The choice to focus on serial subjects in Veis’ paintings is far from being a style excercise, but rather, similarly to what Chul-Han brings forth, an attempt to carve into an aspect of reality, to return to a familiar internal landscape, ideal and blurry enough to linger at the edge between figuration and abstraction. The photographic work selected by Chiara Bastoni - who also conceptualized and curated the exhibition - attempted to extend the act of recognition, on a duplicit level; for the viewer, in the continuation of the lines and in the material associations with the represented subjects; conceptually, in the recognition that focusing on stable, a-temporal subjects intimately represent for her. Rock resists and lasts in a fleeting world. Its lines extend and blend with brush strokes, and characterize an intentionally ambiguous representation, without removing that ambivalent character, but rather paradoxically accentuating it.
As evident, the matter is presented with a predominantly visual and intuitively conceptual approach. Media are blending into each other, making it hard, at a first glance, to distinguish photography from painting. The choice to rotate some of the works is an experiment that aims to raise questions about perspective shifts and construction of views - far beyond the world of art. The result is a neat world of lines, light and textures, where the confines between figuration and abstraction are molded and the separation between media becomes almost intangible.
Danish-born painter Brian Veis is shaped by a background in mathematics and aesthetic philosophy and phenomenology, which provide the theoretical framework for his works, through which he examines the common features of subjective experiences. The images he creates reveal a visual ambiguity, playing with size, perspectives and pysical orientations, removing human artefacts or living organisms from the representation to avoid clear determinations.
His approach is analytical, his work serial and processual, conceived of as the result of an imprinting process and of an exploratory approach to tools, materials and texhniques. He uses different layers of transparent acrylic paint, shellac, oil paint and ship's varnish. 190x130cm
Italian-born Chiara Bastoni is a visual artist working primarily with photography and video. Her works focus on structures, ruins, objects, symbols, light, impersonal human figures, subjects that quietly and modestly populate the works, tightly locked in space, serving as spatial equivalents of what rituals provide in time: anchor points. Chiara deals with themes of unity, time, impermanence, feelings of belonging and inadequateness, mystery and sacrality. The often sullen atmospheres that emerge through the works invite viewers, whether individually or collectively, to meditate the choice of mutual acceptance. With as little as possible posterior interventions in-studio, Chiara employs printing materials like plexiglass, acryilic, metal, wood.
The photographs displayed are printed on 1.5mm steel sheets. 120x80cm
Supported by Snabslanten