Anthony Faroux works and lives in London. He graduated in 2007 from the Royal Academy Schools in London. He recently exhibited in the Jerwood Painting Fellowship touring show (2013-14); Jerwood Visual Arts, London, BayArt Cardiff, Aberystwyth Arts Centre, The Gallery at NUCA Norwich. Other exhibitions include “Enjoy the Squares&Triangles you know. Discover the Squares&Triangles you don’t Know”, Arcade, London (2013), “I like what you do”, 43 Inverness Street, London (2013), “Artist in Residence”, DLI Gallery Durham (2011), and “Bakkar Island” at Five Years Gallery in London (2010).
Anthony Faroux’s pictures get done through a number of sessions until they reach a point that seems right to be left. This point is the result of deliberations, and attempts which eventually will exhaust a form of self awareness. The plan, the board, the glass or the canvas become grounds for negotiations between mind, medium, and the hand; it is an argumentative process where questions about strokes, marks, subject matter and possibly narratives, flood in before something will grip on the surface. The result is often familiar, it pictures or suggests objects, places, animals, or people. The main goal is to come to a point when paint stops looking like paint only, but somehow disappears to let some sort kinaesthetic stage appear.
Known for his exploration of urban infrastructures and his reflection of past and present human technologies, Nathan’s latest series of paintings continues his exploration into painted abstraction of the vernacular built environment. With large areas of unmodulated saturated colour, the images flatten the familiar, remaking and rendering these sites.
Ben Nathan lives and works in London. He studied at The Slade School of Fine Art, Bezalel Academy of Art and Design, Jerusalem and The Prince’s Drawing School. Recently he completed the SeMA Nanji Residency programme, which is hosted by the Seoul Museum of Art, South Korea. In 2014 he was shortlisted for the East London Painting Prize. In 2012, he won the International Jewish Artist of the Year Award, The Ben Uri Gallery. Later this year Ben Nathan will exhibit new work at the PyeongChang Biennale in Gangwon province, South Korea.
Chad McCail’s distinct figurative style has produced works in which two strands have been evident – one idealistic, affirming our potential to radically alter the way we live and organise ourselves, and the other critical and polemical, challenging existing institutions.
Chad McCail lives and works in Scotland. Recent exhibitions include, Systemic, a solo show, and Rank: Picturing the social order 1600-2009 at the Northern Gallery of Contemporary Art, Sunderland and Sh(OUT) Gallery of Modern Art, Glasgow. His work is included in many public collections including the British Council Collection; MAMCO, Geneva; MOMA, New York; Museum of Modern Art, Glasgow; Scottish National Gallery of Modern Art and Musée d’Art Moderne Grand Duc Jean, Luxembourg.
Chantelle Stephenson received a BA (Hons) in Fine Art from The Cambridge School of Art. Exhibitions include Gaeltacht and Lost Landscapes at Letchworth Arts Centre in Letchworth (2009 and 2010), Endless Provocation at The Michael Brown Gallery in Hitchin, Hertfordshire (2011), Open Ended, at Open Ealing in Ealing, London (2012), and Matter at The Harbour Exchange in Docklands, London (2012). She was also an artist-in-resident at the Departure Foundation at the Thames Tower in Hammersmith, London from 2011-2014.
Clover Peake is an artist and writer living in London. She has done many readings and is a published poet. She also collaborates with artists providing text for their catalogues. She has worked with text and image for some time.
Elisabeth Scheder-Bieschin was born in Germany and studied at the University of Fine Arts in Hamburg. Her interest in visual communication and politics led to a career in commercial photography and editorial assignments for many European magazines. She has lived in London since 1997, and her portrait of the photographer Ellen Auerbach was included in the John Kobal award at the National Portrait Gallery in 1997.
Fabian Peake is an artist and writer working in London. He trained as a painter at Chelsea College of Art and the Royal College of Art. Painting, in all its manifestations, has always been the major part of his work, but writing and poetry (as well as other interests) have evolved during the past twenty years or so. Each discipline has wrought an influence over the other – painting affecting the writing and vice-versa. Video, performance, music, sewing and carving are all part of the bedrock of his work as an artist.
Fabian Peake has shown his work widely, both in the U.K. and in Europe, China, the U.S.A., Mexico and the Dominican Republic. He has been Artist in Residence in Dallas, Texas and in Guanajuato, Mexico. He has lectured and given talks all over the U.K. and in the U.S.A., Europe and Mexico.
He has published pamphlets of poetry and had many poems published in magazines and journals. A comprehensive book of his poetry will be published later this year (2014). Fabian Peake has done many readings of his poetry, often connected with exhibitions of his paintings. His poems are conceived through the medium of painting and use similar methods of construction. Often, words are embedded into his paintings.
Fabian Peake’s work is concerned with visual conflict and awkwardness, whether it is in the form of painting, video, drawing, photography. This desire to oppose is followed through even in the playing of his saxophone. Free form governs much of what he does. He regards argument as a key factor in the act of creativity. Art is more alive when made to fight. The artistic test tube must accept what is put into it.
Working primarily with painting on polyester canvas and drafting film, often incorporating it into animation and installation, HaYoung is very much interested in modern technology and science, and their effect on the human mind. She finds it fascinating that people are becoming like characterless characters; by losing some part of their humanity and individuality in the high-technology society, they start living in a big game world. The controlling, cold, rational, and ‘intelligent’ logic make them feel like objects, resulting in the creation of vulnerable and fragile feelings. Something is missing in all this- what is happening, changing and reshaping the modern individual minds?
Born in 1983, HaYoung Kim lives and works in London. Graduating from the Royal Academy in 2010 and has reached critical acclaim in London and internationally winning the major Jerwood prize and the Soloman J Soloman prize in 2010 and The Dunoyer de Segonzac Award and the Vytlacil AIR program in New York in 2011. Selected solo exhibitions are Virtualium Window Gallery, Gallery Hyundai in Seoul (2013) , Eat All You Can at Hoxton art gallery in London (2012) and solo show at 43 inverness-street gallery in London (2011). Selected group exhibitions include IRONIC MYTHOLOGIES Amelia Johnson Contemporary in Hong Kong (2012), Penumbra The 8-day project with 8 artists ending in a group exhibition The Bermondsey Project Space in London (2012), ID PLEASE –NEW gallery in London and Pleasure Principle Hoxton Art gallery in London (2012).
Hailed by Chan-Wook Park, the director of the film ‘Old Boy’ as ‘a genius of Korea’, Hyunjhin Baik is a well known musician and has produced and directed film and video. Though he studied sculpture in his native South Korea, his current visual art output concentrates on paintings.
Hyunjhin Baik (b. 1972, Seoul Korea) lives and works in Seoul, South Korea. He studied at Hongik University, Seoul. Recent solo exhibitions in Seoul, Korea include ‘Paintings Next Door’ at Ccuull Ccuull pool, ‘Thirteen Pieces + bonus’ at Doosan Gallery, and ‘The End: The Linear Version’ at PKM Gallery and at Bartleby Bickle and Meursault. Recent group exhibitions include “Ancient Futures” at Culture Station Seoul 284 in Seoul, Korea and ‘Plastic Garden’ at Minsheng Art Museum in Shanghai, China. Additionally, his music albums include Break-Even Point (1997), 21st Century New Hair (2000), Time of self-reflection (2008) and Foundation for Instantaneousness (2011). He has also provided soundtracks and musical accompaniment to the work of director Chan-Wook Park and his voice was used for three of the late works of Pina Bausch. He is a lead singer of ‘Uh-Uh-Boo’ project.
Born in Seoul in 1974, Jungho Oak studied in M.F.A Korea National University of Arts. Seoul, and employs photography and video to capture his performance works. Known for his provocative public interventions he explores different visual and performance strategies often combining Hindu yoga practice with traditional Korean rituals and customs – The Sun Salutations, Surya Namaskar – to bestow sublimity and well wishes onto others.
Jungho Oak lives and works in Seoul, Korea. His solo exhibitions include The Holy Landscape at Art Space Pool in Seoul, Korea (2011), and Free Plastic at Gallery 175 in Seoul, Korea (2006). He has been included in group exhibitions at Leeum, Samsung Museum of Art in Seoul, Korea (2012); the National Museum of Contemporary Art in Seoul, Korea (2009); Museo Nacional de Bellas Artes Buenos Aires in Buenos Aires, Argentina (2008) ; BizArt in Shanghai, China (2008); Museo de Arte Contemporaneo in Santiago, Chile (2007); and The Walsh Gallery in Chicago. He most recently took part in the Glenfiddich Artist in Residency Program in Duff Town, UK.
Noh Suntag (b. 1971, Seoul) is the winner of the 2014 Korea Artist Prize, equivalent to the Turner Prize in the UK, awarded by the National Museum of Modern and Contemporary Art, Korea and the SBS Foundation. Recent solo exhibitions include Really Good, Murder, Gallery Sugata, Kyoto, Japan (2015); Forgetting Machines, Hakgojae Gallery, Seoul, Korea (2012), Estat d’excepció, La Virreina, Barcelona, Spain (2009); Appropriating Reality / the Room, Total Museum of Contemporary Art, Seoul, Korea (2009); and State of Emergency, Württembergischen Kunstverein, Stuttgart, Germany (2008). Recent group exhibitions are Paradox of Place, Seattle Art Museum, Seattle, USA (2015) and North Korea Project, Seoul Museum of Art, Seoul, Korea (2015). A forthcoming solo exhibition will take place at Art Sonje Center, Seoul, Korea in May 2016.
Rochelle Fry, a graduate of The Royal Academy, lives and works in London. Her work has recently been included in Young London at V22, London. In 2012, she had a solo exhibition at the James Hockey Gallery at UCA Farnham, and a solo exhibition in collaboration with Squares and Triangles at 43 Inverness Street.
Fry’s interest is in pushing the basic properties of sculptural mediums to the extreme. In ‘The Idiot’, a solo exhibition at The James Hockey Gallery in Farnham, sculptures were cast in bronze using a technique which tested the limits of the casting process; leaving spindly melted-looking post-geometries of metal as a testament to failure. Yellow silk banners recently shown at ‘Young London’, at V22 in London displayed the lightness of colour and material, where faded sections of taped together textile competed to reach ephemeral buoyancy.
Roderick Coyne (b. 1945, Buckinghamshire, UK) lives and works in London. His career encompasses sculpture, painting, photography and site-specific works. A selection of his exhibitions include Aground, Sassoon Gallery, Folkstone, UK (2015); AND Gallery, London (2013); From Floor to Sky, Ambika P3, London (2010); Whitechapel Open, Whitechapel Gallery, London (1998); Watershed Media Cetnre, Bristol, UK (1994); Next Tomorrow, Kettle’s Yard, Cambridge, UK (1986), C.E.D.R.I, Basel, Switzerland (1983); and New Works of Contemporary Art, Fruit Market Gallery, Edinburgh, UK (1981). He was a lecturer in sculpture at St. Martin’s School and was a visiting lecturer at Ravensbourne College of Art, Newport College of Art, Chelsea School of Art, and the University of East London. He studied sculpture at the Royal College of Art and St. Martin’s School of Art.
Saki Satom makes drawings, videos and installations. She explores the
behavioral norm and conventional wisdom, often focusing on codes and
practices that tend to go largely unnoticed. She is drawn to bland
urban spaces and day-to-day social rituals; the world she presents is,
on the face of it, a deeply familiar one. But in each of her works she
introduces a note of gratuity that calls everything around it into
In Desk Project, for instance, she addresses a social convention in
terms that touch on both the experience of deracination and the
ritualistic character of social dialogue. The work consists of four
desks with monitors embedded in them, symmetrically arranged in a
pristine, carpeted room. Showing on the monitors are interviews, but
to view them the visitor has to crawl under the desks. In the
interviews, Satom quizzes four professionals on the subject of the
social kiss (what the French call la bise), asking them when and how
to greet people with a kiss, and how the custom varies from place to
place. Her interviewees–the French cultural attaché, an etiquette
teacher, a sociologist and the director of a communications
company–are sharp and articulate, but their answers occasionally seem
improvised and they unknowingly contradict one another. The piece
reminds us that in today’s globalising world, social codes are in flux
and cross-cultural exchange is still riddled with hitches and
embarrassments. The desks are crucial: they serve both as emblems of
the global corporation and as places of temporary refuge, like Tokyo’s
capsule hotels or the hideaways of children. And an understated humour
is discernible in the contradictory demands that are made on the
viewer–the piece offers advice on seemly behaviour while asking you
to adopt a position that is itself unseemly.
Apologies, another project that examines a public rite, is a series of
drawings and installations that describe and comment on gestures of
contrition. It looks at images of Japanese public figures who, having
been implicated in corporate and political scandals, issued apologies
in staged events that were then broadcast by the news media. The
project draws out the theatrical and ceremonial qualities of such
apologies by focusing on details of dress, presentation and gesture;
and to the extent that it treats these events as rituals, it suggests
that they form an accepted part of a process that is liable to repeat
itself–that they may even aid in its perpetuation. One installation in
Shazai Kaiken uses a filing cabinet as a framing device for a monitor
which sits in one of its drawers and shows clips of public apologies.
The cabinet refers to the practice of “filing away”–that is to say,
avoiding or deferring–difficult problems, while obliging viewers to
bend over slightly in order to see the monitor and so to reproduce the
bowed posture of the figures in the clips. This is a project that asks
us to consider the role in which we are cast when we consume images of
public events. It discreetly intimates that those images do not ask
for the indulgence of the public as much as they presuppose a kind of
tacit contract between public actors and their audience of TV viewers.
At a time when the credit crunch has brought apologies from bankers,
politicians and banking regulators in the West, the work is clearly as
resonant in Europe as it is in Japan.
Saki Satom was born in Tokyo. She lives and works in London.
She has shown at Tate Modern, London, and at the Museum of
Contemporary Art Tokyo, Peacock Visual Arts, Aberdeen, Timothy Taylor
Gallery, London, and many others.
Her recent solo exhibitions include 43 Inverness Street, 2011;
Taigh-Chearsabhagh Museum & Arts Centre,2009; Gallery Pfeister,
Bornholm, Denmark,2008; One Severn Street, Birmingham,2005; Gasworks,
London,2005; Think Zone, Mori Art Museum, 2002; and Kojimachi Gallery,
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