Artist Talk Magazine issue 9 by Artist Talk Magazine

ARTIST TALK MAGAZINE

July 2019 www.artisttalkmagazine.com

DISCOVER MORE www.thorrafnsson.dk

FEATURED ARTISTS ALBERTO GIACOMETTI PETER LINDBERGH

4-9 MR WHISPER

10-15 RICCARDO LIOTTA

16-21 BRYCE WATANASOPONWONG

22-27 BLAIR VINA

28-33

M IL NE Milne Publishing is proud to present Artist Talk Magazine issue 9. Once again, I am pleased to showcase more incredible artists from around the globe. All of the artists featured within this issue have given interesting, in-depth, honest accounts about themselves, their work, views and ideas. In addition to the amazing images of the work they produce, which I know you the reader, will enjoy and be inspired by. We have lots of incredible talent within this issue, with a wide range of subject matter for you to explore and enjoy. The cover of this issue is by Alberto Giacometti, which within

the issue you can discover the unreleased photographs of Alberto Giacomettiâ&#x20AC;&#x2122;s works, taken by Peter Lindbergh, one of the most important photographers of his generation. The exhibition, curated by Serena Bucalo-Mussely at the Institute Giacometti, offerd to the public more than sixty works by both artists. Thanks for reading. Grant Milne, Founder of Artist Talk Magazine

artisttalkmagazine ArtistTalkMag artisttalkmagazine

FRANCESCO RUSPOLI

34-39 LAURA H ELLIOTT

40-45 BARRIE DALE

46-51 WILLIAM KENTRIDGE

52-57 EMMANUELLE RYBOJAD

58-63 LOUVRE ABU DHABI

64-69 DISCOVER MORE www.artisttalkmagazine.com

ALBERTO GIACOMETTI PETER LINDBERGH

GIACOMETTI LINDBERGH © SUCCESSION ALBERTO GIACOMETTI (FONDATION GIACOMETTI, PARIS + ADAGP, PARIS) 2019 © PETER LINDBERGH © STEFAN RAFFO

and white, in unaffected attitudes, the women seen by Lindbergh regain the human nature that the codes of fashion photography had previously occulted. Fascinated from a young age by the work and personality of Alberto Giacometti, Peter Lindbergh was invited in 2017 to take photographs in the storeroom of the Fondation Giacometti in Paris. With a strong emphasis on close-ups and large prints, Lindbergh uncovers, through photography, aspects of Giacometti’s sculptures impossible to perceive with the naked eye. Associating works from different periods in his compositions, he establishes between them a dialogue through periods and styles.

ALBERTO GIACOMETTI BUSTE D’ANNETTE IV 1962

ALBERTO GIACOMETTI – PETER LINDBERGH SEIZING THE INVISIBLE 22 January 2019 - 24 March 2019 January 2019 the Institute Giacometti presented the unreleased photographs of Alberto Giacometti’s works taken by Peter Lindbergh, one of the most important photographers of his generation. A selection of Giacometti’s plasters, bronzes and drawings selected by Lindbergh was presented alongside his photographs. Showing the very intimate dialogue that took place between the photographer and the sculptor’s works, while revealing countless similarities in their ways to apprehend the representation of reality. The exhibition, curated by Serena

Bucalo-Mussely, offerd to the public more than sixty works by both artists. Settled in Paris since the 1970s, Peter Lindbergh has become the pioneer of a new realism in fashion photography. His approach to photography has considerably modified the standards of that genre. He collaborates with the biggest international magazines (Vogue, Harper’s Bazaar, Vanity Fair, The New Yorker, Interview, etc.). His unusual photographs privilege the personal dimension of his models, contributing to the phenomenon of popularity of some top models in the 1990s. His portraits of Naomi Campbell, Linda Evangelista, Kirsten Owen and those of famous actresses like Julian Moore, Uma Thurman, Jeanne Moreau and Nicole Kidman, whose apparent fragility he reveals, convey a feeling of melancholy. Simply photographed, in black

In the exhibition, the journey of our gaze between the photographs of one artist and the sculptures and drawings of the other, give us the opportunity to discover Giacometti’s work from another angle. Under the camera lens, the sculptures appear to become alive, revealing their details and textures. Behind the beauty of these works, Lindbergh succeeds in capturing the disquietude that characterized Giacometti and his endless search for reality. Both involved in a creative process that aims at representing the “truth”, focused on the representation of the human body, Giacometti and Lindbergh give great importance to the question of the gaze. In all their portraits, the gaze is considered the real access door to the interpretation of the model’s personality. For this exhibition, the Institute Giacometti’s cabinet of graphic arts has gathered an important collection of photographic portraits of stars by Lindbergh and previously unseen drawing portraits by Giacometti of his favourite models. These drawings were made on various supports including pages of notebooks and books.

PETER LINDBERGH ALBERTO GIACOMETTI TÊTE SUR SOCLE ET AUTRES SCULPTURES PARIS 2017 © PETER LINDBERGH © SUCCESSION ALBERTO GIACOMETTI

TÊTES APRÈS 1950 © SUCCESSION ALBERTO GIACOMETTI (FONDATION GIACOMETTI, PARIS + ADAGP PARIS) 2019

ALBERTO GIACOMETTI (1901-1966)

art scene. In 1930, Giacometti joined André Breton’s surrealist movement, and made his “objects of symbolic functions”.

Born in Stampa, Switzerland in 1901, Alberto Giacometti was the son of Giovanni Giacometti, a renowned postimpressionist painter. He was initiated into the visual arts in the studio of his father and made, at 14, his very first works: Still life with apples, an oil painting, and a sculpted bust of his brother Diego.

From 1935, he distanced himself from the surrealist group and went back to practising sculpture in the studio from a real model. He focused particularly on the representation of the human head that was to remain his main subject of research throughout his life.

In 1922, Giacometti left to study in Paris and entered the Académie de la Grande-Chaumière, where he took classes with the sculptor Antoine Bourdelle. At that time, he learned the technique of drawing from a model, and became interested in avant-garde compositions, the post-cubists, among others. His oeuvre was greatly influenced by African and Oceanic sculpture. In 1929, he started a series of flat women that drew the attention of the surrealist

He spent the war years in Switzerland (1942-1945) where he made a series of sculptures of very small dimensions. On his return to Paris, he developed a practice of making portraits of his friends and a few favourite models. He tirelessly represented his closest and nearest, Annette, his wife since 1949 and Diego, his brother and assistant. Parallel to that, he moved away from portraits to search for the universal character of the human figure in works like

Man walking, Woman standing, his cages, and places. Parallel to his sculptures, since before the war, he resumed a painting practice that places him among the most important figurative painters of his generation. He was also, from a young age, practising drawing assiduously, and as such was celebrated by his peers. Alberto Giacometti died in January 1966 in the Hôpital de Coire, in Switzerland.

GRANDE TÊTE MINCE 1954 ©

PETER LINDBERGH Peter Lindbergh is one of the most influential photographers of our times. Born in 1944 in Leszno (which was then part of Germany) he spent his childhood in Duisburg (North-Rhineland-Westphalia). At the beginning of the 1960s, he worked as a window dresser in a department store of the region, which he left to enrol in Berlin’s Fine arts Academy. Considered a pioneer in fashion photography, he created a new form of realism while redefining beauty standards with his timeless images. His humanist approach and idealisation of women sets him apart from other photographers: Lindbergh is above all else interested in the soul and personality of his subjects. At a time when one is used to retouching images excessively, he is convinced that the interest of a subject lies elsewhere than in her age, and, in that respect, he disrupts the norms of fashion photography.

In 1988, Lindbergh’s series showing still unknown models, dressed in white shirts, was immensely successful on the international scene and launched the career of that new generation of top models. Since the end of the 1970s, Lindbergh has been working for the most prestigious brands and magazines, among them the American and Italian editions of Vogue, the American edition of Harper’s Bazaar, as well as the magazines Rolling Stone, Vanity Fair, Wall Street Journal Magazine, Visionaire, Interview and W. In 2016, he photographed the 2017 edition of the Pirelli Calendar, being the only photographer to have accomplished that three times. His work, collected by several museums, has been exhibited in the main international institutions like the Victoria & Albert Museum (London), the Centre Pompidou (Paris), the MoMa PS1 (New York). He has had solo exhibitions in Hamburger Bahnhof

(Berlin), Bunkamura Museum of art (Tokyo) and Pushkin State Museum of Fine Arts (Moscow). The exhibition A Different History of Fashion brought about by the Kunsthal Rotterdam in September 2016, was presented in Munich’s Kunsthalle as well as Turin’s Reggia di Venaria. In 2017, he took part in the exhibition Alberto Giacometti Beyond Bronze (Kunsthaus, Zurich). Peter Lindbergh made various films and documentaries: Models, The Film (1991); Inner Voices (1999), winning the prize for best documentary at the Toronto International Film Festival (TIFF) in 2000; Pina Bausch, Der Fensterputzer (2001); Everywhere at once (2007) with the participation of Jeanne Moreau, presented at the Cannes Festival and the Tribeca Film Festival. He shares his time between Paris, Arles and New York. DISCOVER MORE www.fondation-giacometti.fr

PETER LINDBERGH NAOMI CAMPBELL, KAREN ELSON, JAYNE WINDSOR, SHIRLEY MALLMANN..... PARIS 2017 © PETER LINDBERG COURTESY PETER LINDBERG

MR WHISPER

SOHO GEORGE

How would you describe your work? I’m probably best known as @mrwhisper for my work that documents everyday street life in central London by night. My street photography is all about documenting the present — the now but with an artistic approach. In the short term, when people look at my work, they can relate to the various situations that unfold in the city everyday, which evokes a sense of nostalgia. However, more importantly in the long term, if someone were to see my work in 50, or even 100, years, they should be able to gain some insight into city life in the early 21st century.

my tracks by a potential image, normally it’s an interesting light source that catches my eye. So I’ll stop and take a few test shots, if the location still looks like it has something to offer, I‘ll find my spot and camp out until the right subject moves across the frame to both compliment the overall composition and give the image a sense of time and scale.

Which artists inspire your work? I’m inspired by the usual suspects of legendary street photographers, i.e Saul Leiter, Elliott Erwitt, Vivian Maier to mention a few. Also my work is heavily inspired by Film Directors & DOP’s i.e. Wes Anderson, Stephen Chow and Hype Williams. All have played some part in the way I see the world.

How do you select your subject matter? 99% of the time I will be walking along the street with my camera at the ready, until I’m stopped in

UNDERGROUND

Outside of art what other subjects inspire your work? I have a genuine interest in technology, not in a technical sense, more in a conceptual way to explore how it can enhance my visual storytelling experience for my audience. Thus I’ve instigated a project to be released next year and will showcase how technology inspired me to take a different approach to a very traditional medium. Sorry I can’t be more specific right now, but I don’t want to spoil my big reveal.

I began to get a few commissions from the likes of Lonely Planet, Jaguar and Adidas simply from my Instagram images. This got me thinking that If I continued to evolve my photography skills, perhaps one day I maybe able to do this full time. Fast forward two years and that dream became a reality, and I haven’t looked back ever since I still pinch myself to this day on how this small app changed my life and career path. Did you begin with this style or was it an evolution?

Over the years I’ve developed my own editing process using Adobe Lightroom which is constantly evolving to give my images a recognisable ‘Mr Whisper’ look and feel. It’s very important for me to give my work a visual identity. Which in turn brands can utilise to give their campaigns a specific look. This deliberate approach has enabled me to work with a great range of clients to name drop a few: Star Wars, Netflix, Leica, Samsung, Channel 4, Lonely Planet, Audi, BMW, Lacoste, Huawei and the Design museum.

Did your education help you become an artist? From a very early age it was clear that I was destined for a more creative path. At school I focused heavily on Art and Design. At college and then Art College I began to specialise in Graphic design and finally at University I became addicted to 3d animation and motion graphics, which gave me a sensibility towards cinematic photography. Clearly all of the above have provided me with beneficial skill sets i.e. colour theory, composition, storyboarding etc, that have certainly aided me to become the artist/ Photographer I am today.

NETFLIX - NARCOS PEDRO PASCAL , JAVIER PENA B

How has social media affected your work? Before becoming a full time commercial photographer 7 years ago, I worked in the advertising industry for almost 15 years working my way up the ranks from Designer to Digital Creative Director, and I absolutely loved it. I got to work with some amazing brands which gave me some very useful insights on how to solve brand problems with visual solutions. It was around 2012, I was still working in Ad land but also heavily into Instagram - posting everyday.

BMW i8

STAR WARS - BATTLE STATION

What’s your favourite piece you have produced and why? Being approached by Disney to create a London based series of images to promote the Star Wars film ‘Rogue One’ was a amazing job. Two highlights from the project were firstly when I received the brief and saw my images laid side by side with stills from the new film to show the familiarity in styles. Secondly was when I got to speak to the Films DOP Greig Fraser to discuss my ideas and he insisted on calling me “Mr Whisper’ lol!. What’s the worst piece you have produced and what did you learn from the experience? My worst piece of commercial work was the result of me committing to a project, without the finer details being confirmed. Mainly due to my inexperience alongside a sprinkling of FOMO, I went ahead and signed a contract stating I would create a series of images of some incredible art installations Do you learn from criticism of your work? Most definitely, and as long as it’s constructive there is always a positive outcome from even the most negative feedback. Being an artist it’s easy to become caught up

in our own creative bubble, so being injected with a subjective opinion every now and again helps me question and rationalise my work moving forward. What advice would your 80 year old self give you? Follow your passion. Don’t follow trends. Don’t worry about what other people are doing. You’re on your own, personal journey that you have to pursue. And don’t give up. There are always hard times, but sticking to it is the difference between success and failure. It’s a long journey and there are no shortcuts.

My best tip would be to work out the personal value of each opportunity or potential project that comes your way. As I’ve found out during my career It’s not always about the money. Sometimes the brand association can hold more value to your freelance career in the future. So try to think in the long term and consider the bigger picture on the effect a said project may have on your portfolio. However at the same time never let big brands take advantage of you. The bottom line is that creativity takes time, and time is money, therefore you should always place value on the creative input you are giving to any project and ensure you are happy with what you are receiving in return, be it monetary value or not. You have weigh up the pro’s and cons of each project individually as well as considering your personal financial situation at the time. What’s been your biggest success? Taking that leap of faith and quitting my day job to pursue my passion and turn my passion into a career. DISCOVER MORE www.mrwhisperstudios.com Instagram: @mrwhisper

What’s your future plans? I have a real mixed bag of interesting projects and collaborations on the horizon (most of which are under NDA) but I can give you an idea of the variety. I’m currently working on my first solo street photography book, working with a couple of established music artists, some festival assignments along with the launch of a new exotic sports car. Watch this space! What advice would you give to someone trying to start in your industry? LIVERPOOL ST

RICCARDO LIOTTA

the theories and techniques of the Constructivism, Suprematism, Futurism, and Rayonnism art styles, I developed what I call the “eigencompositions”: analytical, abstract artwork consisting of simplified yet very dynamic geometrical shapes, fields, lines and segments that convey concepts of movement, velocity, decay, fragmentation. These I discovered acrylics and started painting during architecture school, eigencompositions stem from shapes randomly generated while working as an architectural through a systematic geometrical illustrator. For my school projects, process and symbolize particle I produced presentation drawings trajectories, the fragmentation of and paintings in a very abstract, nature, as well as the uncertainty interpretative way. After school, I and undeterminability of life, to continued painting and generated parallel quantum theory principles. art in different mediums, mainly as a hobby, but occasionally As I further developed my ideas selling too. I also entered some for the eigencompositions in terms competitions throughout the of methods and techniques, I had country and took part in a few also started a new conceptual group exhibitions. I won a couple effort based on the notions of of awards and once was selected linear algebra, matrices and to be included in a major statewide linear transformations, as an artists biennial, in an actual alternative system to generate museum. shapes and whole compositions. the “linear transformation” I have been seriously painting and compositions evolved from the producing artwork for over 15 idea of constantly manipulating years, now and while at first this a shape - by implementing was a spare-time activity, in the mathematical rules and formulas past four years or so this activity - almost endlessly, to create a new has become more than a simple one. Here too, the concepts of interest or passion, and in fact a regular and steady effort. I did not study art. My education is in architecture, with a bit of physics and mathematics. I have been in fact a practicing architect for over 20 years. but art has always been a passion, since I was a child: drawing, doodling, comics, then illustration, graphic design, the art of the masters.

Because of my professional training, my early work had been inspired by architecture and, in fact, vaguely represented structures and buildings elements. however, my main inspiration has always come from physics and mathematics, fields that fascinate me and that I have studied extensively. These have formed the foundation of my architectural work and projects, and consequently of my artwork. As a result, my focus has increasingly shifted to artwork less reminiscent of buildings and more of particle physics and quantum mechanics concepts, as well as mathematical and geometrical principles. By combining these subjects with

movement and velocity are present and the incessant manipulation and consequent change in shape, along with its repetition, reflect the fragmented, ever-changing, unstable and therefore uncertain characteristics of nature. The objective of the linear transformations was two-fold: first to deeply analyze and study the intrinsic correlation between a particular area of mathematics and art, by developing a unique, albeit subjective, technique that would best express this relationship. second, it was to analyze the boundaries between objectivity and subjectivity, a fundamental concept of quantum mechanics. Through continuous artistic research and development, I also had many opportunities to learn and experiment with a variety of techniques, methods and tools that have allowed me - if not forced me - to generate compositions using new approaches, different from the abovementioned systems, while also diversifying my modus operandi. Searching for alternative methods to generate forms, shapes and whole compositions has in recent years become an area of interest and a major effort.

LINEAR TRANSFORMATION 04 - DERIVATION 02

time. these are an attempt to represent the invisible elements and hidden forces that shape the universe and nature, governed by randomness, chance and probability.

POLYCHROMATIC FRAGMENTAL ASSEMBLAGE (FROM SUPERIMPOSED SIMPLIFICATIONS) 001

This has led me to studying, analyzing and redefining - through interpretative sketching done in situ, in museums and churches - gothic art, medieval frescos, portraits from the 16th century and abstract figurative art of some of the 20th century masters, as a way to find new, hidden geometries and the relationships that make these compositions.

All these approaches are like mechanisms utilized for forms generation: elimination and alteration, destruction, (re)building and transformation, layering and all sorts of operations to manipulate and experiment with figureground relationships, proportions, harmony, contrast, overlaps, and to analyze and alter the behavior of colors, forms, fields, lines and segments. The resulting art - derived by applying these new techniques has therefore evolved from the early work, becoming less rigid and less systematic, instead more intuitive, gestural, fluid. Technically these newer compositions, while still being

influenced by Futurism, Rayonism, Constructivism, Suprematism, also take inspiration from comics, graphic design, diagrams, quilts, collages and photographs of particle collisions and electron microscopy. Nevertheless, all my artwork, despite which diverse approaches it originates from, shares many common stylistic traits and characteristics, and belongs to a broad style I identify as “polychromatic fragmentism”. I find acrylic to be the medium that best expresses my ideas and theories. however, I also work with colored pencils and pastels, pen, markers and collage. I also extensively utilize the computer to generate patterns, shapes and compositions, and to alter/enhance paintings and drawings. DISCOVER MORE Instagram: @riccardoliotta.art

Reinterpreting these works – by means of geometrical and chromatic reduction, simplification and other manipulations – constitutes an alternative method to generate new compositions. My artwork now can therefore be generated either through the use of the different mathematics and geometry concepts or as a development of a simple drawing, a small sketch of a piece done at a museum, a diagram, a quick collage, or a “spontaneous” assemblage of paper clippings and fragments. But many compositions are simply the result of a “natural”, logical evolution and derivation of previous work. I often refer to my compositions as “transient” systems, because many of them are in fact a “snapshot” of a phase of a constantly evolving, impossible to complete system, at a specific

POLYCHROPO COMPOSITION 001 - PAINTING STUDY CHROMODERIVATIVE 004

CHROMOGEOMETRIC FRAGMENTED INTERFERENCE (FROM SUPERIMPOSED REDUCTIONS) 001 - STUDY 06

BRYCE WATANASOPONWONG

Bryce Watanasoponwong is a Thai-Australian fine art photographer who explores worlds most people pass by; worlds where everyday lives, upon closer inspection, open into stories of experience and perspective. Bryce was born into a commercialminded family who inspired him to pursue business studies. At a young age, Bryce was more enthusiastic in mathematics than the arts. He received both his bachelor’s and master’s degrees in accounting, information and business administration from universities in Thailand and Australia, a country that became his second home. His journey in photography began in 2011 when he bought his first camera from a duty-free shop at Taiwan’s Taoyuan International Airport for a holiday with his parents. Soon, he was taking pictures of strangers on the street, spending hours exploring whatever city he happened to be in. It was not long after he fell in love with street photography with a particular focus on a photojournalistic style. With a desire to explore portraiture and documentary photography, Bryce began working with a close friend, Michael Zanetti of Studio Zanetti (studiozanetti.com.au) , himself an award-winning Sydneybased wedding photographer. Bryce would become a regular fixture at Zanetti’s wedding shoots, and it was during this time that he began to gain confidence in trusting his photographic eye and creative instincts. To further improve his understanding of street photography and photojournalism, Bryce studied with renowned photographers Maciej Dakowicz, Tomasz Kulbowski and Dimitris Makrygiannakis. In 2013, he was accepted at the 65th Missouri Photo Workshop (MPW65), which

is one of the world’s longestrunning and most prestigious photojournalism workshops. After eighteen years of living in Australia, Bryce decided to return to Thailand and pursue business opportunities in real estate and hospitality. During his initial years back, sadly, his photography was put on hold as he focused on establishing his name in other areas, but as happy as he was to be back home immersed in a thriving career, he also realised how much he missed being behind the camera and decided, once again, to pursue his true passion. In 2018, Bryce was approached by owner/curator Mark Ogaslert who proposed that Bryce exhibit his images at Ogaslert’s newly opened ILFORD Galerie Bangkok space. Initially skeptical and full of doubts, Bryce was not sure whether he could create an entire exhibition, but felt the opportunity was too exciting to pass up. A week later, Bryce presented one hundred images to Mark but Mark turned them down. Bryce was stunned. But Mark explained to him, “Yes, they are good, but I have seen them before. Many people are doing it. What exactly are you doing that’s uniquely you?” Bryce went home and a few days later presented Mark with a new series of images, images he had never shown anyone before. To

Bryce’s surprise Mark loved the new photographs. From there Mark helped curate Bryce’s images into the Living Spectrum exhibition. Although “Spectrum” shared many aspects with the first set of photographs Bryce showed him, they went much further in exploring the abstract - focusing on shapes and textures, light and shadow and, of course, a play with colour. They are one step removed from reality: obscure, quirky, minimal. Bryce now considers this approach to photography his signature style. For Bryce, street photography is his training ground for becoming a better photographer. It is a process of self-discovery that helps identify himself in art and on the photography scene. By observing his surroundings, Bryce identifies and discovers life with obscure elements that are colourful and beautiful, yet unique. “When I go out on the streets with my camera, I aim to capture fleeting moments of beauty, quirkiness, mystery, and humour. Deep, saturated, vibrant colour, natural light, neon light, shadow and interesting patterns and textures are elements of my work. I focus on the abstract, and that appeals to me. To look at an image and not fully understand what it is you’re looking at opens the mind to new possibilities and ways of seeing things,” says Bryce.

INSECURE

THRILLING

His first significant achievement in photography was winning the People’s Choice Award for his image “You Look Great” at the 2012 Sydney Art and About Festival. Bryce has since been named a finalist at a variety of international photo festivals, including the 2016 StreetFoto and 2017 Street Shooting Around the World. In 2019 Bryce made his first US sale, in New York City, of his work THRILLING, from his Living Spectrum exhibition. The proceeds from that sale benefited ACE for the Homeless and took place at their yearly gala at The St Regis hotel NYC on 22 May 2019. The Colours of Emotion is a continuation of Living Spectrum, Bryce’s debut exhibition. In this new series, Bryce considers the relationship and nature of human emotion and colour, which he uses as a metaphor for understanding the human condition and what connects us all. Photos in this series were shot throughout, South Asia, South East Asia and Ukraine. Bryce uses FineArt ILFORD GALERIE Prestige Textured Cotton Rag for his Colours of Emotion series. When printed on this medium with archival pigment ink, these images look sharp and detailed with striking colours. Because of this, his artworks are routinely mistaken by viewers for paintings.

HOMESICK

Bangkok is Bryce’s current home, but he travels often for pleasure and to gain inspiration for his work DISCOVER MORE Web: www.bryce-art.com www.twos.photography Facebook: www.facebook.com/bryce. watanasoponwong Instagram: www.instagram.com/brycewatana OBSESSIVE

WORRIED

BLAIR VINA

Ms. Vina was born in 1988 and raised in Johor, the southern part of the Peninsular of Malaysia, a place where one would be able to realise the beauty of nature and at the same time tapping into busy daily lives of a city. This unique environment has perfectly shaped Vina into who she is now and enable her to see the surrounding through her artistic eyes. Conceptualising the daily life she encountered into colour patterns and surreal images are the subject of Ms. Vina Lee’s paintings. She sees herself as an observer, having a deep affection towards the nature, emotions, feelings and spirituality that she encounters along the way and turn them into paintings. Her compassion in the arts has driven her to excel in photography and paintings. Largely a selftaught painter, she believes that art is an effective communication tool that could touch others’ hearts. She combines different techniques of art, to create layered surfaces and strong palette, allowing them to flow together and create a lyrical, yet deeply concrete image. She also uses exquisite photo manipulation techniques to create surreal images that are thematically focused on identity, relationships, emotions and dreams. Her immaculate technique and subtle conceptual ideas create beautiful evocations of universal emotions, desire and despair. How would you describe your work?

BLUE DRAGON

Mingle memories, meditation, life an artistic creations into a style of my own.

Creative models, diversified manifestations.

How do you create one of your works/what’s unique or unusual about your technique/process?

How do you select your subject matter?

I use brushes, scrapers to create long lines and shrivelling touches.

Themes that are full of philosophical speculations.

Did you begin with this style or was it an evolution?

What inspires your creativity and art work?

I started from Fluid arts to Abstract paintings.

Which artists inspire your work? Jackson Pollock. Outside of art what other subjects inspire your work? Travel has ignited my attempts to bold innovations. How do view your work? I have done bold attempts and had a great break through, so I am very satisfied the work I produce.

OVER & OVER

How did your education help you become an artist? Education does very little to my work. It is the creative feelings and imagination together with my environment that has shape me into this. Whatâ&#x20AC;&#x2122;s the worst thing you have experienced about your work? I was criticised about not being qualified. I then regurgitated and immersed myself into serious thinking, reviewing myself and changing. Do you feel pressure as an artist? I feel happy and not stressed as art allows me to live in my world.

Drawing has shown me the lifestyle that I want. It has allowed me to see the different sides of me, my values, my views and my tastes. Do you learn from criticism of your work? I learn from critique to enter the public world and I have made more friends learning to be bold and so breaking through, instead of being confined in my little world. This has brightene up my life with lots of colours. How has social media affected your work? My work has been widely known through social media. AROUSE #8

What’s your future plans? I plan to join more arts exhibitions worldwide, so enabling people to get to know my work and my cultural belief. If you wasn’t an artist what would you be? An Investor, I was a full time Investor before I join the field of Arts in Malaysia. What’s the future for art?

What advice would you give to someone trying to start an art career? To start your work boldly as there will be someone who will appreciate and recognise you eventually. What’s been your biggest success? To be recognised by the artists and the field of Arts. DISCOVER MORE www.blair-art-gallery.com

It’s future is full of unpredictable potential.

AROUSE #2

BLUE OCEAN

FRANCESCO RUSPOLI

I think art should be both as philosophical and aesthetically stimulating especially now days when it seems things are getting lost or ignored.

to the others and at the same time is completely independent. Each character have no faces in order to support the bodily expressions of human sensations and are in different colours in order to represent the ethnic races one will find in the contemporary societies in the world, all genders and ages mixed. I was born an artist I suppose. It is something you have inside you and this feeling will push you to express yourself with a medium of your choice.

PHYSICAL REFRACTION

In my work feelings are expressed with the bodily expressions of the elements created in the picture. Each one is physically connected

For me it was paint, oil paint actually as I love the texture and the way oil paint can be mixed to create wonderful effects and do not dry instantly so you can work at it on and on until you are satisfied. Paint on canvas for me is

the most noble art form one artist could ever do. It involves skills and talent directly from the soul. My fist passion was with the Surrealist movement as Dali, Magritte, and many others. It was the fact to be able to create an imaginary world that fascinated me at the time. Then I discover the power of colours, as they can transform moods, express feelings which slowly moved me towards abstraction with the full use of shapes and volumes. Now I am into figuration with a twist of abstraction in the composition. I am pushing these even further by creating an effect of stain glass windows as in churches where these inspire the worshippers for meditation, spirituality, reflection and growth.

PRESENCE

PANDEMONIUM

I am trying in my recent paintings to have these same factors mentioned in the last paragraph order for the viewers to feel that the painting talks to them, moves them and they will feel happy and regenerated.

sometimes requires an austere Zen-like mental discipline, where I can get myself out of the way so my art can create itself. This is laborious, but is the only way I have found so far to achieve authenticity in my paintings.

Using a strikingly vibrant palette, each painting composes a symphony of colours where subtle gradation and dramatic contrast express nuance of emotion and sensuous physicality. The work also expresses the direct sensation of lived experience through human shapes and forms woven from flowing lines and the gaze of the viewer.

My work is an exploration of relational space and its possibilities in contemporary society.

Creativity for me is a special form of discovery. I start as an archaeologist of my own imagination, peeling back layers to find the essence of the image which may origin in ancient or classical art, dance or theatre. This process involves lengthy development of ideas worked through on canvas, much like Beethovenâ&#x20AC;&#x2122;s constant working out and refinement of his musical themes in sketches. This

I believe art is a reflection of

civilization and evolution. Each society from the past is basically recognized through the art they have left behind. Visual art for me as an artist is the most important thing with music and writing that the humans have done. Even religions would be supported by the art to complement their beliefs. We would not be evolved to be humans without the art.

A TRUTH TOLD

My motivation and my inspiration is my environment and nature. I am fascinated by the way people interreact with each other. Sometimes in a nice way and sometimes in an horrible way. I want to pass on a message in my work, which could be read and felt by the person looking at it. I want to lift their soul and their feeling and bring them happiness if I can. But I am still very intrigued by the way contemporary societies evolve. I am through my eyes and my brain trying to reflect on social environments, familial cells and social classes. The characters do not have faces but all the sensibility for each individual is created and expressed by the position of the human shape connected with others. My style of course has evolved with time. I can see and feel I am getting more mature in my creation and in my creative journey. I could not live my life without painting. It is like an addiction and as every addict I cannot stop myself doing it. For me, art expresses a fundamental part of what it means to be human.

It is through art that the conflicts of life can be explored, better understood, brought to the surface and put into new relationships with each other. I believe we are living in an unprecedented time of the breakdown in human relationships and interactions. This is happening from the individual and personal level to the opposite geopolitical end of the spectrum. We tend to think of interactivity in terms of technology these days rather than human feeling and connection. My art is meant to directly challenge this state of affairs and re-invigorate and re-inspire the emotional and spiritual dimensions of human life, which is inevitably in direct conflict with much of what we see around us in our world now. These are central question not just of what art is, but of what art does, and can or even should do. It has taken me many years to find my creative voice, and a large part of this has been a struggle against such commercial forces. They are very powerful and insidious, and institutionally dismiss or ignore

what they cannot appreciate. The relational concern of my work is intended to embrace all viewers, so their interpretations are equally valid as his. The act of viewing is to enter a relationship, a mutual encounter of the painting and the viewer. This is why the figures in my work are placed so viscerally in relation to each other, and why this stimulates a reflection on relatedness which encompasses the viewer. A vital part of interpretation is our emotional response, which incidentally is not solely the preserve of a â&#x20AC;&#x2DC;refinedâ&#x20AC;&#x2122; academic elite. The experience of viewing and relating is the essence of my paintings so I hope my work is able to offer that precise experience to the viewer. You could say my message, theme and vision is to co-create an experience of emotional connection - whatever it might be - on that precise moment of that particular day, with this individual person in this specific space. DISCOVER MORE www.francescoruspoliart.com

COMPASSION

LAURA H ELLIOTT

Art is my way of creating an open dialogue of moods, thoughts and feelings through the umbrella subject of landscapes within the mediums of both two and three dimensional artworks. I am unsure if it is my art or my life that has had different phases. I have had a lifelong drive to pursue education and explore the arts coupled with constantly developing my practical skills as an artist. Since the age of 15, my art has been a visual diary and has represented who I am my feelings and is the way I process my life and the world around me. It was during my teenage years that included my first exhibition experience, something I have pursued since 2002. During my teenage years, I spent hours exploring popular artists as I searched through the arts, including Pablo Picasso, Willem de Koonin and Clyfford Still. I have had a lifelong fascination of the work of master artist Picasso and his cubist artworks exploring colour, perspective and the transition of three-dimensional objects into a two-dimensional framework. The artist that I discovered in my 30s is David Hockney, who I deeply admire and of whom I think of almost like a kindred spirit in relation to my work as an artist. His exploration of perspective in both photography and painting fascinates me and reminds me of the cubist movement in many ways, including how so many artists work in multiple mediums simultaneously. As an mature artist I often return to draw inspiration from the abstract and expressionism movement, from which I incorporate energetic, emotional content and spontaneous gestures with blocks of abstraction and colour; a style which I have applied to my two mediums of focus: painting and clay. The discovery of artists past and present is a life-long pursuit

for me, almost a fascination which has grown beyond the mainstream artists and now incorporates my fellow contemporary artists I work alongside today. Despite these diverse I always revisit two artist inspirations, Pablo Picasso’s exploration of abstracting the three dimensional form and the abstract expressionist movement. A key component recently in my career came from the addition of my home studio with a peaceful and relaxed atmosphere. As with most people, it is has taken me years to be able process and openly express my thoughts and emotions. Presently I feel I have a deep, honest and clear method of expression in my studio exploring

who I am as a person, how I feel in each moment in time and what I have experienced during my life. This process additionally enables me to draw on a lifetime of travel, memories, creativity, emotions, landscapes and inspiration from my diverse British culture and progressive ideologies. When I am in the studio I feel I have a deep, honest and clear method of expression, further exploring who I am, how I feel in each moment in time and what I have experienced during my life. My artworks are my way of creating an open dialogue through the umbrella subject of landscapes within the mediums of both two and three dimensional artworks.

FLOW OF WATER

THE URBAN SERIES FROM THE LANDSCAPE GEMS COLLECTION BY LAURA H ELLIOTT

Tourmaline. All Silver designs are hallmarked according to UK law by the Goldsmiths Assay Office, London. The beauty in this medium is that I find it an evolving process of creation which means no two designs are ever the same, just as no moment in my life is the same. Life is transient and the same can be said of all my work, an ever developing narrative. THE URBAN SERIES FROM THE LANDSCAPE GEMS COLLECTION BY LAURA H ELLIOTT

I will be focussing on the threedimensional medium of metal clay in this Artist Talk Magazine featuring the ‘Landscape Gems Collection’. This collection of unique, miniature sculptures hand-crafted from Fine 999 Silver, Sterling 925 Silver, Copper and Bronze clay. The challenge of working with clay has been my lifelong passion, in a manner of speaking my first love within art mediums. This medium draws from my experience working with traditional earthenware clay, which allows me to work on small scale ideas with the inclusion of gemstones to enhance them further. The starting point of each design or series is planned, with the starting point detailed in an ever developing sketch book diary containing rough sketches and ideas. The medium has a stepby-step process, with a minimum of 12 steps for even the smallest metal clay piece. The beauty in this medium is how the clay turns from a piece of pliable clay into a solid precious metal design that is ready to be worn. It is once I have started to create each piece that I refine the overall design and I can then create instinctively, as I do when I paint. The whole collection features a beautiful array of genuine gemstones sourced from around the world from which I frequently include Sapphire, Ruby, Emerald, Amethyst, Tanzanite, Aquamarine, Garnet, Peridot and

It was back in December 2015 when I was able to formally launch my ‘Landscape Gems Collection’ at the prestigious Royal College of Art, London during Flux Exhibition. Flux curator Lisa Gray wrote about my work in the Palette Pages within an artist interview about my work “...her work is intricate and beautiful, displaying rawness and luxury, a combination that adds to the beauty of her work.” This prestigious exhibition experience was a catalyst and since then I began to re-discover a free-flowing, abstract expressionist style that unified both my metal

clay designs and paintings. This highly enjoyable, free, relaxed style reflects how my life has settled and how my emotions ebb and flow at this point in my life, filled with positivity. As we have moved into 2019, I will be exhibiting in additional galleries in London, based next to the River Thames. The city has a special energy full of hustle and bustle, green spaces dotted around it with the River Thames running through it. The UK is a special country in many ways, but something I love is that we have not completely lost green spaces, despite the endless buildings, people and vehicles, with London no exception to this. It was during my time living in London where I enjoyed each little slice of nature, which is something I have incorporated into my most recent collection, showing a bird’s eye view of each part of the city and the places I found time to relax and enjoy. The designs additionally explore colour to signify the moods of the city, with each designs title reflecting my narrative. There

BIRDS EYE OF LONDON

SHIELD IN BLUE

are five designs of focus within this collection titled ‘Shield In Blue’, ‘Barnes Green’, ‘Tic Tac Toe’, ‘Urban Elegance’ and ‘Birdseye of London’. ‘Shield In Blue’ is directly inspired by my view of the Houses of Parliament, with the word shield symbolising protection, the four points depict the architectural design and the colour blue signifies the Thames River running past it. The design ‘Barnes Green’ is named after the park directly around the corner from a gallery where my work can be found. London is not just a place to work and live, I have included a playful reflection of London in the design ‘Tic Tac Toe’, which features Neon Blue Apatite and Deep Purple Amethyst. An additional aspect of recreation includes some of the world’s best restaurants, reflected in the luxurious design ‘Urban Elegance’. This piece features a high quality 1.05 carat Pink prong set Tourmaline with a Purple Sapphire and Deep Red Ruby on each side. The larger design called ‘Birdseye of London’ is a central aerial view which can be enjoyed by the constant companions of London, pigeons. The final design of focus is a ring titled ‘Arch’ which represents the architectural arch designed buildings found in Hyde Park called Marble Arch and Wellington Arch. This piece reflects the way I think of London as I believe it is a place of importance with locations such as parliament, a pivotal place in the UK. The design ‘Arch’ features significant symbolism by representing my perception that London is one area of my country offering protection, structure and beauty. All of my work is represented both in galleries and online. DISCOVER MORE https://laurahelliott.wordpress.com

ARCH

BARRIE DALE

know? I want my viewers to bring their own individual interpretation, meaning that any image will appear differently, and mean different things, to different people. I value images that are of something that never happened. I want my work to resonate with other art-forms - music, painting, sculpture, poetry, literature, the ballet. Music is abstract; abstract art should be visual music. I value movement; but I find being ‘poised’, as a ballet dancer might be, even more intriguing - there is about to be movement, but we don’t know when, or what. There is tension, a sense of anticipation. All art forms resolve themselves in the end to poetry.

THROUGH FLOWERY MEADOWS TO DISTANT CLOUDED MOUNTAINS

Pictures of Things That Never Happened If Abstract Art is not to be constrained by the limits of our imaginations, we have to look to Nature. Artists have not yet fully explored high-magnification images of Natural Forms. This is an opportunity to be distinctive, challenging, original. I am inviting Nature to tell me things I don’t know and can’t imagine. By photographing, say, a flower in natural light at high magnification I can transport the viewer out

At the moment of conception, my images are available only to the camera, not the eye. I have to explore my subjects through high-magnification lenses, looking for compositions that are inviting and meaningful. I look for strength through simplicity; intense subjects supported by strong lines; dynamic balance; tension; movement. Liveliness is essential, even if it transports the viewer out of the frame into the wide, wide world beyond.

into space, up mountains, out to sea, under water, or out into the desert. I can present this as being at any time of day or night. It all depends on how the available light is handled. My pictures are abstracts with meaning. I am simply emphasising the arbitrary nature of what it is we think we see. I welcome ambiguity. All need not be explained; the viewer must be invited to contribute. There must be mystery and intrigue; food for thought. What is this? What does it mean? My images are of flowers, but how would you

FIGURE WITHIN THE MARBLE

I believe, with John Ruskin, that a work of art must be conceived in its entirety at the outset, and then executed in one continuous movement; no second thoughts, no corrections, no bodges. My images are thus a very raw representation of how the natural world actually appears at high magnification.

A PAINTED SHIP UPON A PAINTED OCEAN

I believe also in the concept of ‘The First Careless Rapture’. If, during a search, I come across something new and exciting, I have to react to it immediately. If I spend time trying to analyse it, or to capture it perfectly, its immediacy becomes dissipated and its impact largely lost. Again, my work may appear raw.

What I aim to offer is an awareness of what makes a picture; of what creates mood, balance, dynamism, satisfying composition. I am dismissive of ‘rules’. What matters is an inexpressible feeling that an image is conveying something interesting. Lines are important; an artist’s signature. They create structure and movement. They support subjects, provide connections. They must be interesting in themselves, with variation, excursions and incidents along their length. Very narrow, crisp, lines are very powerful, especially if they have breaks in them (lost and found). Implied lines may be the most potent of all. I love it when lines interact - converge, intersect, bounce off each other. My ultimate satisfaction would be to have lines that resonate with those of a Barbara Hepworth. I like my centres of interest to be intense, and therefore sometimes quite small. I am comfortable with them being surrounded by much empty space, giving them the chance to breath. My subject matter is entirely natural, and I photograph it as naturally as I can. Naturalness is important to me. Within their

next generation human beings will need to learn to live sustainably, as we used to do. This will require us to re-engage with the Natural world. The camera and lenses I use are regarded as being the best for what I do - I am working at high magnification, often in indifferent light. I may have to work at the extreme limits of my equipment, struggling against technical constraints. I think I take better pictures that way; when you are struggling you are in no position to impose. I present my work as ‘SingleEdition’ prints, signed as such, and dated. I typically have my images printed using the Giclée process, on archival paper. They are are then mounted and framed. Everything is done to the highest possible standards, and inspected carefully. I want my images to have the status of paintings. All the accompanying images are of flowers, taken hand-held in natural light at high magnification. DISCOVER MORE www.wildhaven.co.uk www.wildhaven.co.uk/blog

Flow is important. The camera must be moving freely. I need to be fluent, cursive, creative, responsive. Tripods and focussing racks are anathema. Success rarely occurs early. What seems to the naked eye to be a promising starting point usually turns out to be wanting; but it may lead somewhere. Explore! After some time and effort, something important may emerge. Most often not. There are many blind alleys and frustrations. LINE OF DESCENT

SPACECRAFT APPROACHING ENCELADUS

WILLIAM KENTRIDGE

TWO OF SOUTH AFRICA’S LEADING ART INSTITUTIONS TO HOST LARGEST WILLIAM KENTRIDGE EXHIBITION. About William Kentridge William Kentridge is internationally acclaimed for his drawings, films, theatre and opera productions. His practice is born out of a crossfertilisation between mediums and genres, and responds to the legacies of colonialism and apartheid. His aesthetics are drawn from the medium of film’s own history, from stop-motion animation to early special effects. Kentridge’s drawing, specifically the dynamism of an erased and redrawn mark, is an integral part of his expanded animation and filmmaking practice. Kentridge’s work has been seen in museums and galleries around the world since the 1990s, including

Documenta in Kassel, the Museum of Modern Art in New York, the Albertina Museum in Vienna, Musée du Louvre in Paris, Whitechapel Gallery in London, Louisiana Museum in Copenhagen and the Reina Sofia museum in Madrid. Opera productions include Mozart’s The Magic Flute, Shostakovich’s The Nose, and Alban Berg’s Lulu, and have been seen at opera houses including the Metropolitan Opera in New York, La Scala in Milan, English National Opera in London, Opera de Lyon, Amsterdam opera, and others. Summer 2017 saw the premiere of Kentridge’s production of Berg’s Wozzeck for the Salzburg Festival. The Head & the Load, sometimes described as a processional opera (with original music by composers Philip Miller and Thuthuka Sibisi), opened to critical acclaim in London and New York in 2018. Kentridge is the recipient of

honorary doctorates from several universities including Yale and the University of London, and in 2012 he presented the Charles Eliot Norton Lectures at Harvard University. In 2010, he received the Kyoto Prize. In 2015 he was appointed an Honorary Academician of the Royal Academy in London. In 2017, he received the Princesa de Asturias Award for the arts, and in 2018, the Antonio Feltrinelli International Prize. This will be the largest exhibition to be held by internationally acclaimed artist William Kentridge and is set to open in Cape Town in August. The major exhibition of his work will be hosted simultaneously in two parts by the Zeitz Museum of Contemporary Art Africa (Zeitz MOCAA) and Norval Foundation, opening 24 August and running through to March 2020.

Local art enthusiasts and international visitors to Cape Town – a fast-growing cultural capital – will gain access to many different works, executed over decades, by William Kentridge in two of the city’s leading art institutions at the same time, with the artist’s Why Should I Hesitate? Putting Drawings To Work on display at Zeitz MOCAA and Why Should I Hesitate? Sculpture on view at Norval Foundation. Why Should I Hesitate? Putting Drawings To Work, will be staged at Zeitz MOCAA and will offer a wide survey of Kentridge’s work, including early works, as well as newer pieces on view for the first time in South Africa. It will cover over 40 years of artistic production (1976 - 2019) in drawing, stop-frame animation, video, prints, sculpture, tapestry, and large-scale installation. The title references Kentridge’s

primary practice of drawing, and how this core activity informs and enables his studio practice. It also references the impact of individual action on history and the reverse – how history shapes the contemporary and the future – and works as a commentary on various shifting hegemonies of power politics, economies, language and the authority to narrate history. “This large scale survey exhibition prompts us to consider how various artistic media, initiated from twodimensional works on paper, can be seeds through which Kentridge has developed his concerns for history, particularly in relation to his home continent, Africa, and its historical ties further afield. By mapping these histories we consider the artist’s relationship to the world and ideas of self-actualisation, and the illusions of power and progress through a violent history.

Kentridge’s work, while ambiguous, does not hide from its inherent traumatic history. It is an honour for me to work with one of the living masters of our time,” says Azu Nwagbogu, curator of the exhibition at Zeitz MOCAA. “As I begin my tenure, it is an intense joy to host an unprecedented survey show of one of the great masters of contemporary visual political poetry,” says Koyo Kouoh, Executive Director and Chief Curator at Zeitz MOCAA. Why Should I Hesitate? Sculpture, will be on view at Norval Foundation, and will present three-dimensional work of William Kentridge from the past 19 years. This will be the first exhibition internationally to address Kentridge’s output as a sculptor. Covering several bodies of work, and testifying to his longstanding

VIEW OF ZEITZ MOCAA IN SILO SQUARE, IMAGE BY IWAN BAAN

and spontaneous improvisation when handling three-dimensional form, Why Should I Hesitate? Sculpture sees the origins of these works in props from his operas and images from his animations stepping off the stage and out of the screen, confronting us directly at ground level. Why Should I Hesitate? Sculpture will also premiere new works commissioned for the occasion of this special exhibition. “Norval Foundation is presenting, for the first time, an exhibition focused solely on William Kentridge’s sculptural practice, working in conjunction with the artist and his studio. Kentridge’s sculptures embrace a spontaneous approach and have recently evolved towards the massive, and the monumental. Simultaneously, and in tension to the monumental aspects of his practice, he is revealed to be a choreographer as

much as a sculptor,” says Karel Nel, Senior Advising Curator at Norval Foundation. “Norval Foundation is proud to be hosting Why Should I Hesitate? Sculpture. A key aspect of the Foundation is our commitment to exhibiting the sculptural and installation based practices of a variety of artists, which is facilitated by our purpose-designed building. In particular, we invite artists and curators to respond to gallery eight, our largest gallery, with William Kentridge’s exhibition exemplifying this. The gallery has reinforced floors to support works that weigh as much as eight tons, and reach as high as nine metres. The monumental size of this gallery sits in an ideal contrast to the anti-monumental, spontaneous and theatrical sculptures that form part of this exhibition,” says Elana Brundyn, CEO, Norval Foundation.

Both exhibitions will include major works from Kentridge’s extensive oeuvre, and will be accompanied by two new publications, conceived in collaboration between Zeitz MOCAA, Norval Foundation and the artist. The exhibitions will be accompanied by a series of talks and performances with the artist, and leading voices in the cultural sector. OPENING EVENTS A series of member events and public programmes will be held across both venues over the opening weekend, Saturday 24 and Sunday 25 August 2019. DISCOVER MORE www.zeitzmocaa.museum + www.norvalfoundation.org

NORVAL FOUNDATION, IMAGE BY DAVE SOUTHWOOD

EMMANUELLE RYBOJAD

The twenty-eight-year-old visual artist Emmanuelle Rybojad begins her career in her Parisian atelier, trained by her boldness and her determination. This self-taught woman is introduced to art at a very young age by her step-father, an art collector, who initiates her to the great movements. Emmanuelle is interested by the different art forms and develops a plural and deep curiosity. She discovers light with the help of an electrician and adopts the technics related to Plexiglas with another professional. She works on diverse supports including mirrors, neons and LEDs. Heiress of the cinematic movement, she interprets the mediums and stages them to go beyond their original use.

BIG HEART

LIGHT BLUE HYPNOTIQUE

Objects enlightened by colored neons, geometric shapes put in perspective by lighting effects and mirrors. Emmanuelle Rybojad explores space and infinite to catch the spectators’ attention and enhance their enthusiasm. Nothing could predestine Emmanuelle Rybojad to become one of the rising figures of contemporary art. At only 28 years old, her pieces travelled in more than 17 countries around the world in cities like

Miami, New-York or Singapore. In 2018, Emmanuelle Rybojad was invited to “dress up” Guerlain’s showcases in their legendary boutique on the Champs-Elysées with Pop Art colored lips that could easily recall the famous lipstick “Rouge G”. She pursued her Parisian conquest at the nightclub L’ARC during the FIAC and at the Plaza Athénée with the “Designers’ Christmas trees”. This year, the visual artist took up residence at the Hôtel Barrière Le Fouquet’s during Valentine’s Day before flying to Morocco

ROSE BLANCBLEU

to participate to Casablanca Art Space and then to Beirut for an incredible exhibition at the Opera Gallery. Emmanuelle Rybojad never ceases to amaze by her talent and daring creation. Her unlimited ambition led her to remarkable collaborations with prestigious houses like Chopard and fascinating exhibitions all around the world. DISCOVER MORE www.emmanuelle-rybojad.com

France’s most renowned cultural institutions – Louvre Abu Dhabi represents a unique opportunity to combine the UAE’s bold vision of cultural progression and openness with France’s expertise in the world of art and museums. A UNIVERSAL MUSEUM IN THE ARAB WORLD

Louvre Abu Dhabi is a new cultural beacon, bringing different cultures together to shine fresh light on the shared stories of humanity. A PIONEERING CULTURAL PROJECT - THE FIRST OF ITS KIND The origins of Louvre Abu Dhabi date back to 2007, when France and the United Arab Emirates came together to develop a new

kind of cultural institution. The result is a museum rooted in universal human values, the first of its kind in the region. Louvre Abu Dhabi represents the dynamic nature of the contemporary Arab world, while celebrating the region’s vibrant multicultural heritage. With support and contributions from Agence France-Muséums – gathering seventeen of

What does it mean to be ‘universal’? For Louvre Abu Dhabi, it means focusing on what unites us: the stories of human creativity that transcend individual cultures or civilisations, times or places. This ethos guides the museum in everything is does: from its foundation as a collaboration between two cultures to the dazzling architecture that combines French design with Arabic heritage. Louvre Abu Dhabi champions the cultural achievements of mankind, from prehistory to the present day. From the start, this approach governed the choices of works for the collection and how they could come together in the museum. The galleries are not separated by geography but in chronological order. The aim is to induce respect, curiosity, learning and selfreflection.

ARCHITECTURE Louvre Abu Dhabi was designed by international architect Jean Nouvel, who is one of the most significant architects of the last half-century. Inspired by the architecture and traditions of the United Arab Emirates, Nouvel has conceived a remarkable home for Louvre Abu Dhabi. This extraordinary architectural feat is also a powerful symbol of the nation’s vision and achievements. The museum design is a collaboration between traditional design and modern construction techniques. The tranquil environment encourages visitors to enjoy the ever-changing relationship between the sun and the dome and between sea, buildings and land. A vast dome, 180 metres in diameter, covers the majority of the museum city. This impressive structure is visible from the sea, the surrounding areas and Abu Dhabi city centre. Constructed by

Waagner Biro (specialists in steel structures), the dome consists of eight different layers: four outer layers clad in stainless steel and four inner layers clad in aluminium, separated by a steel frame five metres high. The frame is made of 10,000 structural components pre-assembled into 85 super sized elements, each weighing on average 50 tonnes. The dome’s complex pattern is the result of a highly studied geometric design. The pattern is repeated at various sizes and angles in the eight superimposed layers. Each ray of light penetrates the eight layers before appearing or disappearing. The result is a cinematic ‘Rain of Light’ effect as the sun’s path progresses throughout the day. At night, it forms 7,850 stars visible from both inside and out. This ‘Rain of Light’ effect has been the subject of many models and mock ups over the years and is one of the defining features of the concept. The dome is supported by four

permanent piers, each 110 metres apart, hidden within the museum buildings to give the impression that the dome is floating The interior dome elevation is 29 metres from the ground floor to the underside of the cladding. The highest point of the dome is 40 metres above sea level and 36 metres above ground floor level. Louvre Abu Dhabi’s complex engineering concept has made it one of the most innovative and challenging museum projects built in recent times. The construction of the museum took place from 2013 to 2017. Prior to completion, Louvre Abu Dhabi has already received three international awards: winner of the ‘Project of the Future’ category of the Identity Design Award in 2015; the European Steel Design Award in 2017, received with Waagner Biro, the Louvre Abu Dhabi dome specialist, and winner of the ‘Most Prominent UAE Project’ category of the Identity Design Award in 2017.

INTERIOR EXHIBITION SPACES The interior exhibition spaces, comprising museum galleries, temporary exhibition spaces and Children’s Museum, make up 8,600 square metres, with permanent galleries covering approximately 6,400 square metres. The two-storey Children’s Museum lays out around 200 square metres for Louvre Abu Dhabi’s youngest visitors. MUSEUM GALLERIES Specially designed by Jean Nouvel, the floors, walls and ceiling surfaces of the museum galleries re-enforce the palatial dimensions of Louvre Abu Dhabi. The floor paving is made of stone modules framed in bronze: throughout the galleries, the choice of stone responds to the period of the artworks on show. The walls provide hanging flexibility: all subsidiary equipment may be concealed within special wall slots. Filtered natural light can be present in all the galleries, either from lateral windows with views onto the surrounding environment or through zenithal lighting. This involves the use of glass mirrors to capture sunlight and direct it

into the gallery spaces while also scattering rays to avoid glare. There are 17 glass ceilings within the museum galleries. Each is made up of 18 different types of glass panels. In total, there are over 25,000 individual pieces of glass. These glass ceilings incorporate both natural and artificial lighting to provide an optimal lighting system for the artworks on display. The display cases were also specifically constructed by Meyvaert in Ghent, Belgium for Louvre Abu Dhabi. They incorporate state-of-the art materials and have been designed to adapt flexibly to the rotation artworks on display. To meet stringent environmental control requirements within the museum galleries, the design team developed a system which cannot deviate by more than one degree from 21 degrees centigrade or 5% humidity range. This guarantees exceptionally stable environmental conditions for artworks and visitors. Fire detection and suppression systems within the galleries require special measures in order to avoid damage to the artwork. EXHIBITIONS Louvre Abu Dhabi hosts four temporary exhibitions per year. As

part of the unique collaboration between Abu Dhabi and France, they will be organised and created by thirteen French museum partners, exclusively for visitors to Louvre Abu Dhabi. These temporary exhibitions will follow the same thematic approach as the permanent collections in the Museum Galleries, highlighting comparisons, influences and shared ideas across the civilisations and cultures. The first of these exhibitions was called FROM ONE LOUVRE TO ANOTHER OPENING A MUSEUM FOR EVERYONE. This exhibition showcased the origins of the world’s greatest museum. Visitors got to travel back in time to the seventeenth and eighteenth-century France and discover the art, ideas, people and politics behind the creation of the great Musée du Louvre. ‘From one Louvre to another opening a museum for everyone’ tells the fascination stories of the origins of the Louvre: from the royal collections of Louis XIV, displayed in the gardens and the royal apartments in the palace of Versailles, to the pioneering artists’ studios and workshops of the Louvre in Paris, and finally to the museum’s grand opening to the public following the political upheaval of the French Revolution. This exhibition included 150 masterpieces from the Château de Versailles and the Louvre’s earliest collections, including a paintings, sculpture, furniture and ceramics gathered from across the world. This exhibit was curated by JeanLuc Martinez, President of the Musée du Louvre, and Juliette Trey, curator of seventeenth and eighteenth-century drawings and prints.

DISCOVER MORE www.louvreabudhabi.ae

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DISCOVER MORE www.kyoco-mori.com + Instagram: @kyocomori 9

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Artist Talk Magazine issue 9

Articles inside

Featured Artist: Blair Vina

Featured Artist: Bryce Watanasopongwong

Featured Artist: Riccardo Liotta

Featured Artist: Mr Whisper