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15 APRIL 2021 - 27 MAY 2021


From paper to glass to canvas, from linear perspectives to pointillism to abstraction, from sfumato to chiaroscuro to trompe l’oeil, from tempera to oil to acrylic - most often changes in art and its language have been defined by developments pertaining to its material production. Innovation spawns new possibilities and formats. Which is also the focus of Archives #1, where a multitude of different art approaches are presented in all their facets. 

‘I started out as a figurative painter and later moved into abstraction as I often didn’t know what to paint, but loved the act of painting. However, over the past couple of years I’ve started to incorporate imagery in my work again and use news images as a source material. I’m still not interested in just depicting reality so I only use small parts of the actual images and often leave large parts of the paintings abstract.’ – Kasper Sonne 

The format of painting has never been stable, but always reliant on technical, methodical and material advances. Brush techniques, painterly innovation and approaches has often defined schismatic changes and entire styles of art. 

In this respect Ry David Bradley and Petra Cortright are at the forefront of a new generation of painters that fully incorporate and utilise the potential made possible in our digital age. 

Their work is proof that art can be made and even materialised through entirely mechanical processes and ideas can be made real without the flawed medium of our hands. 

The definition of pop art is in a continuous flux, reflective not only of the time and societies it reflects, but also to what end its language is utilised and to what end. Artists such as Artemio and Alex Da Corte are at the forefront of these explorations and have developed their vocabularies based on their interactions and inputs from their own experiences.  

The relation between the painter and painting is continuously being explored. Artists such as Kristian Touborg and Andrius Zakarauskas explore this field through layers of compositions, where they combine fragments of nature, landscapes or cityscapes, with fictional images, digital imagery and abstract segments to create complex multi-planar spaces and diachronic narratives.  

Through these methodologies both artists engage in discussions concerning mimesis, repetition, simulacrum, and the role of the artist split between notions of the classical creator and the painter as a human processing unit. 

Zane Lewis’s paintings are ethereal spaces that shift perspective as you walk toward and around them. Up close the size and spacing of the spray-paint application is incredibly controlled, while the overall effect creates ‘a sense of danger and mystery’ referencing everything from pointillism and phenomenology to California’s Light and Space movement. Fusing historical inspiration with his own graffiti experience in his youth, the pieces transcend the abstract and instead becomes manifest expressions of Lewis’s own emotions at the time of production. 

Both Brian Montuori and Nhozagri utilise their personal gaze and observations to drive their artistic explorations, that manage to combine both the recognisable with the deeply personal. Nhozagri’s mollusk people and the blurred faces in Montuori’s corporate portraits equally seek to channel and distill their own experiences into singular and personal artistic languages.  

Seeking a connection with their audiences that extend beyond a normative audience relationship, both artists seek to make work that connects with their owners on even more levels, from the possibility of adopting one Nhozagri’s mollusk people or commissioning your own corporate portrait. 



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