Martha Naranjo Sandoval, Petén 411, 2016-2017

B. Ingrid Olson

This installation intermixes two series, Dura Pictures and Indexes. Each work in the Dura Pictures series presents one photographic image physically embedded within another, what the artist describes as placing a “moment in time within a different moment in time, just like memory does of the past in the present.”

Coming in with your back turned, 2021–2022, Inkjet print and UV-printed mat board in powder-coated aluminium frame, 29 × 19 1/4 × 1 1/4 in. (73.7 × 48.9 × 3.2 cm)

Completed Movement (Between Abut And Rub Between Two Notes The Number Between One And Two Divided Into Qualities And Kinds),  2016-2022 inkjet print and UV printed mat board in powder- coated aluminium frame, 96.5 x 45.72 x 3.2 cm 38 x 18 x 1.25 in

𝘕𝘦𝘷𝘦𝘳 𝘰𝘥𝘥 𝘰𝘳 𝘦𝘷𝘦𝘯 (𝘱𝘦𝘳𝘩𝘢𝘱𝘴 𝘵𝘩𝘦 𝘣𝘰𝘯𝘦 𝘐 𝘵𝘩𝘪𝘯𝘬 𝘐 𝘢𝘮 𝘣𝘪𝘵𝘪𝘯𝘨 𝘪𝘴 𝘮𝘺 𝘰𝘸𝘯 𝘵𝘢𝘪𝘭), 2013-2020 Inkjet print and UV printed matboard in aluminum frame 14.5 x 12.5 in or 12.5 x 14.5 in (36.8 x 31.75 cm or 31.75 x 36.8 cm) 

Deirdre Frost

Áitreabh 2021, oil and acrylic on birch panels attached together with lift-off hinges, approx. 350 x 300 cm.

Baile 2021, Oil on board, 80 cm x 120 cm.

Colette Cronin

My work centers on the notion of what is a home. It is an exploration of that which is most emotive, where is it that we belong, and how can we, in this modern state of upheaval, find our safe place. The paintings query if it is the presence of people that turn a house into a home, and what it says about our community when there are houses left empty. My work centres on the notion of what is a home. It is an exploration of that which is most emotive, where is it that we belong and how can we, in the modern state of upheaval, find our safe place. The paintings query if it is the presence of people that make a house a home, and what is says about our community when building are left empty. I utilise a clean, hard edge technique. Currently I am incorporating three dimensional elements into my work, physically building the scene behind stretched canvas and treating it then as a traditional painting. It is an experimental look at the spaces we occupy.

Kitchen Living, Acrylic on canvas, 2023, 20cm x 20cm.

Wardrobe, Acrylic on canvas, 2023, 20cm x 20cm.

Rob Swainston - Printstallations

PLEXUS (2011), woodblock print on paper with mirrors.

In Front of Behind the Wall, (2011), woodblock print on paper.

Zimmer Frei, (2012), woodblock print on fabric with wood and wire.

Rob Swainston reminds us we are not just consumers of icons, but producers and observers of images.  All images are historically negotiated assemblages between humans, machines, materials, and social structures.  In a society where social knowledge and power have become pure image, the print technologies historically central to this transformation can act as double-agent.  Artists working in print media can be chameleons moving between image makers and image reproducers.    Image reproducers are technocrats, proto-machines, and images-smiths in building the spectacle world order.  In their perfection they ask no questions.  Artists are image makers showing an image constructed, built, repeated, overprinted, coded, decoded, and endlessly negotiated.  For the printmaker, the press bed is not a window of illusion, it is the space of social tinkering.  The artist is a hacker. Rob Swainston performs this hack through two interrelated bodies of work—series of unique multiples and printstallations.  Installations such as ‘A New System Every Monday’ and ‘All that is Solid Melts into Air’ mix print media, sculpture, painting, drawing and video to point out architectural, institutional, historical, and social spaces.   Series of standardized works such as ‘Who Owns the Sky?’ and ‘Propositions’ move between representation and abstraction such that neither of these categories are important.  The viewer participates in an “archeology of uncovering”, discerning numerous processes and images containing multiplicities of narratives culminating in an uncovering of the “significant image” and the realization “I see myself seeing myself.”

Losel Yauch

Yauch focuses on sheer materials and the shape of light as a visual tool to communicate the feeling of loss and examine the presence of absence, fragility of form, and on a broader scale, the concept of grief. Her paintings articulate subtle yet considered distinctions between the intangible and the out of reach.

Ghost Buildings

Hyperallergic

Ghost Buildings and the Inadvertent Beauty of Destruction

Sometimes when one building comes down, the ghost of its architecture is left embedded on its neighbor. These "ghost buildings" as they're s

"It’s short of a shared tone of memory that’s left like breath on a mirror."

Lyon, France 

Newcastle Upon Tyne, England 

Heidi Bucher

Heidi Bucher: Beyond the Skins at Red Brick Art Museum, 2023

“Rooms are shells, they are skins.”

Heidi Bucher: Beyond the Skins at Brick Art Museum, 2023

Heidi has codified the method of skinning, and further explored the possibilities of the act in various spaces. The attribute of the chosen spaces has witnessed a gradual transition from intimate to family history, and even historical and is loaded with public memories.

In Heidi’s works, history, memory and emotion acquire a new, linguistically inaccessible imagery. As Gaston Bachelard puts it in The Poetics of Space, “When we have been made aware of a rhythm analysis by moving from a concentrated to an expanded house, the oscillations reverberate and grow louder. Like SupervielIe, great dreamers profess intimacy with the world. They learned this intimacy, however, meditating on the house.” As one receives a new poetic image, an emotion is re-spoken, the poetic reverberation is taking place in the inner space of consciousness, and the house – at Heidi’s request – “has to fly”; “It has to get away, far away from reality.”

Booster and 7 studies series / Autobiography, Robert Rauschenberg, 1967-68

Mattias Lind

mattias lind, a partner at scandinavian practice white arkitekter, has developed ‘chameleon cabin’ a house constructed entirely from paper. as the name suggests, the structure changes its appearance depending on the viewer’s perspective, comprising dual black and white façades. looking to explore the limits of the renewable and versatile material, the modular design has the potential to be extended to several hundred meters if required.

Leo Gabin

Installation view, Independent Brussels, 2016 

"In this age of the excessive use of images, for us it’s now more relevant than ever to use found footage and recycled imagery. Especially with an abundance of amateurish made “private” imagery put readily available online, the idea of authorship becomes even more questionable. But raising this question can be seen as the essence of the work."

-Leo Gabin, Modern Matter, June 2013

Now well known on the contemporary art scene, the Leo Gabin collective is interested in the thousands of images that form our visual and virtual, common and quotidian landscape. Internet represents a window onto the world where images of all kinds circulate and cohabit, providing a mass of information that must be deciphered. By appropriating these visions, the collective creates new works that capture this incessant movement on canvas, in silkscreen prints, videos and installations. Today, when everybody is an author and is helping enrich this virtual universe, the works of art elaborated by the trio attain a new dimension. 

In them, techniques and materials combine yet always leave the original image, the creative source, visible. Leo Gabin is particularly interested in American culture, so important in the three artists’ young years. It stages the stereotypes, excesses and paradoxes to which it can give rise. 

https://contemporary-art.mirabaud.com/en/artists/detail/leo-gabin

Further on Grand Ave, 2016,

Lacquer and acrylic on aluminum,

75 5/8 x 53 1/8 inches (192 x 135 cm)

At It Again, 2014 Lacquer, spray paint, acrylic and silkscreen on canvas 205 x 150 cm (80.71 x 59.06 in)