EVGEN COPI, KATELYN ONG, MARTA GALINDO, MAX RUMBOL, TARMAC, NADIA FEDIV and PHILIP GERALD.
Just four months after celebrating our 5th anniversary, we announce what will be our last exhibition, at least temporarily and under the PLASTIC MURS project, following the path we set out in 5 YEARS we want to take a look at the future with SYSTEM FAILURE, Philip Gerald, Katelyn Ong, Max Rumbol, Marta Galindo, Evgen Copy, Tarmac y Nadia Fediv are part of a new generation of young artists with a fresh take on contemporary painting. Influenced by the digital age and the ever-expanding approaches to painting, these artists are portraying new forms of expression and the ways in which pop culture, the internet and social relationships are depicted not only aesthetically but conceptually in contemporary painting.
Evgen Čopi (Koper, Slovenia 1994), His most recent projects are a social critique of the contemporary consumerism society. Euvgen finds his inspiration in urban life and it´s absurd everyday situations, which he tends to deform by using diverse techniques and lively colours.
Katelyn Ong (Los Angeles, USA 1994) work hosts feminine characters and their non-cathartic feelings. They display nervousness for identity, class, glamour and gender. In some works a folding fan hides anger, in another tired eyes analyze a book titled Ugly Feelings ; while in a recent painting colors swirl making fleshy but awkwardly shaped hands- delicately grasping binoculars that don’t quite meet our own gaze. These images are cartoon inspired but deliberately mute humor in order to expose what humor conceals- using acrylic and gouache to render and surrender to such affects.
The practice of Marta Galindo García (Puerto de Santa María, Spain 1993) investigates the supersaturation of digital images, the cybernetic trash aesthetic and the prosumer profile. She uses humor and irony as a strategy against contemporary problems and the anarchic juxtaposition of information from the digital medium. Marta is interested in the proliferation of the aestheticized image in the capitalist system and the relocation and resignification of the digital surplus in new artistic contexts. Aesthetics and digital phenomena in their own medium are not too noticeable, they get jumbled and dissipated in automatic content flows.
With an interest primarily in the British landscape and British tradition, Max Rumbol (Buckinghamshire, United Kingdom 1997) combines elements from both the natural world and tropes of British culture to create striking digital compositions which are then reinvented as paintings or sculptures. These works are usually constructed using a mix of painting and laser cut relief elements, to create objects which sit somewhere in-between sculptures and paintings. This notion of creating a sculpture which looks to masquerade as a painting is inspired by the mass reproductions of artworks that look to imitate paintings.
Nadia Fediv (Chicago, USA 1997), the hairy legs and arms she paints are characters that represent her past in life. She constantly feels awkward, shy, introverted and isolated from the world. She focuses a lot on colour combinations perspective and shapes. A lot of the pieces she paints tell a story from her past that then stem off from one other. But some of the work is meant to be colorful, childlike, and playful. The process usually begins on photoshop in bed sketching while listening to music, away from the outside world and then paints. Most of the pieces she sketches/paints are from the subconscious, producing work that she’s never seen before.
Philip Gerald (Dublin, Ireland 1992) works comprise provocative thematic presentation with naïve painting, in which he picks up art historical works with modern means by using Microsoft Paint. He examines and thus questions recurrent themes such as sexuality, consumer society and self – staging nowadays. The subtly – painted images depict figures and scenarios embedded in images of humour and anxiety.
Tarmac / Niccolo Binda (Milan, Italy 1996) work explores notions of nostalgia, branding, consumerism and how we form connections with and begin to covet or fetishize cultural artefacts. The pieces question how a symbol or a logo can attain a cult status and how people relate to branding. By using vaguely recognisable symbols and industrial manufacturing processes, the works achieve a similar kind of resonance to that of a popular brand or iconic children’s toy. Taking inspiration from high fashion, streetwear, design and the urban environment Tarmac explores ideas of desire in a consumerist system. The idea that we are exposed to so much information, imagery and things to buy, and all we are really doing is selecting and arranging pre-made components into a lifestyle.