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March - April 2009 -
NOTED
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Since achieving a master’s degree in fine art from Chelsea College of Art in London in 1995, Jemima Brown has established a career as an artist practicing in a variety of media, including drawing, sculpture, and moving image. Her work has been exhibited internationally, and is held in numerous private and public collections. Past awards have included a Fulbright Scholarship (as a guest of the Graduate Program at University of California Los Angeles), and in 2006 she held the post of Cocheme Fellowship from the University of the Arts in London, where she was a resident artist at Central Saint Martins Byam Shaw School of Art.
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March - April 2009 -
NOTED
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| Agnès Pezeu meets me with a wide smile, her long golden hair flowing. Her studio has the shape of a half moon. Canvases are hung like tapestries; others are rolled on the floor. She pulls out of the shelf her sketchbook. A series of heads drawn in charcoal appears on the page. In an ample gesture, with a few strong strokes, she draws the skull like a muscle under tension. Her hand encircles the shape, confident like a classical painter; she draws with force. In her work, one is immediately struck by the color: bright and fluid.
The drawing integrates the paint, melts in it. A presence she catches
in movement. It becomes visible as soon as the canvas is hung in the
room. Pezeu appreciates the big formats. In the early 90s, she worked on a series of frescoes in urban surroundings.
What interested her then was to measure herself to monumental surfaces. |
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March - April 2009 -
NOTED
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When we think of sculpture, we think of physical descriptors—terms like mass, weight, extension, and surface area. We envision objects that take up space and occupy three measurable dimensions. From the mammoth to the miniscule, the figural to the architectural, we all know that sculpture takes up space. But just how it goes about occupying space is something Scottish-born sound artist Susan Philipsz aims to challenge. Having studied sculpture at Duncan of Jordanstone College of Art and Design in Dundee, Scotland, the Glasgow native pursued her master’s degree in fine art at the University of Ulster in Belfast, Ireland. It was there that she first began thinking about ways to expand her conceptions of sculptural space, as she explains in a recent interview: “When I went to Belfast to do my MA, I started thinking about sound, working with sound...
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March - April 2009 -
NOTED
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| Using fluorescent light and movement to explore color, luminosity, and sculptural space, German artist Kilu captures the energy of the life—from the people he meets to the places he travels. Conceiving his visual art behind a camera lens, Kilu conveys inventive points of view that form a synthesis between abstract and figurative elements. Kilu creates a narrative with light, utilizing abstract compositions that reveal a life within the darkness of the studio. His photos deliver compelling patterns with graceful colors, methodical lines and arches, an aesthetic that can be closely identified with time spent in Zurich, Switzerland before his relocation to New York. Kilu’s method for creating the photographs goes far beyond the
traditional studio and dark room process.
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March - April 2009 -
NOTED
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| Clunie Reid uses photographs, drawings, media images, and text to create aggressive and unrefined collages. Through the use of cheap materials and a rudimentary approach to display, Reid works against formality and the ideologies suggested by images of wealth and beauty dispersed within the work. Utilizing a deskilled aesthetic and emphasizing the act of composition rather than the final product, the artist reveals and dismantles these ideals as well as her own response. The aggression visible in the process behind the work, from marker pen
scribbles to the irregularity of the cuttings, sits alongside ironic
and often humorous slogans. Reid’s methods enable a mode of
performance: the quickness of execution reflects the swiftness of
thought, as well as its potential for change. Any mistakes are left in
place.
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