ADAM LUPTON/ MODUS GALLERY

Adam Lupton /Modus Gallery

Par: Modus Gallery

Adam Lupton est un artiste canadien ayant suivie un cursus en art graphique à la Emily Carr University of Art and Design et un master aux Beaux-Arts de la New York Academy of Art.

À travers ses œuvres l’artiste explore la psychologie de notre société contemporaine. Lupton utilise différentes techniques dans sa représentation picturale, qui créent des effets visuels de superpositions d’images.

L’artiste peint deux toiles séparément du même sujet, qu’il vient par la suite morceler en lames irrégulières et viens ainsi créer un tissage avec les deux figures.

L’on retrouve ainsi la représentation d’une personne qui se crée par l’entrecroisement des toiles, qui crée un effet d’une distorsion de la réalité.

Cette technique bien particulière permet à l’artiste d’exprimer la dualité présente dans la psychologie de l’Etre humain.

Les œuvres d’Adam Lupton sont au croisement de la peinture figurative et expressionniste. Ces tableaux sont le reflet du monde intérieur de chaque personnage qui se révèle à nos yeux à travers une peinture chargée d’une certaine mélancolie et angoisse.

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Adam Lupton /Modus Gallery

 

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

 

    

 

 

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

BANKSY EN DATES / MODUS GALLERY

BANKSY EN DATES

Banksy / Modus Gallery

  • 1974 Naissance présumée de Banksy à Bristol.
  • Fin des années 90 Ses graffitis peints sur les murs de sa ville natale gagnent en notoriété.
  • 2008 Vente chez Sotheby’s de Keep it Spotless, la toile que Banksy a réalisé avec Damien Hirst. Adjugée 1,8 million de dollars elle est l’œuvre la plus chère du graffeur.
  • 2008 Après une enquête minutieuse l’hebdomadaire britannique Mail on Sunday affirme avoir découvert qui se cache derrière Banksy. Il s’agirait d’un certain Robin Cunningham. Une hypothèse semble-elle confirmée par des recherches scientifiques menées à la Queen Mary University de Londres en 2016.
  • 2014 Banksy s’engage en faveur des migrants en réalisant plusieurs dessins dont, en 2015 à Calais, le fameux portrait de Steve Jobs né d’un père immigré syrien.

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Banksy / Modus Art Gallery

JAVIER LEON PEREZ / MODUS GALLERY

PATTERNS AND GEOMETRY

Javier Leon Perez / Modus Gallery

Since he was a child, Javier Léon (Sevilla, 1978) felt a strong attraction to art. After studying as a graphic designer, he worked in a studio for a while but he soon realized that it wasn’t his calling as his true passion was for art. He enrolled in fine arts and he eventually achieved a Master’s degree in arts, at the Complutense University in Madrid. It was during his academic years that he explored new media and techniques and he developed his unique style, an hybrid between sculpture and painting.When asked what kind of value does his artwork generate, the artist answers:

I don’t know that for sure. It’s probably something that can’t be weighed, measured or determined. My artworks act like some kind of an emotions catalyst that somehow attract and infect the viewer, completely captivating him.”

His working process is a sort of a daily ritual, just like a mantra; an endless repetition of tiny inter-wined elements that little by little cover the canvas unsealing the artwork. What strikes the viewer the most is the texture, the colors which reflect natural forms and evoke natural geometries and patterns.

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Javier Leon Perez / Modus Art Gallery

BANKSY / MODUS GALLERY

THE BANKSY REVOLUTION

 

Banksy / Modus gallery

We just loved doing graffiti, it was the best thing ever! We used to do them on the bus, coming home from school and everybody did that.” This is how a Bristol child started drawing on public walls, before becoming one of the greatest writers in the world.Banksy’s artworks were born on buses, they crossed the walls of dozens of cities all over the world to eventually land in the halls of the most important galleries and museums.

The reasons why Banksy became so popular is his undeniable ability to take great contemporary themes regarding politics, ethics or culture and translate them into a clear and effective aesthetic. Banksy started working in the nineties, when street art was still in gestation, but he managed to be the first artist to draw attention of such a wide audience to the horrors of war, the contradictions of capitalism and the deception which distinguishes the way we proclaim ourselves “free”.

The subjects of his artworks are diverse: common, anonymous people, political figures, mottos, logos, famous pictures or advertisings. He also uses very often the smiley emoticon as a replacement for human expressions or feelings. His favorite technique is the stencil by which the image is made by applying pigment to a surface over an intermediate object with designed gaps in it, which create the pattern by only allowing the pigment to reach some parts of the surface.

 

The artist truly communicates through is works, as his identity is still unknown, even though it is believed that he could have born in England in 1975 and raised in Bristol. Banksy is a nickname, his tag, his signature, but he never showed himself in public. Protected by anonymity, which anyway increased his fame, providing him a captivating air of mystery, Banksy works quietly under the radar, just like one of his famous rats, protagonists of his graffiti:  

They exist without permission. They are hated, hunted and persecuted. They live in quiet desperation amongst the filth. And yet they are capable of bringing entire civilizations to their knees. If you are dirty, insignificant, and unloved then rats are the ultimate role model.

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Banksy / Modus Art Gallery

ADAM LUPTON / MODUS GALLERY

ADAM LUPTON'S ATTEMPT TO CAPTURE PASSING TIME TROUGH DISORIENTING PERSPECTIVES

Adam Lupton / Modus Gallery

Despite the meticulous control and calculated perspectives, Canadian artist Adam Lupton’s oil paintings are constantly fidgeting. They mostly feature youth in various incarnations in a blur of motion represented as simultaneous frames, or with different layers of paint exposed. This jitteriness is revealed both through substance, by showing the layers of material creation, or through time, as the viewer pans multiple freeze-frames overlaid on top of each other. What stands still throughout all his work is an obsession with time and chaos, and the individual’s navigation of the two in the constant present.

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Adam Lupton / Modus Art Gallery 

Adam Lupton / Modus Art Gallery 

PIMAX / MODUS GALLERY

PIMAX: ARTISTE MILITANT

PIMAX / Modus Gallery

Pimax est né en 1975, à Montreuil. Il vit et travaille actuellement à Paris.

Cet artiste polymorphe intervient sur les murs de Paris avec des tableaux éphémères, des affiches-pochoirs qui réinterprétent la Marylin Monroe d’Andy Warhol (avec la banane du Velvet ) ou bien Goldorak, au majeur tendu, triomphant, qui sont ses interventions artistiques les plus connues des promeneurs attentifs. Ici, dans le quartier du Marais (Paris)

Pimax détourne les modes avec une touche Pop colorée. Le détournement est un axe important dans son approche artistique. Il s’associe avec ses camarades de rue : WUZE, KROSS, SAN, DRAN.

Point éphémère, Quai de Valmy, Paris Xème

Point éphémère, Quai de Valmy, Paris Xème

Pimax : un artiste urbain militant.

Ses œuvres intriguent, interpellent et dérangent parfois car il ne s’agit pas seulement d’une performance artistique mais aussi de transmettre un message souvent en réaction aux déviances de la Cité.

L’artiste en plein travail dans son atelier :

DISCOVER AVAILABLE ARTWORKS BY  PIMAX   PIMAX / Modus Art Gallery

DISCOVER AVAILABLE ARTWORKS BY PIMAX

PIMAX / Modus Art Gallery