Click here for the website of Galery Seasons
Tuesday, August 11, 2009
Sunday, August 9, 2009
SNO 51, Syndey Non Objective, Sydney, Austrailia, August 1-August 30, 2009
John Aslanidis, Gilbert Hsiao and Susie Rosmarin
Click here for installation shots
John Aslanidis
Susie Rosmarin
Gilbert Hsiao
At SNO, in August, the persistence of the visual field has its tempo compressed to the point of blowing a fuse. Although the works in this show share many similar traits and promote similar attitudes towards painting, its power, and it's affective role, the three artists in SNO 51 have their own distinct interests.
John Aslanidis is inspired by the pulsation of electronic music and its implications of infinite duration. Thus his paintings appear to be fragments of entities without bound. Aslanidis requires from his paintings a visual equivalency to sonic resonance, and believes painting is capable of creating perceptual attributes normally assigned to music.
Gilbert Hsiao's work is essentially intuitive in its making. Although the method and process appear firmly fixed, the making of a painting is not a planned event. Often there are more or less steps than may have been anticipated. Hsiao requires the same intuitive approach from the viewer. He refuses to guide the experience of the work's reception, leaving the responsibility of 'meaning' entirely in the hands of whoever his audience may be.
Susie Rosmarin’s practice draws upon fractal geometry and employs complex mathematical method. Inspiration for this is in part drawn from Diophantus’s Arithmetica, the renowned third century text on numerical equations. Rosmarin is equally inspired by the geometry of nature, textile production, architecture and the dynamism of urban space in general.
Click here for installation shots
John Aslanidis
Susie Rosmarin
Gilbert Hsiao
At SNO, in August, the persistence of the visual field has its tempo compressed to the point of blowing a fuse. Although the works in this show share many similar traits and promote similar attitudes towards painting, its power, and it's affective role, the three artists in SNO 51 have their own distinct interests.
John Aslanidis is inspired by the pulsation of electronic music and its implications of infinite duration. Thus his paintings appear to be fragments of entities without bound. Aslanidis requires from his paintings a visual equivalency to sonic resonance, and believes painting is capable of creating perceptual attributes normally assigned to music.
Gilbert Hsiao's work is essentially intuitive in its making. Although the method and process appear firmly fixed, the making of a painting is not a planned event. Often there are more or less steps than may have been anticipated. Hsiao requires the same intuitive approach from the viewer. He refuses to guide the experience of the work's reception, leaving the responsibility of 'meaning' entirely in the hands of whoever his audience may be.
Susie Rosmarin’s practice draws upon fractal geometry and employs complex mathematical method. Inspiration for this is in part drawn from Diophantus’s Arithmetica, the renowned third century text on numerical equations. Rosmarin is equally inspired by the geometry of nature, textile production, architecture and the dynamism of urban space in general.
Subscribe to:
Posts (Atom)