"Monochrome" Exhibition by Art Number 23

MonoArt Exhibition

MONOCHROME

Kit Brown

Nancy Collantine

Malgorzata Dawidek Fumi Tom Hogan Nofar Horovitz Stephanie Kilgast Ekaterini Koliakou Lisa Lavery Émilie-Christine P. Newman Anna Neizvestnova Charlotte Daisy O’Shea Mai Osawa Alison Riordan Ronis Varlaam Myfanwy Williams Lizzelle Wiltshire ​ Shaikha AlDismal ​ Hannah Scott Deborah Sfez

March 2018 V.23 - The Old Biscuit Factory 100 Clements road, Block F, SE16 4DG

info@artnumber23.uk / www.artnumber23.uk

Art Number 23 Art Number 23 Art Number 23 is a London-based organisation, mainly responsible for curating art exhibitions inside the U.K. and overseas. The aim is to create opportunities in order to encourage and support artists from all over the world to exhibit and promote their work.

Art Number 23 was founded in 2016, by the artist Constantine Anjulatos, and is being supported by several artists with a common mission: to create a global network of artists, curators, galleries and art enthusiasts, and organise art-related events where the participants can socialise, practise their skills, share their knowledge and exchange ideas.

Previous projects of Art Number 23 include exhibitions in NYC and Philadelphia (USA), Moscow (Russia), Berlin(Germany) and Athens (Greece).

INDEX 1. Stephanie Kilgast 2. Hannah Scott 3. Deborah Sfez 4. Shaikha AlDismal 5. Alison Riordan 6. Kit Brown 7. Fumi 8. Émilie-Christine P. Newman 9. Myfanwy Williams 10. Lisa Lavery 11. Malgorzata Dawidek 12. Tom Hogan 13. Ronis Varlaam 14. Lizzelle Wiltshire 15. Nofar Horovitz 16. Mai Osawa 17. Charlotte Daisy O’Shea 18. Nancy Collantine 19. Ekaterini Koliakou 20. Anna Neizvestnova

sk@petitplat.fr / www.petitplat.fr

StĂŠphanie Kilgast My work is an ode to life, where plants and fungi meet insects, animals and minerals.

These encounters are growing in a colourful swirl of diversity, and the erratic growth develops on found objects, in a dialogue between humanity and nature.

Both are linked and it makes no sense to create an artificial barrier of tar between humans and the mud. By destroying our environment, we are destroying ourselves.

The objects are always thrifted and often trash, the most direct and visible impact of human activities on our planet.

The plants observe us, waiting to see if we will manage the environmental crisis we have created.

Yet, science, art and abstract thinking make human life worth saving. So it’s up to us to find an equilibrium between our activities, and our desire to thrive intellectually and culturally, without completely destroying our very home.

I Can : Doubt 17 H x 8,5 W x 12 cm polymer clay, acrylics on tin can

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www.hannahscott.com / hlscott001@gmail.com

Hannah Scott In 2014 CERN’s CLOUD experiment showed that biogenic vapours emitted by trees and oxidised in the atmosphere have a significant impact on the formation of clouds, thus helping to cool the planet. My parents are buried near to Wyndham’s Oak at St Nicholas Church, Silton. The tree is thought to be 1000 years old.

Hannah Scott is a visual artist with an interest in the creative relationships between art and science. Her practice incorporates installation, film, photography, performance and painting, and explores ways of visualising and communicating climate change. She is a graduate of Central Saint Martins MA Art and Science degree and was awarded a MullenLowe NOVA in 2017 for her on-going project exploring the impact of plastic on the environment.

Wyndham’s Oak, Video Projection, 2017

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deborah.sfez46@gmail.com / www.deborah-s-artist.com

Deborah Sfez Colour is Light. Light defines Colour, the more there is, the more colourful it gets. As we all know Light is the main material for photography. Yet we all live half of our lives in the dark. What goes on in our minds in the dark hours? How does the World appear to us when the light goes down? Do we have different thoughts when it is dark? Maybe it is relaxing not to have to see bright colours all the time. These two submitted videos deal with the dark appearance of our everyday Reality.

Let Darkness speak to us.

Migration in two levels, Video Projection 2016

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shaikhaaldismal@gmail.com

Shaikha AlDismal My studio practice is video based and experimental, often including illusions and heavily processed imagery. In Landslidea distorted image creates an illusion of a primeval landscape forever emerging, always in turmoil, always changing.

‘Landslide’, Video Projection, 2017

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aecrio@yahoo.com / @aecriocontemporary

Alison Riordan Alison trained as a Graphic Designer at Ruth Prowse School of Art in Cape Town, and worked in the graphics and advertising industry in South Africa and London before turning her hand towards Contemporary Art. Her work has been shown in various galleries in South Africa, and she has participated in numerous group exhibitions. She was represented by Yellow woods Art in Cape Town and they transformed some of her paintings into large scale mosaics via the Spier Arts Academy.

In 2013 she was selected as one of five SA artists to participate in the Nandos Artwork Project in Britain.

Spier Architectural Arts ‘Construct’ which was based on one of her paintings, was nominated as one of the most beautiful objects in South Africa in 2014. She was a finalist in the nationwide SA Taxi Art awards 2015 in Johannesburg, and last year one of her artworks was produced as a mosaic and exhibited at the Cape Town International Art Fair 2017.

New Elegance , 24” x 32” x 1.5 “,

Mixed media on canvas,

2018

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http://www.kitbrown.co.uk / kit@kitbrown.co.uk

Kit Brown Works constitute an experimental practice of ontological investigation, in which the consolidation of two primary areas of research frequently constitutes its focus; an exploration of experiential actualities of being, and a sceptical questioning regarding the determinability of value. The aesthetic intention and disposition of works is intentionally simplistic, amounting from an aim to assimilate the complexities of expanded thought in a distilled and fundamental essence.

London based artist, b. 1989, Southport. Graduated from the University of Central Lancashire (2012), awarded a first class BA (Hons) Fine Art.

Interval Medium - Paper, Acrylic paint, Glue Dimensions - Approximately 19.6 x 3.6 x 0.05 cm 1 of 3 + 2 AP Year – 2017

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fumi.artworks@icloud.com / fumi-artworks.wixsite.com/fumi-artworks

Fumi My work is stimulated by transition of organic processes such as ephemeral forms and instability of colour in floral materials.

I specifically preserve plant materials including petals, florets and leaves which are coated with specialist resins and reinforced with fibre glass. The application is repeated about 20 - 30 times depending on the nature and characteristics of materials. I then present flowers as objects. Each stage of development of flowers - bud, bloom and fade - is impermanent yet beautiful. I draw and embody the moment of beauty and the eternal fragility that I found in the process of individual flowers and plants growing organically.

Monoc ‘Prediction’ 2017 29x21.5x8cm Preserved Flower, Resin, Plaster, Wood

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www.christinepnewman.com / christinepnewman@gmail.com

Emilie-Christine P. Newman This piece is part of my ongoing body of work Synthetic Decay, in which encaustic wax is applied to objects in a way that gives a sense of otherworldly mould, fungal growths, and decay. A three-dimensional black mass seeps out of the center of a pristine white frame, growing outwards and refusing to be constrained.

Black Mass I, 52cm x 52cm (framed), Encaustic in frame, 2018

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myfanwy.williams@talk21.com / www.myfanwywilliams.com

Myfanwy Williams Painting in monochrome allows one to see differently, liberating one from the distraction of colour.

Eliminating colour enables one to understand the contrast between the values of light and shade at a deeper level. My pieces of work have been painted with black Indian ink and white ink: these have been allowed to evolve naturally on the damp watercolour paper. It is an exciting process to explore how values, textures and nuances change on the surface.

My paintings reflect the many factors that have influenced my work, including travel, archaeology, changes in society and a love of nature and landscape. The interaction between the physical landscape and mankind is explored as a journey in my studies. My work explores inner landscapes: they begin when I respond to poetry and fragments of my own photographs. I then allow the ideas to develop intuitively into abstract images.

Evolve I-IV: 28 by 28cms framed Ink on watercolour paper, 2018

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www.lisalavery.co.uk / Lisalavery68@googlemail.co.uk

Lisa Lavery My practice is predominately camera-less using analogue and alternative photographic processes. Taking inspiration from early 20th century photographers, Man Ray and László Moholy-Nagy I have spent over a decade exploring the photogram technique.

My interests lie in the materiality of ‘things’, both, organic and manmade, I’m attracted to the natural structure and form of objects and nature. Examining the properties of reflection, opacity and transparency in materials I choose photographic processes and methods to highlight the

‘Snake Sheds’ (#1& 2) - 11 ”x14 ” - Mounted Print - 2018

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m_d_g@wp.pl / www.dawidek.art.pl

Malgorzata Dawidek My artistic and academic research is focused on the conflict between the condition of the human body and discursive language. My work provides an overview of the phenomenon of the human body as a textual form, book and map, repository for memories and emotions. I analyse issues related to the awareness, borders and possibilities of language, as well as the human body and corporeality perceived as a palimpsest and processual narrative determining individual identity. I am interested in the body’s extreme states (pain, loss and emotional blocks) and difficulties in expressing those.

The palette of my works, oscillating between different shades of white, originates in a childhood experience of entering into a fog. Since then the state of whiteness, as well as the feeling of seclusion and safety it causes, has been a powerful stimulus affecting my whole life, including my art practice.

Monoc Untitled 03 from the (Self)Soothing series, 30x40 cm, Photography, Limited Edition of 20 images, 2016.

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www.tomhoganartworks.com / info@tomhoganartworks.com

Tom Hogan My sculptures originate from rapid linear observational sketches and are simplified further through the selecting of line and general reworking I practise when converting them into wire forms. Drawing provides the basis of my artwork and, conceptually, I consider these finished pieces as much drawings as sculpture. I am particularly interested in this interplay that exists between the dimensional realms. Although the artworks exist as forms in space, their flatness often seems reinforced through the necessity of reading forms from a particular viewpoint. I hope they are strange and busy little things.

‘Fallout’ modelling wire and spray paint 46x50x62cm 2017

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ronisvarlaam@hotmail.com / www.ronisvarlaam.com

Ronis Varlaam I have studied filmmaking at the London Film School and I have produced and directed several documentaries for television. Gradually my interests moved to art in general and now my practice includes painting, photography and videos. I often work at the interface of opposites e.g.

Abstract/Figurative, Subjective/Objective, Looking/Perceiving. For this project I was interested in submitting monochrome (almost) photographs taken with colour film and also one monochrome painting: ‘PAINTING IN A BLACK HOLE’.

‘PAINTING IN A BLACK HOLE’ Oil 60 X 60 cm

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www.behance.net/lwiltshire5aed / l.wiltshire1@arts.ac.uk

Lizzelle Wiltshire Nosutarujia translates to nostalgia from Japanese. The piece is a bespoke hand 3D printed dressing screen reflecting how we encapsulate time, measure and rejuvenate bygone objects and moments. The transparency of the dressing screen addressing the more open approach to nudity within modern society and allowing the colour of the viewer to impact the piece temporarily.

Lizzelle Wiltshire is a Designer Maker and Concept Artist who consistently mixes hand crafts with digital applications in a monochromatic gradient to bridge the two practices within: bespoke products, sculpture or installation.

Nosutarujia (2017) 3D printing and wood work

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horovitz.nofar@gmail.com / www.compositzia.com

Nofar Horovitz All of my projects are inspired and related to my mission: exploring the gap between reality and physical facts to the imagination and individual perception.

Photography for me is a remarkable tool that allows me to sculpt my vision into an image, I appreciate the necessity of light in the picture, and also the lack thereof.

In my observation of the world, I examine and focus on details that make up the greater picture, and at the same time, I skip various components, sometimes in a less controlled manner so as to leave gaps, which viewers can fill in according to their perspectives, thoughts, conclusions and observations of all components simultaneously.

In my view, I search for order, sharp lines and cleanliness, which for me empower the meaning of the final product.

Self part I, 20 x 30cm, Black and white digital studio self portrait printed on archival paper, 2014

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www.mai-osawa-art.com / mai@mai-osawa-art.com

Mai Osawa I studied graphic design at the College of Art, Nihon University, in Tokyo, and after graduating I joined a TV/theatre production company and became a set designer. I have a particular passion for architecture, honed from my early years growing up with my architect father, and so designing different buildings on stage was a dream job for me.

Since moving to the UK my passion for architecture has grown. I have done many drawings of buildings, some for the ‘I Never Knew That’ book series as well as for my own book ‘The Small Churches in Britain’, published in Japan.

Being trained as a set designer important aspects in my work are ‘light’ and ‘dimensions’, with which I create a scene without actors and on to which the viewer can project their own stories Colonel Clitherow’s war horse Original etching print on Japanese Paper. Edition of 10 Print (Etching) Image size : 15 x 10 cm / Paper size : 31 x 37 cm

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cdo.art@hotmail.com / https://cdoart.wixsite.com/cdoart

Charlotte Daisy Charlotte Daisy O’Shea has just completed a Masters Degree in Fine Art at Brighton University, her practice sits on the borders between both abstract and figurative art.

Charlotte utilises a variety of materials employing varying techniques, from thickly applied oil and acrylic paint on canvas and linen, to smaller more delicate works on paper and cotton. Charlotte’s work draws upon themes of identity, existentialism and the human condition.

Monoc Photosynthesis 2017 - Triptych (18cm x 25cm each ), Acrylic on paper

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www.nancoart.co.uk / nan@nancoart.co.uk

Nancy Collantine An abstract work that relates to the energy and movement that goes into everyday domestic routine. The smeared black acrylic has been pressed into the surface and contrasts against the lighter splashes of ink and water upon the surface of the paper. It captures the universal weight of human duty and the meditative approach we can take to daily routine.

Iron Will, Acrylic, gesso, ink on paper, 60x85cm

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messageart@ymail.com / http://www.ekaterinikoliakou.com

Ekaterini Koliakou Ekaterini sees her paintings, drawings and video work as the process of a diary. Working both figuratively, abstraction and words she gives a sense of intimacy and yet they are never confessional. In various techniques from using brushes to using her hands, the painted surface shifts between articulated brush strokes to playfully primitive impulsive mark makings. Her subjects are often naked to allow a sense of honesty and equality. Her work is sensual and cynical, provocative but gentle.

Ekaterini started her studies in 1987 in Vakalo Art and Design college then continued with black & white photography at Focus Athens, Greece. She moved to London for the foundation course of Art and Design in Kingsway College until 1993 and then continued at the Fine Art Academy Aldo Galli Academy in Como, in 1995 Acamedy of Fine Art Brera in Milan until she finished her studies at theFine Art School of Athens and practiced her Erasmus in the Fine Art School, Utrecht in 2001. She graduated with a distiction.

Monoc La Gente, Charcoal and dry pastel, 30 x 40 cm

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https://goo.gl/photos/m7QcL73KSbbFo5dUA / annaneizvestnova@yandex.ru

Anna Neizvestnova Seems to me, memory and art are of the same nature, as if woven from same matter: memory as well as art transforms or selectively detaches fragments of reality, creating their own phantoms and illusions. Looking through my photos from my trips around England, I found my selectivity, all my shots could be made 100 or even 150 years ago. Then I realized that my subconscious mind creates its own myth, thus Brunhilda Johanna N. was born.

Tienmouth, Print, 10 x 15 cm

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MonoMonoMonoMonoMONOCHROME

Art Exhibition - March 2018

V.23 - The Old Biscuit Factory, Block F, SE16 4DG