Catalogue Landscape A4

LANDSCAPE

A4 GALERIA KRABBE 15.04-08.05.2017

GALERIA KRABBE · C/ ROSARICO LA JOAQUIN, 12· ES-29788 FRIGILIANA (MA) www.galeriakrabbe.com / galeriakrabbe@gmail.com

ARTISTS: Paco Aguilar Kirsten Merete Brøndum Anne Juul Christophersen Zinnia Clavo Jose Antonio Diazdel Djoma Djumabaeva Marianne Frank Jan Ulrik Friis Tine Helleshøj Søren Kent Caroline Krabbe Mette Rishøj Dorthe Steenbuch Krabbe Luise Haugen Fernando de la Rosa David Sancho Erik Tönsberg

LANDSCAPE A4 This is the very first time that Galería Krabbe shows a collective exhibition with the Landscape as a theme. We have actually done very few thematic exhibition, since we opened the gallery 14 years ago. Sometimes we have asked the artists to present their work in one specific size, and this would bound them together, to organize the variety of expressions.

In this occasion, I have asked a group of artists, whom are not necessarily figurative or neither they usually do work with landscape as their theme, or in this size, to depict a A4 size landscape. The medium is free, but it should be made on cardboard or paper. One of the artists has made a tridimensional landscape, a sculpture in stoneware.

I find very interesting to challenge the artists to get out of their comfort zone and sometimes forcing them to think different, but still being who they are and recognizably inn their style. The idea is getting out over what really could be done with closed eyes, because they have made this 100 times before, and having to create under different facts. It can feel unpleasant, uneasy and sometimes it might be really difficult. Maybe this is why, not all of the artists whom I have invited to participate, wished to do so.

A landscape can be many things. An interior landscape, a memory of a / or an imagined landscape, it could be something abstract, or a result of watching a natural scenery and making sketching on a note block. Anything is valid. Anything goes.

Very variated ways to "tell" a landscape, made by 17 ar tists, of Spanish, Danish, Swedish and Russian nationalities, are waiting to come up on the walls.

It is very exiting for me, to welcome you to the opening of this experimental exhibition, showing around 40 pieces of art, on Saturday, April the 15th, between 12 and 14 h.

Caroline Krabbe, April 2017.

PACO AGUILAR Paleta transparenteLa mirada de Paco Aguilar nos acerca a un universo sutil, silente y evocador, en el que, muy lejanamente, se atisban rememoranzas de Yves Tanguy, contempladas con un color de dominante apastelada y sedosa, dejando el fluir de las formas en un estado de imprecisión y de costumbre que recuerda los espacios de silencio en los que habita el desierto. Espacios en fin, interrumpidos por interferencias muy leves, cuya singularidad nos acerca al ojo ciertas referencias de un caserío transparente y trascendido hasta hacerse entroncar con oriente. Es ahí, exactamente en ese punto de encuentro entre la observación y la realidad de las obras de este artista, donde sorprende más el que hacer de este pintor y grabador mediterráneo malagueño, cuyo territorio observo ocupado por la penumbra más que bañado por la luz y por el sol que de seguro acompaña la vida de éste creador de imágenes. Y es que, lejos de cualquier precisión, las imágenes de Paco Aguilar se nos acercan desde un mirada interior, mística y lejana; como envueltas en una palidez de cera, sosegada y leve en las que las pinceladas producen cierta sensación acuosa y atemperadas calidades. Así un sentido de insinuación fluctuante que muestra las formas como si deseasen estar vagamente recordadas. De forma aparecida, el artista nos descubre un mundo que más que estar se insinúa al conocimiento, desvelándonos lo inquietante de la austeridad. Luz, la justa para ver, formas, las precisas para la sugerencia... Lo demás pertenece a una realidad que se afirma desde si misma, a la que le hacen bien los pequeños y medianos formatos que son, por otro lado, los que corresponden a las obras mostradas.

Agustín Muñoz - Periódico de Jaén

Agustín Muñoz · Periódico de Jaén

KIRSTEN MERETE BRØNDUM Kunsthistoriker mag. art. Anne Lie Stokbro: Kirsten Brøndum undersøger et af modernismens klassiske motiv. Maleri, olie på lærred. I Kirsten Brøndums landskaber erstatter farveforløb og linier den traditionelle rumillusion, og motivet breder sig tydeligt op ad på fladen frem for ind ad i et fiktivt billedrum. Fornemmelsen af nær og fjern ophæves af og til i spejlinger af enkelte elementer, og den ensartede penselskrift over hele billedfladen understrejer flade frem for rum og pointerer, som et modernistisk værk skal, at det malede er selve værkets kerne.

ANNE JUUL CHRISTOPHERSEN Anne Juul Christophersen lets a little girl act as her own, as well as the beholder sĚ alter ego, in the wonderful scenarios she has created.There are memories and inspirations from folklore, A.A. Milne and a thousand other stories.The dangerous bear is huge and yet kind and the paintings are full of pheasants, hens and rabbits. Fairy tales and lived life on all emotional switches.The artist has hugely evolved her technique as well as her artistic expression in an intriguing direction. She plays, she creates details or ornamental patterns. She masters, what she does.

ZINNIA CLAVO Zinnia Clavo no necesitó elegir su profesión. Nace en una familia de artistas, desde niña descubre que este es el mundo que le apasiona y le atrapa, y del que ya nunca podrá separarse.

En la pintura de Zinnia se respira el Mediterráneo; su obra está construida sobre una figuración de formas enigmáticas que rozan la abstracción sin penetrar en ella, sólo la acaricia. Su pincelada sensual crea un cromatismo etéreo que embriaga los sentidos, los encanta hasta tal punto que es fácil percibir el sabor, el olor, el sonido del mar y la evocación de sus orillas y playas. Efectivamente los temas de Zinnia se alimentan de Naturaleza, formas, luz y color. Zinnia se desliza por el lienzo en un baile rítmico, proyectando su interior repleto de deseos; hay ternura, dulzura, intimismo en la textura de su pintura que, a veces, choca con un punto sutil de agresividad. Esa dualidad hace su obra compleja y atractiva.

Blancos, azules, ocres y profundos negros engarzan luz y color en manchas delirantes y trazos llenos de fantasía desbordada, emanada de un mundo onírico, interior, individualista y emocional. Todo ese color es una explosión exultante reveladora de espontaneidad y frescura, donde la pintura es pintura y el pigmento sin aditivos o experimentos se hace arte total. Su estilo vital y elástico no tiene referencias, por ello la pintura de Zinnia es ella misma.

Elliott Ed. Wind

JOSE ANTONIO DIAZDEL The painting of JosĂŠ Antonio Diazdel (Malaga, 1954) can be framed within Expressionism. His characters, who look at us in amazement, curiosity, challenge or mockery, are the first point of attention, although we sense that there is something else. If we could eliminate them (new technologies allow it), we would have a perfectly constructed abstraction: there is "something more"; But that trick should only be transitory, because we need both elements: the gaze of the characters and the space to which they flee or go.

DJOMA DJUMABAEVA I was raised in a mountainous region, grew up surrounded by unspoiled nature, and all that had become part of me. My memories and dreams sometimes take me back to the places of my origin, where people lived in harmony with trees, grasses, animals, birds, and the mountains themselves. A type of magical beauty surrounded all of us then, and the clock of time seemed to all but have stopped.

Where my dreams take me, the rivers are cold, the landscapes are clean and pure, and animals are warm. I started painting and drawing at an early age, as nature seemed very colorful and bright, and naturally, I wanted to try and capture it. Which I still try to this day. People and animals that appear in my artworks, they all come from my childhood memories, they make the islands of my canvases habitated, and I like that. The process of art for me starts with joy of observing the beautiful world of nature in it's harmony and rythm, and then I try to capture that joy and present it to my audience in form of an artwork.

MARIANNE FRANK Like all my art this work is made from the human perspective.For the Landscape A4 exhibition 2017, I went for walks in my daily surroundings, exploring the moods, views and textures of the English landscapes.I made the pieces on photographic paper, using oil-sticks and scratching technique. I find that this technique is very effective in describing and expressing a feeling, a mood, or a texture, whether it be in our lives or in nature around us.I find that texture in art, as well as in life, brings depth and perspective.

JAN ULRIK FRIIS Jan Ulrik Friis leads in its expressive images viewer into a new world, new experiences and a cascade of explosive colors and shapes, an adventure inspired among others from many travels. Impressions from Spain and France are reflected in his works, a game between the warm and cold colors. We can feel the scents of fruit and trees, the taste of the colorful diversity of villages and announce ocean blue shades for a warm, lavender-scented sun.

Moreover, when we experience his travels in the Nordic region, where we are confronted with small fantasy animals and mythical creatures hiding in magical pile green and mossy troll forests, among pines and birches in small streams, rivers and lakes scattered like silver in the sun's glare, tomorrow light or evening to explode in a orgy of orange-red color. Sometimes we catch sight of a animal a bird or anything else that looks at us from his pictures. It is nature's own rich spectacle we experience through jan Ulrik Friis images.

Here nothing is left to chance. Brush Strokes, shadows, fields and lines are full of life, create a dynamic that brings together his painting, creating new patterns and effects in each picture. If you look at his development, so it seems as if his creativity and production are endless. He thrives in the majestic mountain environment, with its faithful and imaginative mythical creatures like vildvitre - mythical creatures and trolls.Â

TINE HELLESHĂ˜J Landscape ! A4 ! Both words and limitations that sounds frightening to me. I work with portraying people... in big scale. But nature lies within us. With the challenge ahead it seemed that the most unnatural thing for me,... nature, came naturally. Every shape we can ever think of, in life, technology and art, comes from nature.... everything you can ever imagine, have already been thought out, calculated and shaped by (mother) nature. I have been working with a strict cubist theme. You don`t have to paint all the leaves and the straws to recognize the atmosphere of a landscape. You can, as always with the human brain, cope with a pictogrammic perspective. So it became my mission to cut nature to the bone... a task that can sometimes bring more challenges than putting endless hours of dedicated labor into a piece of art, but will stand strong and interpreted. Because every move counts.... even more.

SĂ˜REN KENT Soren Kent’s paintings are characterized by swift, almost aggressive stokes of the brush, by strong colors and dark tortuous forms which are swept, spattered or scratched upon the canvas.

CAROLINE KRABBE The images carry a meditative mood of calm, but the mind can also be headed onto a touch of loneliness, where everyone is on their own. Perspective shifts play with the viewer’s attention.

Landscapes and sceneries are deliberately changed and representations of elements distorted, challenging the idea that the images correspond directly to a particular place in reality, and bringing them closer to a magical reality.

Caroline Krabbe

METTE RISHĂ˜J As humans we often feel like we're the centre of the Universe, but in Nature we're so small, we almost mean nothing. And even so humans have such big impact on Nature. A lighttower symbolizes how man has tried to conquer the dangers of the ocean for centuries. It is a beautiful, almost majestic building, rescuing sailors and fishermen, throwing light round and round, eternally and visualizing Natures Eternity

DORTHE STEENBUCH KRABBE Being nature
 By processing the clay in a way, that can be read as gentle and sensual in one place and rough and unsentimental in another, Dorthe Steenbuch Krabbe is creating art objects with an exceptionally strong charisma. They can simultaneously express something rough, untamed, limp and disturbing - almost ruined - and something else, that is rigorous, sensitive, fragile and tight.

LUISE HAUGEN Luise Haugens paintings are in continual transformation. They are lyrical pieces of art revealing a variety of different elements and fragments, allowing individual interpretation. Visual poems. New layers and patterns appear continuously overwhelming the viewer with stories and associations, transpiring passion and deep enjoyment of the creative process. The combination of acrylic painting and collage gives the paintings a strong tactile and visual quality. The paintings behold a visual resemblance of what you can observe from a kaleidoscope, a constant change. Luise Haugen grew up in Frigiliana, Mรกlaga, but moved back to Denmark when she was 20 years old.

FERNANDO DE LA ROSA Para mí, el paisaje es un encuentro con la luz nueva de sensaciones antiguas. Una superposición de imágenes entre lo que está afuera y lo que vive adentro; dos inmensidades que se encuentran en el encuadre preciso de un momento. Una sutil construcción del alma, a la que gusta registrar las secuencias de nuestro curso vital.

DAVID SANCHO Writing on the landscape. ... A landscape is a state of mind, in which the stain, the gesture, the color, the line, the plane are resources to express vitality or blackness. As a mirror of reality where space can be breathed, the forms closes and opens in any plane to show the intersection of crosses (in many cases) or moves to articulate the composition. For me the color is the most outstanding feature, showing it in it's purity and in it's mixtures as requested by the canvas. I like to study the color with extreme meticulousness and the results may seem discordant but at the end they acquire a risky and balanced composition. In most cases the color overprints, which in many cases are structured by simple lines or dots. Many times I like the viewer himself to be the one who finishes the work and often even the title.

ERIK TĂ–NSBERG Erik Tonsberg Stockholm 1949. Living and working in Spain. Visual artist working with abstract and realistic painting, photography, video and sculpture. Works are in private and public collections in Europe, Russia and America.