IMPREINT- semantic

A few weeks ago the artist IMPREINT presented a new project with the sophisticated title ‘semantic’ that will run permanently in the refreshing and inspiring atmosphere called the ‘the space‘. With this new work the artist decided to engage the viewers on single words. I’m here to understand more.

IMPREINT Semantic (1)

How was this project conceived?
– Semantic is part of a bigger idea called ‘en plein air’. I run here this part where I invite the public to focus on a single word, in its meaning and understanding.
Why?
– I have the feeling that we are surrounded by a lot of cooked sentences, by many dialogues already prepackaged that don’t give the opportunity to think and reason enough with our mind. My proposal is to restart from the begin, to experience the single word, have a meditation about it, a confrontation on our interpretations and expressions. Minimize and simplify is the base for a better understanding.
The first word is ‘love’, what is love for you?
– An emotion, an instinct to evolve in choices. A synonymous of freedom and contrary of fear. But I’m working on it!
IMPREINT semantic

‘semantic’ – title: love

I found a connection with one of your first works ‘The series of’…
– They have similarity, the other was based in repetitions because I believe repetition slowly signs a trace on us. This is more about reflection and dialogue.
IMPREINT The series of

‘The series of’ – title: love

You told me that you leave the artwork outdoor because: ‘it needs to breathe’. What does it mean?
– They need to dialogue with the universe, take energy, atmospheric events. Like almost all of my paintings, nearly until the end are made in exterior because I need that they ‘conversate’ with the nature. Weather conditions, animals can modifiy my original work, so on the base of this ‘conversation’ I need to accept the transformations and work on it. If you feel and you are in balance it’s really harmonic, differently wouldn’t work because would be just ‘leave your work to the randomness’. It’s spiritual and not only physical, if you allow me.
IMPREINT 3.11.14

IMPREINT 3.11.14

Mentioning ‘en plein air’, what is it?
– In the next period I’ll take basically art actions in the streets. It excites me because I don’t know absolutely what will happen, there is just a general idea.
Is it going to be a sort of street art?
– More an art in the street. I like proposals, not impositions. In my opinion if it’s in public space, you should give the opportunity to the viewer to remove easily your work.
* * *
It’s interesting that an artist embraces the words in such a pure way given the sociological surroundings of this period. This work, semantic in general and this particular one love can be interpreted in many ways. I suppose many of us come up with the question: what is love? And even though the feeling is universal, the answer is so individual. …personally, I love this idea. And what’s the best about it? That it never runs out.
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Upward Movement: NS Harsha at Victoria Miro

Yesterday evening opened the second solo exhibition of the artist NS Harsha at Victoria Miro. Rarely I leave Miro’s gallery disappointed, but this time attending was a real pleasure for the eye and for the soul too.

NS Harsha at Victoria Miro

Harsha next to his painting ‘Chamber Concert’

Harsha is an Indian artist and on his works there is a clear imprint of Hindu culture – research for spirituality, inner peace, contact with nature and animals. But they also face the reality of our period: the penetration of technology and industrialisation. What makes a difference in Harsha’s work is the serenity how it walks us through his visions and the gentle, delicate yet distinct brushstrokes. Paintings like Harsha’s are hard to find these days: the well painted self-expression of a beautiful soul.

According to the press release, the artist has cited Beckett’s Waiting for Godot as a point of reference, and the paintings emphasise how a quest for higher meaning sits alongside the absurdity of everyday existence.

Upward Movement will be on show until 25 April in the Mayfair gallery.
NS Harsha at Victoria Miro

‘Why’ – details

NS Harsha at Victoria Miro

‘Why’

NS Harsha at Victoria Miro

‘Only Way Is through Milking Way’

NS Harsha at Victoria Miro

‘Mooing Here and Now’ – details. Image courtesy of Victoria Miro

Sotheby’s Bear Witness

Last week I had the pleasure to attend the preview exhibition of Bear Witness in London’s Sotheby’s. The house’s one of the largest ever auction was about contemporary artworks and the gallery was transformed in the spirit. Sotheby’s took a brave step to present the exhibition in this way. The whole evening felt revolutionary and a real pleasure to see and experience. The entire collection belonged to an anonymus vendor whose passion for the modern art was completed by that for the bears and skulls, which have also been auctioned alongside the artworks.

The auction took place on the 10, 11 and 12 of March and I was very curious to see the results. The total sales have risen above £36 million, with higlights such as Rothko’s Untitled (£3.397.000), Gerhard Richter’s Sternbild (£1.565.000) or Lucio Fontana’s Concetto Spaziale, Attesa (£1.865.000).
The details of the auction are available here.
Mark Rothko

Mark Rothko

Francesto Clemente

Francesto Clemente

Kader Attia

Kader Attia