand Collection, Leipzig, Germany, Northern Ireland Civil Service Art Collection, Northern Ireland, National Self Portrait Collection of Ireland, Ireland, Office of public works, Ireland, State Art Collection, Ireland, Arts Council of Northern Ireland, Northern Ireland, Belfast City Hall, Northern Ireland, Queens University Belfast, Northern Ireland, and the University of Ulster, Northern Ireland. He is the 2010 recipient of the Davy Portrait Award.
Roy’s Art Fair is back and raring to go after sadly having to postpone our April fair. Our next fair will be in our new edgy venue The Boiler House on the bustling artistic hub Brick Lane in East London. There will be 80 emerging and established artists on display, both new to our fair as well as previous artists showing their new work. Over our 4 day event, we continue our focus on accessibility by keeping Roy’s Art Fair entrance FREE for all.
The Boiler House, 152 Brick Lane, London, E1 6RU October 8th - 11th 2020
Roy’s Art Fair wants to support the recovery of London’s cultural sector, the creative arts and our artists. The safety of both exhibitors and the public are our main priority at the 6th Roy’s Art Fair, which we will be going above and beyond to ensure. With the unfortunate cancellation of Frieze week, due to travel restrictions for international clientele, Roy’s will aim to deliver an exciting and safe UK Art Fair.
The team at Roy’s Art Fair are all artists in their own right and offer their invaluable expertise and support to both emerging and established artists as they navigate the art world. Their focus is primarily on developing a community led spirit initiated by artists to connect directly with the public and promote both the artists' and buyers' interests first.
What sets us aside from the host of other art fairs now popping up around London is our comfortable yet energetic atmosphere that allows visitors to connect with artists and invest in artwork they love. Roy’s Art Fair does this at an approachable level, whether you’re an avid art collector or a first-time buyer and with our free entry, we welcome all.
There will be many opportunities for all to explore their own creativity with Roy’s famous doodle area. We encourage visitors of all ages to get involved with art materials supplied by our main sponsor, GreatArt.
Our team have been busy during the pandemic and are excited to announce the launch of Roy’s Art Gallery, an exclusive online platform for our fair artists. This gives visitors the opportunity to view and buy prior, during and after the event. The artwork for sale on the site is designed to give everyone the opportunity to explore our exhibitors at their own leisure. Check it out at www.roysartgallery.com
“Roy’s Art Fair will reach new heights with our new location of The Boiler House, home to the iconic Truman Chimney that towers above Brick Lanes. With thanks to the steady success of each fair we are now able to extend our support to a wider group of artists and ensure our community provides them with the right knowledge and tools to make the fair a triumph.” – Roy’s Art Fair
We are proud to say we are still the UK’s largest FREE art fair
Explore 80 different artists work while also having the chance to meet and speak to them about their artwork.
Visit our famous doodle area where visitors can unleash their inner artist, exploring their own creativity and take advantage of the art supplies provided by GreatArt.
Our friends at Vintage Event Bars will be serving up teas, coffee’s and craft beers as well as their luxurious vintage styled cocktails in our spacious outdoor courtyard.
Discover the art of Screen printing with our partners Hippo Screen-printers.