GIANLUCA FRANZESE/ MODUS GALLERY

Gianluca Franceze/Modus gallery

Par: Modus Galerry

Gianluca Franceze est un artiste Italien né aux Etats Unis, qui vit et travaille à San Francisco depuis 14 ans. Fils d’un d'un créateur de bijoux et d’une peintre, il s’est aventuré dans la peinture dès le plus jeune âge, en passant par des styles réalistes, expressifs et narratifs.

L’artiste a été fortement influencé par la peinture décorative et le travail de son père, créateur de bijoux. Il rend hommage à ces matériaux précieux, l’or et l’argent que l’on retrouvera présent dans ces œuvres. Le travail de l’artiste est très minutieux, nous retrouvons une précision millimétrique afin de créer l’effet visuel désiré.

Nous retrouvons également dans ces œuvres l‘influence de l’op art, les effets d’optiques étant au rendez vous, dans de nombreuses de ces œuvres. Le spectateur vient ainsi jouer un rôle fondamental, sont déplacement étant au cœur de la création, de la reconstruction et de la perception de ces tableaux colorés.

L’artiste s’inspire de l’ordre et la géométrie présente dans la nature pour créer ces œuvres où règne un équilibre certains entre les formes et les couleurs. De plus ces œuvres ont une particularité qui leur donne une aura intrigante et spirituelle. Les éléments métalliques présents dans ces œuvres sont sensibles à la température ambiante, ce qui permet à l’œuvre d’être en constante fluctuation par rapport à son environnement. L’artiste transcende ainsi la matière en tant qu’élément de la composition picturale, pour lui donner une vie propre dans les tableaux.

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JUAN MIGUEL PALACIOS/ MODUS GALLERy

Juan Miguel Palacios/Modus Gallery

JUAN MIGUEL PALACIOS

Por: Modus Gallery

Juan Miguel Palacios es un artista español que realizó sus estudios en la escuela de Artes Decorativas de Madrid, lo que le llevó a formar parte del prestigioso taller Amadeo Roca Gisbert donde trabajó durante más de 6 años.

Su técnica es única, el artista sobrepone vinilos transparentes cubriendo una estructura que representa un muro parcialmente destruido. Juan Miguel Palacios representa encima de esta superficie transparente personajes expresivos, compuestos por una pintura que se desliza y escurre, que parecen nunca estar terminados.

El artista crea un contraste en sus obras entre la superficie depurada y la integración del hueco y sus texturas que se crean alrededor de este. La suavidad y la fragilidad de los rostros femeninos se opone drásticamente a la agresividad de la destrucción del muro. Sin embargo, una interacción aparece entre los personajes en simbiosis con la inserción aleatoria del vacíosobre este soporte arquitectural urbano. Juan Miguel Palacios retoma el soporte de los street artists: esas barreras de cemento que separan el espacio privado del espacio publico, reconstruyéndolo como escenario para su trabajo.

La contemplación de sus obras no nos puede dejar impasibles, ya que nos transmiten un sentimiento de abandono y desintegración.

El estilo pictórico nos recuerda fácilmente a los cuadros del artista Pasquat, o el trabajo del sreet artist Vhils en donde encontramos igualmente la deconstrucción de los muros.

Las obras de Juan Miguel Palacios son figurativas, a pesar de esto tienen una gran carga conceptual, ya que encontramos en sus obras los conceptos del duelo, la agitación, la expresión y las desigualdades.

 

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Juan Miguel Palacios/Modus Gallery

JUAN MIGUEL PALACIOS/ MODUS GALLERY

Juan Miguel Palacios/ Modus Gallery

Par : Modus Gallery

Juan Miguel Palacios est un artiste espagnol qui a fait ses études à l’école des Arts Décoratifs de Madrid, ce qui lui a permit par la suite d’intégrer le prestigieux atelier, "Amadeo Roca Gisbert" où il y travailla pendant plus de 6 ans.

Sa technique est unique, en effet il retranspose un vinyle transparent sur une structure représentant un mur partiellement détruit. Il vient ainsi peindre sur cette surface transparente des personnages sous la forme de recherches poussées, les visages expressifs sont constitués de coulures de peintures, semblant ne jamais être achevés.

Un contraste se crée entre la surface épurée du mur et l’intégration d’un vide, avec toutes les textures qui s’en découlent. La douceur et la fragilité des visages féminins s’opposent diamétralement à l’agressivité de la destruction du mur. Cependant une interaction se crée entre ces personnages, en symbiose concrète avec l ‘insertion aléatoire de ces vides dans ce support architectural urbain. Juan Miguel Palacios reprend le support de tout les street artists : ces barrières de béton qui séparent l’espace privée du public, en reconstruisant ce scénario comme support de travail.

La contemplation de ses œuvres ne peut nous laisser impassible, ses œuvres nous transmettant un sentiment d’abondant et de désintégration. De plus sa représentation picturale nous rappelle les peintures de Pasquat, ou encore le street artiste Vhils où l’on retrouve le travail de la déconstruction du mur.

Les œuvres de notre artiste espagnol bien que figuratives, sont avant tout des œuvres conceptuelles, nous retrouvons dans son travail les concepts du deuil, de l’agitation, du geste et des inégalités.

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Juan Miguel Palacios/ Modus Gallery

STIKKI PEACHES/ MODUS GALLERY

Stikki Peaches/ Modus gallery

Par Modus gallery

Stikki Peaches est un artiste Canadien qui expose à l’internationale ses œuvres, visibles en galerie d’art mais également dans la rue. Fils d’un père tailleur et d’une mère designer, l’artiste a été baigné dès le plus jeune âge dans le monde créatif. Il a travaillé pendant plus de 13 ans dans le monde la mode masculine, pour se tourner par la suite vers le street art.

Des personnages de la culture populaire tels que Katt Moss, Batman et Elvis Presley sont présents dans les œuvres de Stikki Peaches. L’artiste utilise pour ses créations du papier, des bombes de couleur, des marqueurs ainsi que d’autres éléments tels que la mosaïque, qui viennent interagir pour obtenir un résultat dynamique et coloré. On retrouve dans ces uvres une touche négligée, avec notamment la présence de cartons déchirés, de planches en bois cassées, ainsi que d’autres éléments appartenant à une esthétique décadente.  

Le travail de Stikki Peaches est reconnaissable par son style particulier, qui vient s’inspirer du pop art, en retransposant sur la toile les icones contemporaines auxquels l’artiste vient ajouter au marqueurs de nombreux éléments appartenant à l’esthétique du tatouage, avec une typographie et des dessins qui lui sont propre. Ces personnages se voient soudainement transformés, tatoués, submergés de couleurs vives réalisées à la bombe et ornementées par différents matériaux.

 

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Stikki Peaches/ Modus gallery

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JESÚS CURIÁ / MODUS GALLERY

Jesús Curiá / Modus gallery

Por: Galeria modus

El artista español trabaja con maestría desde hace más de 25 años la escultura, mediante la cual nos introduce en su mundo onírico. El trabajo de Jesús Curiá nos transmite una sensación de profundidad, de tranquilidad y de un equilibrio certero. Un universo paralelo se abre ante nosotros, con personajes híbridos, y con una morfología humana que se fusiona con líneas rectas y formas geométricas. Su sensibilidad por el espacio y por el mundo que nos rodea, le permite moldear obras de una manera armoniosa, creando la sensación de que los personajes están suspendidos en el aire.

Las columnas de Jesús Curiá se caracterizan por el contraste que se crea entre la densidad del bronce y la ligera representación de los personajes.

Encontramos en sus obras niños pendidos del aire gracias a un hilo invisible, o a una mano protectora que no los deja caer. En medio del juego, estos niños forman una columna que se alza hacia el cielo, con una gravedad inexistente. Encontramos una perfecta combinación de poesía y dulzura que nos invita a un viaje lejano a tierras inexploradas.

Cada columna es única, la composición y la posición de los personajes se ensamblan cada vez de manera diferente por el artista. La pátina, que también varía de la misma manera, viene a resaltar estos seres ingenuos en constante equilibrio.

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Jesús Curiá / Modus gallery

 

   

 

 

ALEJANDRO CARPINTERO

Lorsqu'Alejandro Carpintero tente de se représenter un sujet, des images lui traversent l’esprit sous forme de fragments. Un sourire, une expression, une couleur... Il ne perçoit jamais l’objet ou la personne dans son entier. C’est aussi sa façon de peindre. Pourtant issu d’une éducation artistique très académique, le principe d’empâtement, comme un moyen de représentation dans sa peinture, est son médium de prédilection. Plus il l’utilise, plus il s’éloigne d’un résultat hyperréaliste. Il travaille principalement sur le concept de passage d’un état de fait à un autre. Un panneau signalétique qui perd sa fonction première pour devenir un objet purement esthétique, ou une préadolescente qui passe de l’enfance à l’âge adulte, par exemple. Représenter ces moments de transition d’un point de vue pictural est son plus grand défi. Alejandro croit qu’il existe une combinaison possible entre les images intérieures qui l’habitent et les références figuratives extérieures avec lesquelles il travaille.

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Alejandro Carpintero/Modus Gallery

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BRUNO CATALANO/MODUS GALLERY

Bruno Catalano/ Modus gallery

Bruno Catalano  MODUS GALLERY

Bruno Catalano nació en Marruecos en 1960, y se vio obligado al exilio, junto con su familia en 1975. El escultor empieza una nueva vida en Marseille, guardando en mente el dolor de alejarse de sus raíces y su cultura . El artista descubre su pasión por la escultura a través las obras de Rodin, Giacometti y Cesar, a los 30 años, después de haber sido marinero y electricista.

Los viajeros parecen estar flotando en el aire, suspendidos en el tiempo y en el espacio. Encontramos un contraste marcado entre la densidad del metal y la ligereza de estos viajeros , llevando siempre con ellos una maleta.

Los vacíos presentes en las obras nos evocan el sentimiento de dejar una parte de uno en el país de origen cuando nos vemos confrontados a dejar nuestras tierras. Las texturas de desgarre son diferentes para cada obra, lo cual las vuelve de cierta manera únicas.

Estos viajeros son el reflejo de la vida del artista que debió afrontar el exilio , a través sus obras nos refleja su sentimiento de desprendimiento.

En sus obras siempre están presenten personajes con miradas penetrantes, que se dirigen a lugares desconocidos, sabiendo lo que dejan pero no lo que encontraran en tierras lejanas.

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Bruno Catalano/ Modus gallery

 

BRUNO CATALANO/MODUS GALLERY

Bruno Catalano/Modus Gallery

Par Modus Gallery

Bruno Catalano est né au Maroc en 1960, il est contraint à l’exile avec sa famille en 1975. Il débute ainsi une nouvelle vie à Marseille, tout en gardant en mémoire la douleur du déracinement de son pays natal. L’artiste découvre sa passion pour la sculpture, à travers des artistes tels que Rodin, Giacometti, César, à l’âge de 30 ans, après d’avoir eu un parcours assez atypique : celui de marin dans un premier temps, puis celui d’électricien.

Un effet de flottement se crée dans ces voyageurs, suspendus dans l’espace et le temps. On retrouve un contraste entre la pesanteur de la matière et la légèreté perçue de ces voyageurs, transportant toujours un bagage avec eux.

L’insertion du vide est présente pour nous transmettre le sentiment de déracinement, en laissant une partie de soit dans le pays d’origine. Les déchirures sont différentes pour chacune des œuvres, ce qui les rend uniques.

Ces voyageurs sont le reflet de la vie de l’artiste qui s’est vu confronté à l’exil, à travers ces œuvres il représente le sentiment de détachement.

Nous trouvons toujours des personnages aux regards pénétrants, se dirigeant vers un endroit inconnu, conscient du chemin déjà parcouru, mais pas du futur incertain qui les attend dans des terres lointaines.

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Bruno Catalano/Modus Gallery

Bruno Catalano nació en Marruecos en 1960, y se vio obligado al exilio, junto con su familia en 1975. El escultor empieza una nueva vida en Marseille, guardando en mente el dolor de alejarse de sus raíces y su cultura . El artista descubre su pasión por la escultura a través las obras de Rodin, Giacometti y Cesar, a los 30 años, después de haber sido marinero y electricista.

Los viajeros parecen estar flotando en el aire, suspendidos en el tiempo y en el espacio. Encontramos un contraste marcado entre la densidad del metal y la ligereza de estos viajeros , llevando siempre con ellos una maleta.

Los vacíos presentes en las obras nos evocan el sentimiento de desprendimiento ,dejando parte de uno en el país de origen cuando nos vemos confrontados a dejar nuestras tierras. Las texturas creadas por el desgarre son diferentes para cada obra, lo cual las vuelve de cierta manera únicas.

Estos viajeros son el reflejo de la vida del artista que debió afrontar el exilio , a través sus obras nos refleja su sentimiento de desprendimiento.

En sus obras siempre están presenten personajes con miradas penetrantes, que se dirigen a lugares desconocidos, sabiendo lo que dejan pero no lo que encontraran en tierras lejanas.

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Bruno Catalano/Modus Gallery

JESUS CURIA/MODUS GALLERY

Jesús Curiá / Modus gallery

Par Modus Art Gallery

 

L’artiste espagnol travaille depuis plus de 25 ans la sculpture, où il nous invite à nous glisser dans un monde onirique. Le travail de Jesus Curia nous transmet une sensation de paisibilité, de profondeur et d’un équilibre certain. Un univers parallèle apparait devant nous, où des personnages hybride, avec une morphologie humaine à laquelle vient s’ajouter fréquemment des lignes droites et des formes géométriques. Sa sensibilité à l’espace et le monde qui nous entoure, lui permet de façonner ces œuvres d’une manière harmonieuse, en créant très souvent le sentiment de suspension des personnages dans le vide.

Les colonnes de Jesus Curia se caractérisent par le contraste qui se crée à partir de la pesanteur du bronze et la représentation de légèreté des sujets.

Nous retrouvons ainsi des enfants suspendus dans l’espace par un fil invisible, ou par une main bienveillante les empêchant de tomber. Plongés dans le jeu et l’amusement, ces enfants forment une colonne montante vers le ciel, avec une gravité inexistante. La douceur et la poésie sont au rendez-vous avec une œuvre qui nous invite à un voyage lointain dans des terres inexplorées.

Chaque colonne est unique, l’interaction et la position des personnages étant organisée de façon différente à chaque fois par les soins de l’artiste. La patine, qui varie également, vient sublimer ces êtres naïfs en constant équilibre.

 

 

 

 

Jesus Curia/ Modus gallery

ALEJANDRO CARPINTERO/Modus gallery

UN MONDE DE COULEURS

Par José Luis Corretjé

Alejandro Carpintero/ Modus Gallery

« La peinture permet au peintre de créer un vaste monde intérieur. Elle t'amène à penser pendant toute la journée à des formes, des couleurs et des compositions. Cela remplit ton quotidien. » Il travaille notamment sur des portraits féminins « Les combinaisons de couleurs et de lumières dans les visages car tu te rends compte que cela dépend de la façon dont elles se reflètent, une personne belle peut se transformer ainsi en monstre.

Alejandro met en valeur la crise actuelle du marché de l’art, qui est selon lui une pierre angulaire pour la liberté des artistes face au joug des tendances et les choix qui s’opèrent depuis les galeries d’art. « Beaucoup de peintres de ma génération, ont fait pendant ces quatre dernières années leurs meilleurs œuvres. D’ailleurs si j’avais de l’argent j’achèterai leurs œuvres. Sur un long terme ça doit être un bon business. »

DE HOCKNEY A HOPPER

Sa source d’inspiration provient essentiellement de musiciens, plus que de peintres : « Car cela génère des ambiances ». Cependant il a une grande admiration pour David Hockney ainsi que pour Hopper, le génie américain.

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Alejandro Carpintero/ Modus Art Gallery

BRUNO CATALANO / MODUS GALLERY

BRUNO CATALANO SCULPTURES

by Communications

Bruno Catalano / Modus Gallery

Lorsque l’on rencontre un voyageur de Bruno Catalano, nous ne pouvons qu’être émerveillés par la présence de chacune de ses sculptures. Les petites, comme les monumentales, présentent la même force, la même vie. Elles sont partout. De Paris à Genève, en passant par Barcelone et Marseille. Les capitales, les unes après les autres, font l’acquisition de leur voyageur emblématique.

Symbole du voyage, de l’Homme, de la vie, ils nous parlent. L’expression qui s’en dégage nous permettent, à tous, sans exception, de nous identifier, de nous comparer. Le vide, la cassure présente dans la sculpture, n’est pas à comprendre dans son manque, dans son vide, mais plutôt dans un plein à ajouter, à combler. Les voyageurs de Bruno Catalano sont chacun d’entre nous. Ils représentent notre parcours, notre voyage. Notre vie.

Émotions et sensations s’entre-mêlent lorsque l’on fait face à un l’un des voyageurs de Bruno Catalano. Chacun d’entre-eux dégage une émotion. Il touche notre sensibilité et matérialise un ressenti. Le matériau noble qu’est le bronze, travaillé puis patiné, offre une impression de stabilité, de sûreté qui répond à la posture de chacun de voyageur qui est créé. Les pieds ancrés au sol, le regard dirigé vers l’horizon, ils avancent, sans hésiter. En marche, on les sent sûrs, fidèles, mais surtout, déterminés. Ils ne faillissent pas et leur route semble toute tracée. Chacun peut y imaginer un chemin personnel, un but, un dessein.

Nous sommes fiers de pouvoir vous présenter quelques voyageurs de Bruno Catalano dans notre galerie d’art moderne et contemporain. Art Thema représente à l’année, sur Bruxelles, les sculptures de l’artiste et ne peut que vous encourager à venir les découvrir, afin de vous imprégner de la somptuosité de ses créations. De la plus petite à la plus grande, elles sont belles, puissantes et n’attendent que votre regard et votre histoire pour avancer.

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Bruno Catalano / Modus Art Gallery

MARTA SANCHEZ LUENGO/MODUS GALLERY

AT MY OWN PACE

Marta Sanchez Luengo / Modus Gallery

The most remarkable thing about Marta Sanchez Luengo's work is her scope of the human being through different realities. The study of the human figure and its context play the same role on her sculptures. The creation and use of scene is always constant on her work, and it becomes the canvas for referring about the complexity of the circumstances the human being is involved, integrating social-urban with intimate-personal life.

Particularly, the Travel thematic is very frequent in her work

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Marta Sanchez Luengo / Modus Art Gallery

LUCIANA GOMEZ / MODUS GALLERY

LUCIANA GOMEZ talks about her art 

Luciana Gomez / Modus Gallery

It was the Impulse and the curiosity to discover the inner universe, which led me to explore the connection that exists between nature and our own body. The need to understand the changes and metamorphoses that all of us unconditionally experience in our lives. I question the mutable and non-permanent character of things, the ephemeral in everyday life, as well as bodies and the spaces. I am interested in water, earth, life cycles cycles, and all the organisms and cells inhabiting our body.

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My works usually start with an outline of the pencil silhouette on colored backgrounds. I use acrylic or synthetic enamel, I draw the subject with ballpoint pens, spontaneously and gradually, creating multiple layers. These gestural elements give volume to the figures, and the composition emerges step by step, kind of improvised. My paintings create a visual game of lights and shadows. They’re some sort of optical illusions; when observed from afar they show a figure, when observed closely they reveal an entire world.

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Luciana Gomez / Modus Art Gallery

BRUNO CATALANO / MODUS GALLERY

D'AIR ET DE BRONZE BY CONNEXIONSS

By Jilda Hacikoglu

Bruno Catalano / Modus Gallery

Avril 2016 –Venise : sous les arcades prestigieuses de la Piazza San Marco, la Galerie Ravagnan occupe une minuscule vitrine devant laquelle on s’attarde. Initialement venue sur les recommandations d’un ami pour voir les toiles d’un certain artiste, j’ai finalement accroché aux sculptures d’un autre qui se trouvait là.

Cette voyageuse aux traits légèrement asiatiques qui se fond dans l’horizon particulier de Venise fascine. A la fois sur la carte de la galerie invitant à découvrir l’univers de Bruno Catalano (photo) et sur place, dans la galerie où elle se trouve de pied en cap, en bronze et en air, à défaut de chair et d’os.

La regarder de dos, depuis l’intérieur de la galerie, sur fond de piazza gorgée de touristes visibles depuis la vitrine, saisit. Littéralement.

Pendant notre admiration qui amène des questions, la dame de la galerie nous éclaire aimablement sur Bruno Catalano, même si elle voit bien que nous n’achèterons aucune de ces sculptures. Elle est là pour vendre certes, mais cela ne l’empêche pas de convenir avec nous combien ces sculptures ont belle place au milieu du monde et des gens.

L’histoire de Bruno Catalano et de ces voyageurs déchirés est infiniment belle aussi, parce que réjouissante. Cette série de voyageurs incomplets est née par hasard, après les tentatives échouées d’un autodidacte artisan sur une représentation du Cyrano en 2004. Il travaille tout de même sur ce raté-là, et l’œuvre prend tout à coup sens dans cette incomplétude spectaculaire.

Rappelant par là même que les ratés ne sont jamais uniquement ce qu’ils semblent être sur le coup, mais bien souvent un pas de plus de vers la suite. Les « vertus de l’échec » en somme, que le philosophe pédagogue Charles Pépin avait rappelé exactement en ces termes l’an dernierTournez autour, observez, autant que vous le pouvez. Comme les mobiles de Calder qui redessinent un espace pourtant identique en se mouvant, les Wayfarers de Catalano traversent les lieux à l’image de tous les voyageurs : les seuls éléments complets de ces personnages sont leur valise pleine, leur tête et leur pieds, pour le voyage. Le reste de leur personne a disparu, arraché de leur point de départ, laissant un vide prêt à accueillir l’endroit où ils se trouvent.  

Se détacher peut alors devenir problématique.  Ah ?

Cela ne vous évoque rien ?

Vous-même peut-être ?

Bon.

Tous les voyageurs du monde, plus ou moins heureux de destin, sont présents dans ces bronzes édifiants. Les voyageurs de leur propre vie s’y reconnaissent aussi, sur le chemin de la perte ou de la reconstruction.

Où l’on comprend mieux la citation de Camus en ouverture du site de ce sculpteur emballant :

« Jamais je n’avais senti, si avant,

à la fois mon détachement de moi-même et ma présence au monde.»

Elle est extraite d’un des premiers textes de l’auteur nobélisé, empli de son amour basique, puissant et sensuel, pour la vie malgré tous ses absurdes : Noces.

La suite de la citation de ce philosophe de l’absurde n’est pas moins fabuleuse.

Et jamais je n’ai senti, si avant, à la fois mon détachement de moi-même et ma présence au monde… Il est des lieux où meurt l’esprit pour que naisse une vérité qui est sa négation même.

Tous ces justes passeurs évoquent une nature sacrée, indéchiffrable, habitant tout humain d’où qu’il soit, où qu’il aille, et qui quand il cherche au milieu de ses errances, forge cet inconnue nature avec autant d’intensité si ce n’est plus, qu’en restant sur place.

Bon voyage.

 https://connexionss.wordpress.com/2017/06/11/dair-et-de-bronze-bruno-catalano/

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Bruno Catalano / Modus Art Gallery 

SNIK INTERVIEW / MODUS GALLERY

SNIK INTERVIEW BY STREET ART UNITED STATES 

by Sami Wakim

Snik / Modus Gallery

Initially inspired by the Graffiti scene, Snik has been working with stencil and spray can for 10 years now. Constantly pushing the boundaries, this artist duo has developed a unique style which is equally captivating on walls as it in on canvas. Staying true to their form, Snik hand cuts up to nine layers at a time, working with different mediums, techniques, paints and varnishes. Regardless of size, the level of detail is insane, and use of colours and forms, inspirational. Showing in Galleries, shows and forums across the globe, they had their inaugural solo show in 2011, and now has a serious following of admirers and collectors worldwide.

Let me first say that I am fascinated about the way you create your art. Although, I don’t really know anything about you, could you explain who you are, where you´re from and how did you get started in the street art scene?
Snik was originally started by myself (nik), back in 2005. I had always been a keen artist, but never really viewed it as something that could get me from place to place doing what I loved. Over the years people have shown an interest, and invited me to places all over the world to paint, which has been incredible. As the years have gone on, I have always tried to go bigger and better with each piece, I feel, constant progression and improvement are the things that help to keep me on my toes. About 4 years ago I met my other half, and we began to paint bigger walls together. Having 2 people on board meant we can cut bigger stencils quicker, and paint larger walls that one person with a stencil couldn’t, so it’s been a huge help to become a duo. Some people don’t know that, we have never really pushed, as I don’t think it matters so much. When you view art you never question how many people, just the nature of it and how it makes you feel.

Do you have a formal education?
We have both been to college, but neither studied Art. It was never helpful for either of us in the direction we were heading.

Your art is multilayered and complex. Could you describe the development process of your artwork?
I think stencil work is a form of OCD. To sit for hours on end, cutting small pieces of card from bigger pieces of card, it’s not a standard method of art, but a more precise and exact craft. The way we try to balance this, is by painting very quickly, and very rough and ready. Every canvas we paint is painted the same way it would be done on the street, drips, smudges, mess and mistakes are all a part of it. The tightness of the stencil is only a balance to the freedom of the painting.

How much does your art affect or influence your everyday life and are there any role models or artists who inspired you?
Everything we do is art related. There isn’t a day that goes by that you don’t read up on a recent paint event, or check out a recent gallery show. That being said, we are very separate in the fact that we live in the countryside, and not a city. We don’t get caught up in a scene as such, but obviously are inspired by just how much incredible art is being produced all around the world right now.

How do you go about creating your street art? How do you choose a street/environment?
Normally we will cut the stencil, then source a spot. It can be a quick thing, or can take a while. Stencils can be restricting in your size and surface you have to work with, but this can also be the challenge to it. Spray paint works on anything, so it’s all down to how you use a stencil, and how you approach the aesthetic of the area.

Has your style developed throughout the years?
I would say so yes. The stencil cutting is a lot more free, and as each new piece is produced, there are new lessons learnt. The use of lighting has always been a big influence in the work, shadows especially effect the final outcome. As mentioned before, the use of the stencil can be restricting, so it’s important for us to work around this, and make the final piece more relaxed and natural, as stencils can sometimes be very stiff and harsh in final appearance.

How do you feel about the role of the Internet and social media in making your work more accessible to the public?
The internet has revolutionized the way people view artwork now, in every sense. Some street pieces only last a day, but once it’s online, it is pretty much there forever. The same goes for any little post we may put about a new stencil, or a test spray. For those who don’t have gallery connections, or good hook ups for walls, it’s a great way to get yourself out there and get noticed. We always enjoy painting street as much as possible, but it’s just not always possible for us to get every single new piece onto a wall straight away, so we get into the studio and produce a work to showcase the new cuts this way instead. But in the back of our minds we always want every piece to eventually make it to a wall.

Which countries have you visited to paint so far and where did you like it best?
We have visited France, Holland, Switzerland, Germany, and Spain. Each one is incredible in its on way, it would be impossible to select a favourite, as every paint trip has so many great memories. The meeting of new people is definitely one of the best points about what we do, and it’s what we enjoy the most.

Is there a message in your art?
maybe there is, maybe there isn’t.

Street art is still considered vandalism, how is it for you to go out and paint in the street? Did you ever have any problems with the law?
When I started in 2005, I used to enjoy going out and doing paste ups, little 1 or 2 layer stencils. It was a fun rush, but of course it created friction with authority, and was never going to end well. As we grew older and developed, the illegal thing lost an interest, mainly because our stencils evolved into such technical works that to rush them in 30 minutes would be a really poor looking final piece, and not the sort of thing we want to produce. It’s really rare that we do a full illegal piece, and even if we do we don’t advertise it, for obvious reasons.

What have been your most challenging and rewarding piece of work thus far?
The most challenging piece was the Winged-Fire (pictured above) piece we painted in our home town last year. It was only an 8 layer stencil at around 7 foot tall, but each layer was 5 different colours. So to get the cuts natural, and the blends working took a very long time, and a lot of stress. It helped to push us a lot to progress in the direction we have, so It is definitely one that sticks in our mind.

What do you do when you are not creating art? What are your hobbies?
Dog walking. Wine drinking.

What’s next for you? What shows or projects do you have planned?
We have a big year planned, but you’ll have to keep an eye on our social media for info.

Any words of advice for aspiring new artists?
Don’t stop. Always wear a spray mask.

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Snik / Modus Art Gallery

MERSUKA DOPAZO & TERESA CALDERON INTERVIEW BY ARTZEALOUS / MODUS GALLERY

A Chat with Collage Queens: Mersuka Dopazo & Teresa Calderón

by Caitlin Confort

Mersuka Dopazo & Teresa Calderón / Modus Gallery

Dividing their studio time between Madrid and Bali, the Spanish artists collaborate on large-scale collages created from paper gathered from all over the world. As Dopazo explains, her papers are always handmade and natural, chiefly rice-based. They are bought directly from the craftsman and are sourced from locations like Thailand, Kathmandu, India and Italy. Often densely patterned, the artists layer the papers together, as unexpected connections formed between clashing textures and motifs.

Art Zealous stole a few moments with Mersuka Dopazo to about chat collages, travel, & technique.

How do you two know each other?

MD: We met in Bali 5 years ago through a common friend. I was working on a very big canvas (7 meters by two) and invited Teresa to paint on it with me. It was like love at first sight. From this night on, we started to paint together for hours and hours. The following day it was 10 hours non-stop. We also had our kids painting with us, and it was just a magical experience. They had the total freedom of painting on our big canvases, and then we worked on top of what they did. That’s how our journey together started.

Where is your favorite place to travel and collect materials?

MD: I like to travel a lot, mainly to countries where you really can find things and material made by artisans. I frequently travel to India, Indonesia, Melanesia, Nepal – I was there just two months ago, and I found the most beautiful papers.

As for other sources of material, we have Teresa. Since she is a fashion designer, so she is also crazy about fabrics and textures. Some materials we use are designed by her, so often we use her drawings and patterns for clothes in our work – they have an extraordinary effect when made into art.

You see your works as a ‘travelogue from unexpected territory.’ What are packing essentials when you’re puttering around the world?

MD: I don’t really have packing essentials because sometimes I decide to travel without even having a plane ticket! I just head to the airport and go. I am not a planner; I just go for it. Although I must say, I never leave the house without my lipstick!

Where do you draw inspiration from?

MD: Inspiration comes from every detail that we see every day. People on the street, mainly women – their clothes, shoes, the way they move – also hands and napkins (especially paper ones). We love observing people from different parts of the world – their culture, their food, their colors – any place can be a potential source of inspiration. We just keep moving.

Personally, collage is my favorite type of art form; I love how the raw materials reflect our memories and experiences. What is your favorite part about collaging?

MD: For us collaging is also our favorite type of art, it gives you the possibility of using anything that is special to you to create a piece of art. I have approached many people on the streets, bought clothes just for the purpose of ripping them up, and stolen napkins and coasters – and used all of these pieces to collage. In our work you can see a huge variety of fabrics, drawings, papers and many materials that we find suddenly in unexpected places, that’s the beauty of it. Every piece is unique, not only because of the design but because of the unique materials that go into it. Sometimes I have spent fortunes in one metre of fabric, just for the purpose of using 5cm. But I tell you, that 5 cm can change everything!

Collaging gives you the opportunity of working with many layers and the option to change the artwork as you go along. It’s very rewarding when it turns out right!

What can we expect to see from you in the future?

MD: We have so many ideas accumulated, and there are many things we want to explore. We love to create new themes and techniques and sometimes we need to stop ourselves from innovating too much. Now we are working on different themes at the same time like exploring people and women. We are now creating our own papers with rice and drawings to use in our work.

 

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Mersuka Dopazo & Teresa Calderón / Modus Art Gallery

HENDRIK CZAKAINSKI INTERVIEW / MODUS GALLERY

GLIMPSE INTO A CLASH OF GLOBALIZATION, INDUSTRIALIZATION AND DEMOGRAPHIC DEVELOPMENTS

By Bob Lansroth

Hendrik Czakainski / Modus Gallery

Displaying his signature work made from the bird’s eye view point, the artist conveys his abstract vision of the urban world around us. The Berlin-based artist explores the juxtaposed concepts of order and chaos, forming a unique vision of aesthetic through his large-scaled works. Reminiscent of google map views (which the artist uses as an assisting tool to form certain configurations), his artwork displays a distant perspective which provides the viewer with an impersonal, yet highly detailed and thought-provoking vision.

We asked Hendrik questions about his art, how he perceives himself and his work, we discussed the messages his projects convey, talked about his latest exhibition and other artwork. So, enjoy the interview we had with the artist where he gave us a glimpse into his creative process and personal insight of his art.

Since artists and their work are usually left for the critics and the audience to be interpreted, judged and scrutinized, the first question would be how do YOU perceive your own work and in what way would you define it?

HC: My work as you can see it today – the different shapes, combinations and use of material – is the result of a development that it has been passing through during the last couple of years. I have been experimenting with different kinds of materials, combining formations of surfaces and struggling with finding a way of uniting material, form and content. In my pieces I am trying to display fractions and glimpses of phenomena that occur at the clash of globalization, industrialization and demographic developments by translating them into the forms and material I have found over the years. Considering this, the content of my work could be related to sometimes catastrophic conditions (if you think of slums or massive industrial sites and the pollution that comes with it) that I try to convert into pieces that –despite of all that– display some kind of beauty. Maybe you could say that my aesthetic is always trying to walk the thin line between devastation, destruction and the beauty of, for example a perfect square, an interesting material surface or a coherent composition. It is both difficult for me to find the balance between these poles and propulsive/stimulating/inspiring to oscillate between order and chaos, norm and deviation, the concrete and the abstract. It is the tension between these antipodes that interests me most. When I look back at the pieces I produced over the last couple of years I am honestly surprised because I can now very well retrace the different stages of development that my work has lived through. I think it is this process that leads from one thing to another, driven by its own logic, that I find most fascinating about making art.

What inspired you to attain such a distant perspective of a bird’s eye view in your art?

HC: Attaining a distant view to the objects I am displaying has been part of my work for a long time. It is motivated by the interest in my own allocation. The distance allows me to consider my position in relation to the surrounding environment. It offers a different way of discovering places and finding spots and gets us to read structures from above – be it of landscapes or urban areas. Crucial to this were travels to the megacities of South Asia. People often think that I am sort of copying views of particular areas via google maps, but in practice I am only using these tools to study certain configurations or to collect inspiration concerning shapes and forms. The fascinating thing about the human cognition is that we can achieve the view of a large distance without even physically attaining it. It allows us to see things we could not see from the ‘human perspective’, exposes structures and correlations.

Some of your work displays a rather post-apocalyptic tone with a sort of a looming chaos, is this something that you expect to happen in the real world?

HC: No, I do not believe that we are heading towards some sort of apocalypse. There will always be problematic developments, things that don’t comply to certain rules and regulations, that lay outside the norm. I believe that mankind is always searching, eager to find solutions. Not always in favour of all that lives on this Earth. The things that I display in my works are rather forms of necessary evil, they are consequential results of the developments the human species has lived through during the last centuries. What I want to express with my work is to some extent the opposite of the apocalypse: amongst all the destruction and chaos I can still find something intriguing, considered from the outside perspective of a birds-eye-view, you could simply talk about phenomenon of cause and effect. Where there is order, there is chaos, where there is norm there is deviation that bears systems of their own inherent logic. My artistic approach and the distant perspective allow me to carve out fascinating aspects without denying the evil ones.

The title of your latest show is Urban Investigations, so after a thorough investigation, what did you find?

HC: The title of the show derives from the character of my approach to the subjects I am dealing with which could be described as investigative. So this has to be understood rather as a motto than as a description of results. I understand “investigative” as the thrive to search for answers. I am not particularly interested in the results it might bring but in the engagement it means. It is a kind of motor that keeps me running. Therefore I can’t really define what I find, the situation is rather that with every leaf I turn I find something new. You could say I found that the well of inspiration is inexhaustible, I am more than ever eager to make new pieces.

You are an Adjunct Professor of Architecture at the Beuth Hochschule für Technik in Berlin, so does this architectural aspect influence your creative work?

HC: Everything that surrounds me influences myself and therefore also inspires my work. I really like working with the students. It is always very interesting and enriching to get to know their point of view on themes and questions that are important to me. Working with different and often much younger people can be an inexhaustible source of inspiration if you are only open to it and willing to take up with it. Sometimes the ideas and projects of the students can shed light on subjects that I didn’t know up to that point or even help me get closer to answering questions that have been circulating in my mind for a long time. I once, for example, had my students work in a way that is closely related to my own approach, it was fascinating to suddenly have thirty people employ similar research techniques and methods of finding interesting structures, surfaces and compositions. I could watch them add their personal skills to the things I showed them which in turn served as inspiration for me and some of their results were really amazing.

Your art has been described as visualization of what is often unsighted by our species, so what is it that we are missing?

HC: This can again be related to the question of the birds-eye-view: the ‘human perspective’ denies us to see certain correlations and in my work I am trying to show them and extend them.

The main materials you employ are wood, carton and concrete, and you are known for creating large-scale works, could you please describe the process behind your huge pieces?

 
HC: At the beginning it is mostly a theme from a movie or a documentary that interests me, sometimes only small aspects or details that draw my attention. Following these details and the ideas they inspire triggers a seemingly never-ending chain of discoveries of other details and domains. I collect pictures, screenshots from documentaries, read snippets of articles, follow links… At a kind of second stage I start making sketches and sometimes even small models. These are necessary since I work in a very composite way, I can find and try different possibilities of composition and arrangement this way. Simultaneously, I experiment with different kinds of materials, make little tests, try to see how they react under different circumstances and when exposed to certain substances. Ultimately follows the realization in large scale. I sometimes have complex and laborious substructures to create multiple layers and levels. This can cost me lots of time and nerves: I construct, tear down, change and build up again until I am satisfied with what I have. I change my perspective on the piece frequently: I do most of the construction having the piece lying horizontally but then I put it on the wall, check it from close-up and distance, I also use a huge ladder to view the pieces lying on the floor. At the very end, I colour the pieces – an exciting and interesting process I really like, it’s a little bit like painting. Sometimes I feel like Jackson Pollock, running around his paintings, sweating. The more colour I use, the more fun I have. But I also work on details and use a very small brush. When I’m lucky, the piece is finished after this, but this happens only on rare occasions. Usually I have them hanging or standing around in my studio for weeks. I can see them all the time while I am working on something different, I kind of test them, check them out and mostly change and add a lot of things.

What are the future projects we can expect to see from you?

HC: My head is usually filled with lots of ideas, in my mind I start thinking about future projects before I have even finished the current ones, this means I will just keep going. 

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Hendrik Czakainski / Modus Art Gallery

JAVIER LEÓN PÉREZ / MODUS GALLERY

WHEN ART BECOMES A MANTRA

Javier León Pérez / Modus Gallery

After exhibiting successfully his works across Asia, where collectors from the Philippines, Indonesia, Taiwan, Korea and Hong Kong have acquired their abstract landscapes, Sevillian Javier León Pérez has just inaugurated Horarium, his first individual exhibition in Hong Kong, in Puerta Roja galley, the first and only gallery specialized in Latin American and Spanish art.

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Born in Seville, Javier León Pérez conceives his working process as a daily ritual. An endless repetition of small elements that interweave, covering the surface of his works and that, somehow, acts as a mantra. These powerful black and white patterns create velvety textures which slowly lead the viewer to a complete aesthetic sensory experience.

Horarium reflects on the concept of time as a mental construct. In this project the idea of ast, present and future are overlapping concepts that are conjugated in different ways on the surface of each painting, inviting the viewer to enter a space-time of sensorial experience.

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"The title of this project, Horarium, is taken from the liturgical books of Hours. It is a diary that organized days and months through a cycle of the different liturgical rites and prayers," says Leon Perez. He adds: "For me, it represents a formula of organization and temporal order of the human behavior. I consider the process of my artworks as a daily ritual, just like in the books of Hours. Maybe this is a way to connect with universal cyclic rhythms.”

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Javier León Pérez / Modus Art Gallery

BRUNO CATALANO BY CHIARA GIOLITO / MODUS GALLERY

CANCELLA: IL COMANDO PREFERITO DA BRUNO CATALANO

Bruno Catalano / Modus Gallery

Bruno Catalano, è un’artista, scultore, francese classe 1960, che vive fino a 12 anni in Marocco per poi diventare marinaio.  All’età di 30 anni torna in Francia, intraprendendo la carriera dello scultore.

I suoi lavori, prima modellati con l’argilla e poi trasformati in bronzo, raffigurano persone dal passo incerto, che vagabondano per il centro di Marsiglia. Il tema trattato è quello del il viaggio e della migrazione, che viene reso inequivocabile dalla costante presenza di una valigia.

La particolarità di queste opere è il dialogo con il paesaggio. Le figure umane infatti, presentano grandi lacerazioni, a sottolineare che nessun arrivo e nessuna partenza può dirsi veramente completa, invitando lo spettatore a perdersi nello sfondo senza conoscere la loro direzione ed il loro destino.

Il bronzo, trattato a frammenti e colorato con tinte mai brillanti, conferisce alle figure una patina d’altri tempi e le sembra far comparire quasi come fantasmi in mezzo alla gente. Le stesse statue infatti, poste in delle stanze dalle pareti bianche non avrebbero lo stesso effetto, è il paesaggio a cambiare le carte in regola creando questa interessante illusione.

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Bruno Catalano / Modus Art Gallery

JESUS CURIA / MODUS GALLERY

INTERVIEW WITH JESUS CURIA

Jesus Curia / Modus Gallery

You have a lot of interest in non-European cultures, which is also the inspiration for your art. Where does this interest come from?

Jesus Curia:  I think the seeds of my interest in other cultures and ethnicities comes from my childhood. From a young age I have been fascinated by people from other cultures, I found them incredibly exotic, especially because where I lived in Spain as a child, it was difficult to see foreign people.

Why did you choose sculpture? What did you find so attractive about this very special form of art?

Jesus Curia: My father was a painter so when I was young I wanted to be a painter too. Then, I arrived at the Faculty of Fine Arts in Madrid and the sculpture made such an impression on me that it became natural to me choosing this technique.

 Were you creative in your youth?

Jesus Curia:  As I said, from an early age I was interested in becoming an artist and every afternoon, after school, I used to paint in my father’s study.

Your sculptures are mainly made of bronze. What do you like about it? What are the best features of this material? 

Jesus Curia:  Yes, I use a lot of bronze, but I also make use of wood, stone, resin and cement. Usually I decide spontaneously. I think of the subject and then I decide what materials can work best.

What feeling prevails after finishing a sculpture?

Jesus Curia:  I always say that sculptors have only two moments of fun with their work. The first, and most satisfying, is when we have finished a job and take a few minutes staring and admiring our creation. The second is when I see people enjoying my work.

What do you do when you're not working?

Jesus Curia:  That's an hard question. Actually, sculpture is my work and my hobby, so it's always in my head. I’ve recently become a father, and apparently that's the only thing that keeps me away a bit from my work.

What would you like to achieve as an artist? Do you have any more dreams you want to accomplish?

Jesus Curia:  I'm more than happy to be able to live from my work. As an artist, I would like my work to be exhibited in galleries all over the world, so that more and more people can admire my work.

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Jesus Curia / Modus Art Gallery