Please note that from 2pm on Friday 7th July until 21st September 2017 the gallery will be open by appointment only. Please contact us for further details.
Fiumano Projects is delighted to present the collaborative exhibition ‘Artificial’, an exploration of the ever-increasing transgression of the natural in our current society, of our endless, no-boundaries search for perfection. The exhibition is the result of a collaboration between the photographer Joana Sandrin Gauer (Brazil) and art director Cristina Hernández (Spain). It comprises of two series of contemporary fine art photographs, formed by 9 pictures printed in high quality archival pigment prints.
Exhibition dates: 27th April - 26th May 2017
Gallery Hours: Tuesday – Friday 11am – 6pm, Saturdays 12 noon – 4 pm
All other times by appointment
Where: FIUMANO PROJECTS | Unit 12 (FIRST FLOOR) | 21 Wren Street | London | WC1X 0HF
Please call 0797 409 2993 if you have problems finding us...
Contact: Francesca Fiumano – firstname.lastname@example.org
Fiumano Projects is delighted to announce a major solo exhibition by British artist Ian Treherne. Release is an exhibition dedicated to Treherne’s photographic works, with special reference to his own personal journey as a partially sighted artist. Treherne’s intimate and candid portraits are the core of this exhibition. Working closely with his subjects he seeks to expose and celebrate the individual rather than simply capture a visual likeness. Each line, blemish and shadow is laid bare for the viewer to gaze upon, and with this scrutiny we come to see the character of the sitter.
Since 2009 Treherne’s passion for photography has been the main focus of his artistic practice. Mentored by photographer Richard Foster, Ian became aware of the mechanics of photography as a child, fascinated with the magical box that froze the emotions which had transfixed his eyes onto a roll of film. It was after Ian's school life, that his two greatest passions Photography and Art began to sculpt his life. Treherne is greatly influenced by cinema, especially by the films of Buster Keaton and Charlie Chaplin. The lighting and atmosphere in vintage films play a large part in the overall appearance of his portraiture.
Using photography as a tool, almost as a form of compensation for his lack of sight, Treherne is able to utilise the lens of the camera, rather than his own eye, to sensitively capture the beauty and distortion of the world around him, which due to degenerative blindness (retinitis pigmentosa), he is unable to see.
In his own words:
“Having taken two years break due to eyesight deterioration, my mission as an artist is to find my place in the ever evolving society in which we live. I have never felt I ‘fitted” in as a person let alone an artist. Being a creative person has allowed me to combine my artistic practice and my disability, to show what is possible and to educate society.
Having hidden away my disadvantage for many years and struggled as a human being to participate in this world has shown me that there is a lot of work that needs to be done to change peoples perception of disability
After being recluse for 2 years, hiding away with my shame and embarrassment, I decided that admitting and vocalizing the burden that I have carried for 20 years needed to be confronted and dealt with in order to continue living life as any human being has the right to live.
This exhibition will showcase a few of my creative passions, mixing photography, film and my woodwork. When working in portrait photography my natural inquisitiveness directs the shoot. I spend at least an hour conversing with my subject, getting to know the person, their likes and dislikes, their passions in life, finding out what they want to reveal about themselves. The aim is to shoot a person, not just a face or a body. The things we can not see are the things that make us unique, this is what I see and this is what I want the viewer and the indeed the subject see.
The exhibition will be and is a celebration of opening up, vocalising and showcasing my visions through photography. Despite losing my eyesight slowly, I still want to show society the beauty I see and the conundrum I live with. You will be able to see what I see when I take portraits. There will also be a short film presenting the limitations I face on a daily basis. I want to show and give the wider public a better and different view of Partially Blind/Deaf people, raise awareness of Usher Syndrome, these are people who suffer different loss of sight and hearing at any age.”
Fiumano Projects is delighted to announce the first UK solo exhibition of young British artist Cara Mills. The exhibition will encompass various elements from Mills’ artistic practice including installation, painting, and an interactive ‘painting machine’.
With an interest in curation Mills often responds to site-specific conditions, imagining the type of work she could create for an individual space. “Floor plans serve as a catalyst for my production, they work as a two-dimensional frame-work for what I can see happening inside a space”.
Typically, each piece is made in relation to or developed from a previous project. Mills intends for her works to have conversations, dialogues and relationships with one another as well as the viewer. Her works are designed to be experienced as part of an
ongoing creative and discursive continuum. They are to be seen as parts; part a, part b, part c and so on. Yet these parts are connected conceptually and have interplay. “Each of my works has a different pace or rhythm which is to do with how much attention I’d like the audience to give to each piece. The works seem to have personalities.”
The exhibition “Machine: Part A, Part B, Part C & so on…” has provided Mills with the opportunity to continue to make work that is interactive and open, by continuing to unpick what it means today to make a painting or to create an installation. “I’m interested by the tags placed on my work: installation, kinetic installation, sculpture, performance piece etc.” She does not try to define or limit a work by these definitions but instead leaves these open for the audience to form their own perception.
Mills sits on the side of having a critical approach to art making, whilst still making art. What does it mean to actually create something physical? What does it mean to make a painting? What do we expect from these objects as an audience? Her work addresses these questions through humour and design: refiguring or interpreting machinery to prove a point. She continues to blur boundaries in her new work for the show. Allowing the audience to find their own interpretations of these questions, playing on their values and expectations of a work.
Having graduated in Fine Art from Central Saint Martins in 2016, Cara Mills lives and works in London. She is currently studying for her Masters at the Royal College of Art, London.
Techno&Philosophy and Fiumano Projects present TECHNO AND THE CITY
SO… IS THERE SUCH A THING AS TECHNO ART?
As often happens, questions can be more important than answers. When we began this process, we were more interested in the journey; we wanted to explore a theme rather than finding an easy solution to sell. To be honest, we looked for small treasures, as opposed to the Eldorado. It was with this spirit that we opened a call for proposals to attract emerging artists. At the same time, we took a proactive approach and went on a virtual journey to find other gems.
The map we had gave us some indications. With the rise of the digital, innovative media has transformed the art world. There are no fixed objects and we had to look for hybrids. Sonic art mixed with visual art, objects that made sounds, machines turned into sculptures, techno-performers, robotic languages, soundscapes, electric canvases. As if this was not enough, we realised that not only the concept of what art actually is was stretching, but space too.
All of the artefacts we encountered had a special relationship to the urban space from where they originated. Like in an assemblage, we saw different cities merging together and beyond boundaries we could see other cities running through the local urban fabric. We also realised that the journey is full of threats. Corporate sheriffs like to destroy autonomous spaces, so we found that our mission is also to fight back, resist, and by doing so, create and push the boundaries of our imagination. Thus, this exhibition will also be a moment of celebrating this battle, a break between journeys.
FEATURING WORK BY
ABDUL QADIM HAQQ
Abdul Qadim Haqq is an American visual artist and a pioneer of Techno Visual Art. Founder of Third Earth Visuals, Haqq has provided the electronic music community with visual conceptual imagery since 1989. His artwork is seen all over the world on classic Detroit Techno records by likes of Juan Atkins, Derrick May, Underground Resistance, Kevin Saunderson, Carl Craig, Eddie Fowlkes, Rick Wade and many more.
Anakhemia is the artist persona of Afra Khan, who plays electronic mind-body music, and whose vision is to inspire a dialogue in the human psyche through the method of musical storytelling.
Daniel Kalinski aka CHAZME is a Polish painter, illustrator and street artist. His work consists of dystopian structures that reflect the pattern of modern skyscraper architecture and acts as a critique on contemporary urban planning.
Jiyoung Yoo is a London-based artist whose work portrays today’s landscape where images she encountered from her ‘real’ life and her ‘digital’ life merge.
Influenced by renovation and decay, Heiner launched his own design-label in 2014. Heiner’s work is marked by the link between textiles and graffiti.
Julien Pacaud is a French artist and illustrator, living and working in Paris. In 2013, Julien collaborated with Axis, the home of Jeff Mills and Yoko Uozumi.
Michael Lange is a German photographer known for his atmospheric compositions. His work “WALD | Landscapes of Memory” appeared on Juan Atkins and Moritz von Oswald’s collaborative project “Borderland”.
Narin Kim is a visual designer and digital artist who was born in Seoul, South Korea. Narim will present “SecretTranslator 1.0”, a project that explores digital textuality, oral speech, and print media using digital coding.
Stefan Fähler is a freelance art director and illustrator working primarily in the music and film industries. He designs the ongoing flyer series for Gegen Berlin at Kit Kat Club.
Djurovic uses many different media and combines different methods from woodcut to animation clips. Techno lovers may remember Distant Echoes' "Fury Road EP" cover, published by Dystopian records, a label famous for its melancholic and dark sounds.
SPECIAL LONDON GUEST: SIREN
SIREN is the London-based collective focused on forward thinking movements in dance music promoting women and non-binary artists.
PRIVATE VIEW | 7th June, 6.30 - 9 pm
FIUMANO PROJECTS is pleased to announce MIYABI 雅: Intransigent Elegance, the second UK solo exhibition by Japanese artist Takefumi Hori.
Takefumi’s practice is rich and varied in its execution with gold leaf being his media of choice. Working onto a base coat of gold acrylic paint, Takefumi layers clear gel mixed with pigment followed by gold leaf. The process of cutting, sanding and scratching then begins, repeated over and over again.
His additive layering process with gold combined with the continual stripping back and scraping away of areas of paint results in work that progressively unfolds to the viewer over time. Each layer, revealed or concealed, gives the frontal surface of the painting temporality and visual impact. These are not works to be simply glanced at, the nuances and gradations warrant a more thoughtful and pensive gaze.
MIYABI 雅: one of the traditional Japanese aesthetic ideals. In modern Japanese, the word is usually translated as elegance and/or refinement.
Takefumi’s balanced and harmonious paintings can be best described as Miyabi. His fundamental understanding of composition and the way our eyes, and therefore our minds, ‘read’ results in works that are not only elegant and refined but also an expansion of the vocabulary of painting. The combination of the different Gold karat grades (eighteen, twenty-two and twenty-four) enables him to achieve a remarkable depth and variety of effects.
Whereas Takefumi affixes no definitive prescribed meaning to gold he embraces its diverse historical and cultural associations; from Western wealth and opulence to the more East Asian allusion to enlightenment and inner peace. These are references all can share and they will each have a different degree of importance unique to the individual.
Takefumi Hori was born 1978 in Tokyo. Having completed his studies in classical and contemporary calligraphy in 2004 he moved to New York where he continues to work from his vast studio in Brooklyn. Takefumi’s works can be found in international private and corporate collections including Westwood Global Investments, Boston; Bloomingdales, Chicago; and ACTIV Financial Systems Inc, Yew York.
PRIVATE VIEW | May 10, 6.30 - 9 pm
Fiumano Projects in collaboration with Orion Contemporary, is delighted to present Dra Åt Skogen - Rural Abstractions, an investigative project where Joakim Allgulander focuses on the potential for abstraction and colour fluidity within the genre of Landscape Painting;
“I admire works of historic Swedish landscape painters such as Helmer Osslund or Inge Schiöler who have that natural abstraction but my practice is more about getting under the bark, more existential, more urban, more mundane.”- J.A, March 2016
Working from his studio in London, Allgulander has for the past year immersed himself in a deeply personal study of the landscapes that surrounded him as a child growing up in rural Sweden. This new body of work is composed of semi- abstract studies of snowy spruce trees extracted from photographs and memory. The paintings become fragments, a whole tree is not depicted, the detail being symbolic of the essence of childhood memories but also a natural recognizable abstraction in itself.
The layering technique used by Allgulander refers directly to this notion of memory and its multitude of dimensions. The images, built up with oil paint and washes, could be seen as references to the manner in which our brains frequently overlay latter additions to existing recollections. The original memory becomes overshadowed yet it still permeates, much like the first layer of paint beneath the final surface of the work. At times one spruce tree has been painted across several canvases. Contrasting shading and colour palettes are used in order explore how differing methods of applying the paint or ambient conditions affect the final viewing experience.
Much like Claude Monet’s approach to his Rouen Cathedral series, Allgulander has no intention of creating a painting that mirrors reality in its entirety. He strives to create an object, a piece almost like a sculpture but with paint on a flat surface. The abstraction comes with the colour and the texture of the paint and it is only when the work begins to feel more like a sculpture or an object that Allgulander can feel truly fulfilled with what he has created.
In essence Joakim Allgulander´s work is far removed from our traditional notions of the picturesque. His experiences of living in the fast paced urban environment of London has, on a subtle psychological level, seeped into the mysterious deep depths of the Nordic forests.
Joakim Allgulander’s practice is broad, in both subject and media, however the existential lyricism and poetic content is a constant. Born in Stockholm in 1965 Joakim studied at Uppsala University and the National College of the Arts and Crafts in Stockholm. Regarded as one of Sweden’s most successful multidisciplinary contemporary artists, his work can be found in public collections including the Swedish Arts Council, the Municipality of Gotland and the Stockholm World Trade Centre.
PRIVATE VIEW | 5 April, 6.30 - 9 pm
Fiumano Projects is delighted to present URBAN PRETEXTS, Michel Ajerstejn’s second UK solo Exhibition. Pieces from two distinct bodies of work will here be brought together in a cohesive and sometimes challenging dialogue.
Michel studied at the internationally renowned “Esmod” school of Art, Fashion and Design in Paris. Upon graduation he embarked upon a successful career as a fashion and graphic designer. Through a chance encounter with the much celebrated photographer, the late Willy Ronis (1910 – 2009), Michel’s passion for the media of photography was awakened. Ronis’ passion for the capturing of contemporary Parisian street scenes encouraged Michel to see the world around him in a new light. Over the past 20 years Michel has developed a complex technique including photography, silkscreen printing and painting. In 2014 Michel was awarded the much coveted ‘Prix de Photography ADACP at the prestigious Salon d’Automne, Paris.
Contrary to the tendency of most photographers who seek the extraordinary within the ordinary, Michel captures what many would ignore: the familiar within the everyday. Positioning himself somewhere between a voyeur and a marksman, the artist carefully chooses and observes his subjects through the viewfinder of his camera, patiently waiting for them to engage in beautifully ordinary actions: a girl lifting a lock of hair from her eyes, a boy smiling while talking into his mobile phone.
In contrast to these “Street Operas”, Michel’s studio based pieces reference more directly to his background in the graphic design world. Combining pared down images with bold black and red text, often arranged within in a grid structure these pieces have a classical feel whilst at the same time carrying subtly powerful commentaries on contemporary society.
The beautiful woman with bright red lips and the word ADDICT scrawled across her eye – is she the addict or are we? Once more the notion of voyeurism is central to this particular body of work. Society itself has become ever more voyeuristic – with the public quite literally addicted to the consumption of celebrity gossip, reality TV and the goings on of other peoples lives.
Bringing together collective experiences within public spaces (the city) as well as individual imagination within private spaces (the studio), Michel’s photographs represent a very unique perspective on the familiar.
“I Like to shoot cities, streets, passersby and everyday objects, I just try to add a little humour… The staging of the everyday, just to make visible, catching unexpected moments to sublimate them with art”
IPRIVATE VIEW | 15 March, 6.30-9pm
Fiumano Projects and Orion Contemporary are delighted to present CONTRAST: Leo Bieber & Nicholas Hopkins. This exhibition focuses on five photographic works by each artist; exploring the contrast within and between their work.
CONTRAST: the state of being strikingly different from something else in juxtaposition or close association.
Leo Bieber is a London based professional Jewelry Photographer, specialising in creative still life, lifestyle and advertising campaigns. His unceasing love and enthrallment with light and shadow takes his artistic work into a dimension far removed from his every day commissions, driving the contrast between shade and light to the forefront. Leo’s photographs are conscientiously orchestrated, not just in their composition but also in the effects of ambient light, the poses of his anonymous figures and the abstract shapes they create. The resulting stills are not ‘moments in time’ they are timeless moments; an almost ethereal space we are invited into.
Nicholas Hopkins has for the past twenty years travelled extensively, focusing his viewfinder on realities that often escapes the eye. In contrast to Leo, Nicholas’ work specifically captures an instant, an everyday moment frozen in time, inviting us to perhaps consider similar, self-observed, situations. In his cityscapes, the busy urban fabric becomes a distillation of time, a silent moment, a space within the hustle and bustle of ordinary life. Nicholas uses little equipment, just a simple mechanical camera (35mm range finder) with a standard lens. Each photograph is captured handheld and in natural light.
CONTRAST: The range of optical density and tone on a photographic negative or print.
Whilst the modus operandi of the two artists is particular to their respective practices the focus on contrast remains fundamental. Leo uses manipulated light to create almost surreal interior scenes, the body of the subject becomes a reflection of the artists and his practice. Nicholas employs varied weather conditions to bring out the textures of his subject matter, either profiting from clear sharp days to maximize details and contrast, or, especially in cityscapes, using rain and water to allow reflections shine off of the tarmac or off cars or trains.
PRIVATE VIEW | 1 March, 6.30 - 9 pm
The son of two graphic designers, Otto D'Ambra was surrounded by strong visual imagery and creative tools long before studying Fine Art. Majoring in Set Design at the Brera Academy of Fine Arts, Milan, he spent the next few years working in a wide variety of creative enterprises ranging from advertising to set design. In 2013 Otto relocated to East London where he opened The White Elephant Studio to concentrate solely on his work as an illustrator, printmaker and tattoo artist.
Surreal in its aesthetic and metaphysical in concept, Otto D'Ambra's work focuses on the (d)evolution of people in the face of values promoted by the Digital Age we live in. Blending multiple elements from the animal kingdom, his illustrations address the inseparable link between modern man and his primordial nature, highlighting the dangers of our incessant pursuit of ephemeral pleasures and deceptive concepts of wellbeing. These intricate fusions of animals are in fact metaphorical representations of the complicated nature of the human condition. The head of a parrot may fuse with the winding tentacles of a jellyfish resulting in a fantastical creature alluding to the poisonous potential of the contemporary obsession with the mimicry of celebrity culture.
This exhibition showcases Otto D'Ambra's mastery of a wide variety of media, including ink on paper, etchings, prints, light boxes and - for the very first time – sculpture. Regardless of the mode of production, however, these works fully represent the artist’s superlative technical abilities and distinctly quirky view of reality. Ecce Animal: Reality's B-Side urges us to address our place in the world and get in touch with our instinctive selves before they are lost to us in a society all too eager to subvert our originality.
PRIVATE VIEW | 23 February, 6.30 - 9 pm
Emerging artist and photographer Benedetta Martini is currently studying Fine Art at Camberwell College of Arts. Specialising in photography, her work explores the meanings that we attribute to our sense of place. Through installations incorporating moving image as well as analogue photography, she investigates the qualities of objects and their component materials, highlighting the relationships they have with their environment - and subsequently with ourselves.
Alongside her studio practice, Benedetta Martini curates (CON)TEMPORARY, a series of exhibitions that delve further into the meanings that we attribute to our environment, particularly regarding the role and significance of art in its relation to the surrounding space. Among her influences she cites the work of the artists Monika Sosnowska, William Leavitt and Thea Djordjaze, Italian photographer Luigi Ghirri and film director Michelangelo Antonioni, with whom she shares a profound interest concerning concepts relating to spatial awareness.
In this, her first solo exhibition, Benedetta Martini will be presenting a sculptural installation using the language and materials of modernism blended with architectural elements through which she portrays a stripped down and abstract urban utopia. Inspired by elements stemming from her own memories and recollections of specific places, through the reconstruction of particular geographical contexts, she engages us in a discourse on the poetics of our experience of – and our relationship to – a sense of place.
PRIVATE VIEW | 26 January, 6.30-9pm
Tanya Tier’s new solo show DESOLUTION builds on her previous body of work which looked at our desire to seek out the unique and the strange.
She has been looking at the paradox within our society which demonstrates how we place a high value on the rare and extraordinary, while simultaneously pursuing an obsession with uniform, mass-produced, disposable consumer products. The artist is questioning whether the purposeful redundancy of these items reflects a subconscious awareness of our own inevitable redundancy on the evolutionary timeline.
In a world where each moment of time is optimised, Tier considers whether the commodification of happiness has led to a hollow heart in the centre of our society.
There is an exhausting and continuous assault of opinion in our lives and our cultural views on value and beauty are constantly forced to shift. Without realising it, we end up in a maelstrom of half-truths and invention, blurring the line between fiction and reality.
Roger Waters noted that our species would ultimately amuse itself to death. Tier is taking elements of this theme and observing contemporary human nature in a playful manner - wondering how the absurdity of our rituals, conventions and protocols might be interpreted by those who discover the remnants of our modern civilisations long after we’re gone.
Tanya Tier is an English sculptor who comes from a background of satirical sketch writing and political cartooning. She has written for comedy shows such as Smack the Pony and has had her political cartoons published in The Guardian.
Her cynical humour often comes through in her artwork, where she tries to observe the world through the eyes of a baffled and objective outsider. She has a particular fascination with the objects of day-to-day life which trap and define us, and the mythologies and protocols we retreat to and take comfort in.
As part of a long-held interest in science and the follies of the universe, Tanya’s practice is also concerned with the illusion of science and how we respond to what we perceive as the real world and the possibility of others. She is exploring the increasingly blurred boundaries between reality and fiction and looking at how altered states and ambiguity challenge the scientifically explainable world.
PRIVATE VIEW - 10 DECEMBER, 6-9PM
Baron Emmerich von Flughafen introduces Abstract Pornography.
Society fiercely enjoys labelling and criticizing everything related to sex. seX – fiction operates mainly outside the borders of natural sex. These objects silence the history of moral conflicts. Should sex be always taken so seriously?
This is a utopian space where the distinction between animate and inanimate is perverted. Objects abandon their passiveness reproducing through sexual intercourse and by doing so liberate themselves from thousands of years of unwanted dependance.
Baron Emmerich von Flughafen, formerly known as Diego Fortunato, is an artist and designer known for his ability to alter our perception and pleasure of both space and reality. During low ski season in St Moritz he spotted a tiny stone and moved it approximately 1 inch having a revelation: “I’ve transformed the landscape”. He has been a conceptual artist ever since.
Paul Spez and Jonathan F. Kugel are collaborating as young London-based curators to present a series of exhibitions in association with Fiumano Projects. seX – fiction is their first collaboration.
'Liberty with Order: The Art of Improvisation'
Private View and Cello Performance by the artist - Tuesday 2nd June, 6.30-8.30pm
“Creativity exists in the searching even more than in the finding or being found. It is in play, and only in play, that we are able to be creative and use our whole personality. The act of play is its own destination.”
Roger Holtom grew up in South Yorkshire where the rugged beauty of the Peak district combined with the explosive drama of the steel industry provided rich visual backdrops for his developing creative imagination. The youngest son of Pleasaunce Holtom, a fine artist trained at London’s Slade School of Fine Art, he received a comprehensive education in the craft of painting through observation. He was actively encouraged to explore his personal creativity and at the age of six began learning to play the piano and cello. Classical music became an absorbing passion for the young artist, leading him to obtain a degree in musical composition and subsequently to pursue a career as a cellist. Throughout his teenage years, Holtom also developed a profound admiration for the giants of Jazz music in the twentieth century - something that was to greatly influence his career as an artist.
Twenty-five years ago, whilst living in Sydney Australia and playing the cello in a string trio lead by the Concertmaster of the Opera Orchestra, Holtom began experimenting with paint and found that it offered him a more complete freedom of expression than within the strict practice of classical music. Principles of composition, tonality, texture, rhythm and nuance being common to both disciplines, he was able to take his knowledge of these fundamentals and apply them to an investigation into the art of improvisation through the medium of paint. The formal structure of classical music and an inherited understanding of the traditions of painting thus formed a framework within which Holtom was able to develop his own unique contribution to visual art.
In his current body of work, Holtom has sought to manifest a sense of the ephemeral nature of the subconscious through the principles of Jazz improvisation. In much the same way that a great Jazz musician reinvents that musical genre, ensuring that it is never allowed to stagnate, so too Holtom's work embodies a quality which challenges any argument regarding the obsolescence of painting. Standing before his paintings it is impossible to remain unmoved by their profound depths and intriguing surfaces. Roger Holtom's work not only proves that the practice of painting is still very much alive, but gives us a sense that it conceivably may have just been reinvented.
As Holtom himself describes his creative processes:
“The essence of the Jazz musician’s craft is to take elements from the music of those they admire, which then become the building blocks for their own work. A unique library of patterns and techniques, these elements are adapted, personalised and internalised ready to be accessed as required by the demands of any new musical circumstance. In much the same way, my years of free experimentation as a painter have given me a similarly personalised portfolio of techniques - some borrowed from other artists, others invented as a response to the demands of a particular situation.”
Musical influences on his most recent work include the ongoing study and assimilation of the architectural beauty of J.S. Bach’s six suites for solo cello. Drawing together the various elements of his practice, this exhibition - and the live musical performance accompanying the Private View - will provide a unique opportunity to witness first hand the work of an artist at the peak of his powers.
Roger Holtom’s paintings awaken our senses. The physicality of the artist is present in the artwork itself, breathing life and vigour into the materials that he uses. Surface textures, compositional rhythms and tonal depths combine resulting in paintings that resonate with a sense of our shared experience of humanity.
June 2-6. Tuesday-Saturday 12-6pm
June 7-14. By appointment
Please contact the gallery for further details
At Art Central, Central Harbourfront, Hong Kong, Booth R10, 14th – 16th March 2015
The works of Sam Burford and Nichole Wassall have been specifically selected by Fiumano Projects to engage collectors on a mind-bending exploration of printed media and sculpture at the inaugural edition of Art Central in Hong Kong.
The Colour Green ingeniously references the ‘magic’ of Hollywood green screen compositing and draws the eye to an ever closer appreciation of a three dimensional hanging sculpture. Sam Burford’s Rear Window clearly references the subject in the title of the work yet imagination of the viewer is called upon to penetrate the visual narrative of this cutting edge artistic interpretation of the famed cinematic trailblazer.
This has won 8 Nobel Prizes is Nichole Wassall’s invitation for us to consider the boundaries of reality and infinity (the law of unplanned consequence[i]). A blank chessboard releases the pieces sculpted in marble and wax (definite and indefinite) from accepted boundaries, yet the entire ensemble is contained within a cage. The work is central to Wassall’s continued practice to challenge structures and explore our perception of infinity.
A balanced selection of works by each artist will facilitate a multifaceted experience and appreciation of the two artistic sentiments. Wassall’s deployment of ‘Neuroart’ is in essence the re-sculpting of the way our representations acquire meaning and power, structured around an understanding of neuroscience. There is however no need for the viewer to have any technical knowledge of the intricacies of neuroscience to be able to appreciate the work that Wassall produces. There is no daunting scientific equipment and no hint of anything that appears suspiciously like a science project morphing into a piece of art.
Burford, meanwhile, unpacks the formal structure of cinema as the photographic enfolding of time and space (normally expressed as a series of two dimensional image slices) and creates unique, physical sculptural forms that depict local flows of time within the material tradition of sculpture. Through this materialisation, cinema is returned to the world of objects, the language of making, holding and grasping. The result is arresting; inviting you to participate, to find the end, the peak and the beginning.
Art Central will feature over 70 leading international galleries and will be staged in the largest ever specially commissioned, purpose-built structure to have ever been erected in Hong Kong. Located on the new Central Harbourfront, the fair is conveniently located and a 10 minute walk from the Hong Kong Convention and Exhibition Centre, where Art Basel takes place.
Fiumano Projects are delighted to present a mixed exhibition our gallery artists.
Gallery Opening Hours: Tuesday - Friday 11am-6pm, Saturday 11am-4pm. All other times by appointment
Fiumano Projects are delighted to be working with Italian Music Technologist and Artist, Bruno Zamborlin.
A PhD graduate from IRCAM - Centre Pompidou and Goldsmiths, University of London; Bruno is the founder of the East London-based music technology company Mogees Ltd. It was whilst he was studying for his doctorate that he began to develop ‘Mogees’, a musical instrument comprising a special vibration sensor and a software application allowing vibrations to be turned into sound.
“Hidden Frequencies”, is a journey into the possibilities of transforming everyday physical objects into musical instruments. Combining both performance and sound/music, this interactive exhibition invites the viewer to interact with objects around the gallery space, allowing them to co-create the audio world around them.
Bruno has collaborated with several internationally renowned musical artists including British Experimental Dance Music pioneers Plaid (Warp Records), Rodrigo y Gabriela, Pedro Reyes, Imogen Heap and Jean Michel Jarre.
"Between the eye and the hand of the artist a magical transformation takes place. Mogees is a technology that can turn vibrations into music. Hidden treasures are unveiled, magnified and brought to the ears of the performer, as hands freely explore the effects of a gentle caress or an unyielding impact.
Building a musical instrument is not just about creating beautiful sounds, it is also about people and what they want to achieve. “Between the conception and the creation, falls the shadow”. I did not want to offer a prescriptive tool, but something through which one may immediately hear wider musical horizons; connecting intention to sound as a medium in a dialogue between action and perception, catching inspiration as it happens."
Live Performance featuring Plaid – Tuesday 10th February 2015 at 7.30 pm:
The collaborative relationship between Plaid and Bruno extends over 3 years of live performances across Europe, the creation of the music video EL EX (Warp Records) and the Diana performable sound sculpture. Diana was first performed at the MTV Digital Days at the Palace de Venaria (Turin, Italy) and is presented here as part of the Hidden Frequencies collection.
EXHIBITION: HIDDEN FREQUENCIES
WHEN: 10-14 February 2015
WHERE: Fiumano Projects, 27 Connaught Street, London W2 2AY
GALLERY HOURS: Tuesday–Friday 11am–6pm, Saturday 11am–4pm or by appointment
PREVIEW: 4th November 2014, 6.30pm – 9.00 pm
Fiumano Projects is proud to announce Sam Burford’s exhibition / REDUX / 3+1 at the
The word Redux originates from the Latin reducere meaning to 'bring back'. The term 3+1 refers to the field of study in general relativity that seeks to decompose Spacetimeinto three-dimensional space and one-dimensional time. These two ideas act as thestarting point for Burford’s deconstruction of the cinematic form as an expression of time and materiality.
Burford’s art practice stems from his experiences working in film and televisionproduction where he began to question the immersive and distractive nature of itsunyielding constructed temporality. He is now developing these ideas through his doctoral research at Chelsea College of Arts in London.
As cinema becomes increasingly digital and dematerialised in its method of production, content and delivery, there is a consequent drive to return to its material roots in the physical world. Working with a variety of media - 3D printing, painting, video and time-lapse photography - Burford restructures traditional cinematic forms to create new synthetic compositions that describe four-dimensional Spacetime.
Through a series of Cartesian transformations, Burford unpacks the formal structure of cinema as the photographic enfolding of time and space (normally expressed as a series of two dimensional image slices) and creates unique, physical sculptural forms that depict local flows of time within the material tradition of sculpture. Through this materialisation, cinema is returned to the world of objects, the language of making, holding and grasping and is subject to the same agencies of decay and gravity as we are. The cinematic memes embedded in these forms can now be physically held, examined and evaluated within our own time frame and immediate personal space.
The starting point of Burford’s process is the production of time-lapse photographs of cinematic time using specially constructed cameras. From these Burford employs a number of techniques to generate physical forms. In one series, the frozen temporal traces are translated into a series of individually crafted paint brushes and used to transform the original cinematic sequences into a linear series of painted marks – a visual language of gestures that reference a time before the mechanical and electronic technologies of modernity. There is a sense of doubling back in order to move forwards.
In other artworks the traditional elements of cinema, in terms of sound and image, are rearranged. Through these actions Burford explores what happens when the physical materiality of the supporting medium intertwines with the implied narratives therein. If cinema is thought of as the ‘flattening’ of forms from the actual physical world, to be seen at a later stage (where the experience of time is electronically structured and inherently generic) these artworks represent a gesture of returning; an attempt to introduce materiality, physicality and a natural temporality to cinema.
May 1st 2014
Fiumano Projects presents the first UK solo exhibition of the Japanese artist Takefumi Hori 16th – 31st May 2014
Takefumi Hori is a young Japanese artist currently based in New York. Working from his studio in Brooklyn Takefumi finds himself surrounded by the hustle and bustle of everyday urban life. The dynamism and vibrancy of New York City are part of the inspiration for his paintings: the atmosphere and energy alongside the material wealth and prosperity of this financial hub are juxtaposed with the calm serenity of classically uncomplicated geometry and composition.
Takefumi does not however strive to simply reflect the surface appearance of a city, his interest lays in a more fundamental and ideological contemplation of the interaction between individuals and their surroundings. The way we behave and respond to our circumstances and the balance between exterior affluence and internal equilibrium. His works can be best described using the Japanese word SHIBUI.
SHIBUI (渋い) adj, n : a Japanese word which refers to a particular aesthetic of simple, subtle, and unobtrusive beauty.
Takefumi’s abstract paintings give an initial appearance of simplicity but on closer inspection the viewer can see subtle details such as surface texture and varying depths of the application of gold leaf and paint. These elements work together to give a balance of clarity and complexity ensuring that the paintings remain fresh; the Shibui object constantly finds new meaning and an enriched beauty that allows its aesthetic and intellectual value to develop over time. There is a fine line of contrasting elements, the elegance of the gold and silver leaf and the roughness of the surface scratches, the spontaneity of the artists’ hand and the restrained and balanced use of composition.
Takefumi’s paintings are a refined expression of the essence of elements in an aesthetic experience producing quietude. Spare elegance is enlivened by the iridescence of gold and the flashes of colour he sometimes introduces. They move beyond the idea of beauty into the more enduring realm of the sublime.
Takefumi’s abstract paintings give an initial appearance of simplicity but on closer inspection the viewer can see subtle details such as surface texture and varying depths of the application of gold leaf and paint. These elements work together to give a balance of simplicity and complexity ensuring that the paintings remain fresh; the Shibui object constantly finds new meaning and an enriched beauty that allows its aesthetic and intellectual value to develop over time. There is a fine line of contrasting elements, the elegance of the gold and silver leaf and the roughness of the surface scratches, the spontaneity of the artists’ hand and the restrained and balanced use of composition. Takefumi’s paintings are a refined expression of the essence of elements in an aesthetic experience producing quietude. Spare elegance is enlivened by the iridescence of gold and the flashes of colour he sometimes introduces. They move beyond the idea of beauty into the more enduring realm of the sublime.
In his Critique of Judgment (1790), Immanuel Kant states that the sublime “is to be found in a formless object,” represented by a “boundlessness”. It is this boundlessness that Takefumi is searching for. His paintings do not solely appeal to the eye as aesthetically beautiful objects, they go beyond such constraints. The viewer is quite literally invited to unleash their sensorial and emotional responses, the openness and expansive surfaces of Takefumi’s paintings are both inviting and resistant. His mark-making and scratching away at the picture plane capture our attention and draw us deeper into the folds of colour and precious metals that are his materials.
Takefumi’s combination of the Shibui aesthetic and the search for the sublime result in paintings that are both arresting and captivating. His fascination with contemporary life in a modern metropolis alongside a more philosophical concern with the nature of aesthetics and our reaction to them allow him to create canvases that do much more than search for the sublime, they uncover the very essence of it.
Dates: 16th - 31st May 2014.
Opening hours during the exhibition
Tuesday – Friday 11 am – 6pm
Saturday 11 am – 4 om
Sunday & Monday by appointment
Please note we will be closed the Bank Holiday week-end from 4pm on Friday 23rd May until 11 am on Tuesday 27th May.
March 22nd 2013
Do we read ‘outside in’ as easily as we read ‘inside out’?
We are used to the term ‘inside out’ so automatically know what is meant. However, we do not use ‘outside in’ (which has the same basic meaning) as often so our brain has to do something slightly different to understand what is implied. It processes the information differently with different parts of the brain. And incredibly many people can actually feel that difference.
It is this type of juggling with feeling that characterizes the work termed ‘Neuroart’ in the exhibition ‘Outside in’ by Nicole Wassall. The essence of which is the re-sculpting of the way our representations acquire meaning and power, balanced on an understanding of neuroscience. Where an understanding of what we experience and how we react is based on what neuroscience reveals is happening in our brain at a neuro level.
Nicole describes her practice as using “an understanding of neuroscience to push open the swing doors of hunches and blur the dotted lines between senses and perception. Neuroscience on its own is a theory of flat surfaces. It needs the laws of unplanned consequence that thread through life for it to resonate.” From her perspective neuroscience is one of the most exciting areas in art because of its potential to push the boundaries of contemporary art – something she feels has been in stasis for far too long.
The viewer does not need a technical knowledge of the intricacies of neuroscience to be able to appreciate the work that Nicole produces. There is no daunting scientific equipment and no hint of anything that looks suspiciously like a science project pretending to be art. Instead she takes the time to explain that her pieces work on three levels. Firstly a clean and simple aesthetic, whose purpose is to be pleasing to the eye but not to distract from her theoretical practice. On the second level, she uses the every day in what she refers to as the “integral poetic ruse”. This is the apparent subject of the work, such as a metaphor or theme. And finally she weaves into this neurological triggers, the ‘outside in’ rather than the ‘inside out’.
So whilst contemporary art often eludes a clear articulation of its artistry, neuroart, does feel as though it has a tangible idea of what it is and that it has the potential to grow, just as the related field of neurosience grows. Although, when asked if in her opinion Neuroart is the Holy Grail of art Nicole was quite clear ‘it’s not about that, it’s about what the search opens up’.
Exhibition Dates 10th –14th April 2013
Exhibition Private View with artists talk 10th April 2013 – 6.30 pm – 9.30 pm
Fiumano Projects / Fiumano Fine Art ,27 Connaught Street, London,W2 2AY
T: 020 7402 6241 / E:email@example.com