ONLINE 'OPEN CALL#3' ISSUE 4 Part 1 by LADIES DRAWING CLÜB

From the editors

LDCLÜB is an independent artist-run and ad-free international online publication dedicated to showcasing and promoting experimental young contemporary art, which reflects the development of art on its early stages. This very moment - in which the artist expresses himself aiming for self representation and development, still testing what he is capable of, playing with different mediums or exercising only in one - has always been considered as one of the brightest periods in most artists’ biographies. The early works identify an artist. This period is the most outstanding and terrifying at the same time. We made it our mission to fixate this exact period of artists’ lives keeping memory of all the formation phases, meanwhile supporting them in the present moment. We feel so much energy in young female art today and take it as our mission to detect and present their works and stories. We are happy to present you our new edition - Online Open Call 3 ISSUE 4. Once again it became a real adventure for us. Artists/ladies from all over the world sent us their applications. Working with young and independent art we aim to find and support unconventional, unique, comprehensive and fulfilled, something we feel close to or something that we even don’t understand. In this edition we gathered painters, illustrators, photographers, sculptors, who showed us another point of view, another aesthetics. We see the importance of our mission particularly in supporting ladies as we consider female art as one of the pivots of contemporary art nowadays, as the voice of our time. Slowly but surely we are creating a community of exhibiting artists/ladies.

FIND MORE ISSUES ON WEB ladiesdrawingclub.com ALL INQUIRIES You are welcome to submit an article, review or interview for consideration for online or print publications. Please send us an email to heyldclub@gmail.com

Part 1

Katerina Lukina

кадр из фильма «мурашевский дом», незакончен

Katerina Lukina Что вдохновило тебя стать художником? Это произошло на втором курсе университета с приходом нового преподавателя. Он повлиял на меня не как художник, а как человек -"художник в душе" (это моя личная классификация особых людей). Он дал ощущение, благодаря которому я обрела ясность и открыла то, о чём всегда догадывалась. Именно тогда началось моё осознанное искусство. Первое воспоминание о рисовании из пятилетнего возраста. Тогда я была ближе к тому, что делаю сейчас, чем в любой момент до второго курса. Какие концепции и идеи ты транслируешь? Все мои проекты о внутренней необходимости выхода за пределы, где всё направлено на своё. С какими медиумами ты работаешь? Почему?: Я работаю не с живым материалом, а с цифровым изображением, а печать на металлической пластине превращает произведение в объект. Выставки, резиденции, коллаборации, публикации... что происходит в твоей жизни сейчас? Не так давно закончила большой книжный проект. Это авторская книга, основанная на моем фильме. Участвую в различных open call, печатных маркетах, маленьких независимых выставках. В январе дала интервью зарубежному журналу. Существуют ритуалы, которые ты повторяешь в творческом процессе? Не могу перевести на обычный язык. Расскажи о работах, которые ты отправляешь нам. Это несколько работ из разных проектов. Из книги, фильма и цикла произведений, напечатанных на металлической пластине.

выступление ое: «воротник пристрастий» (из серии «концерт в клубе семена»), печать на металлической пластине 50х35, 2020

выступление ое: «устьичная щель» (из серии «концерт в клубе семена»), печать на металлической пластине 25х35, 2020

Alice Suret-Canale

‘Painting as a matrix’

“Wide reading”. Acrylic painting, 100x80cm . 2019

Alice Suret-Canale My interest in art and painting goes way back my father Michel being a painter, as was his grandmother Thérèse before him. I received great encouragement from both of my parents towards arts and cultural education and used to draw, paint and have fun tweaking digital images when I was a child in my father’s studio. I see the painting as a matrix. Within the frame, displayed as a firm border, my desire is that an alternative reality, a figurative one, would be able to emerge, relieved from our usual rules of space and time. Since last year I have been working on this principle with the "Compressions" series. These paintings, from 5cm to 1m30, focus on the figure, the body and its relationship to intimacy. The underlying subject is gestation, establishing a link between the maternal gestation ‒ pregnancy and revolutions it produces in the body and the spirit of the future mother, and in the intimacy of the couple ‒ and the pictorial gestation ‒ movements and transformations of the painted patterns and figures. I’m also using animation to explore this subject, adding in my GIFs the constraint of time to the constraint of space, imprisoning my dancing characters in a never-ending loop. I work with acrylic which I like for its fast drying property. It enables me to play with multiple superpositions of dried layers and flat color surfaces. I choose acrylic because it is not as sparkling and bright as oil: its raw aspect forces you to find a strong composition and color balance. I’ve also been more and more interested in using reclaimed wood board as supports for painting. I live in Paris and it is very simple to collect plywood, medium board or solid wood from the streets. It’s a warm and sensitive surface and I like the possibility of curving to regain blank areas.

“Compression 3”. 116x73cm, 2019

“Compression 2 they were reading a book while cuddling their feet ”, 50x70 cm.2019

“Compression 9 the ﬁerce hour”, 130x97cm . 2019

Alice Suret-Canale

“Compression 11, Expectation”, 80x43cm . 2019

What already happened in your art career/life? Residencies, exhibitions, collaborations, publications? What is really important to you? My ﬁrst painting solo show took place in Corsica in October/November 2018. Although modest, this exhibition was a great moment for me as it concluded a one month painting residency. Working in plain air, being away from my small studio in Paris and confronted to those gorgeous Corsican landscapes deeply encouraged me with my practice. I presented my work in 2014 in Monthey, Switzerland, and in the museum of contemporary art in Taipei, Taiwan, as a part of the collective exhibition “Imaginary landscape II”. When I was focusing on digital art and animation I had the opportunity to present the work I did with my collective in several ﬁlm and art festivals, such as Annecy (2013, student competition), Clermont ferrand (2014, national competition) or Ars Electronica (Prix Ars Electronica 2013, computer animation and vfx category). Do you have any rituals while creating art? Nothing fancy, but when I paint, my great pleasure is to listen to something, music or podcasts, that can help me focus and cheer me up. And of course there's always some cold coffee mug not far from me, and I constantly try not to confuse it with my brush pot. What do you plan in future as an artist? I’ve been invited to Corsica this summer to participate in a small painting festival and collective exhibition in Levie. In the meantime, the plan is to develop my series of tiny paintings, exploring possibilities to combine painting and animation, and approaching the idea of series maybe more as an animated sequence. Tell us about your works you attached. The works I'll send you are all part of my "Compression" series, from tiny format to larger ones. They are mainly acrylics on various supports, medium panel, plywood or canvas.

Jade Moulin

“Mornings are the same”, 50x50x20cm. 2019

My relationship with art has always been present. My father is an artist himself, which gave me the desire and hope for being able to live from what I love. The pleasure of doing this job comes from the desire to share my daily life. Take up, capture what constitutes my environment. I work on my environment. The habits, objects, colors, materials that I see every day, or that I discover every day, is a source of creativity for me. Daily life is the beginning of all the work. What mediums do you work with? Why? I work with several mediums at the same time. Each medium provides an answer. I use photography to capture the moment, sculpture to reproduce in my own way, painting to create new images. The complementarity of all these mediums is very important to me, it makes me free. In my school we were taught many different techniques. This gives me the opportunity to translate my feelings by different tools. Do you have any rituals while creating art? Creation is already a ritual. An action performed every day. A necessity. When I work I like to listen to the radio and drink tea. Comfortable clothes are important too. Other than that, no ritual really exists. Tell us about your works you attached. The works I sent by email correspond to a selection of different mediums to represent my practice. I find that they have a link by the pink color (which arrived by surprise after selection of the works), affinities are made between each. The daily life occupies a very important place for me, it is an everyday job. Every little thing is a possible piece of work. That's why my projects are never predefined. I let myself be surprised by everyday encounters.

Jade Moulin

“Dimanches”, 50x35x12cm. 2019

“Untitled”, Digital photography. 2019

“THANK YOU,” 47x30x18cm. 2019

“The smell of dust a er rain”, 40x50cm. 2019

Holly MacKinnon

“For Hands, For Plants”, oil on canvas, 24 x 30 cm. 2019

“Crying In The Sunshine”, oil on wood, 8 x 10. 2019

“Rose Man In Spring”, oil on wood, 24 x 30. 2019

I read a lot, especially fiction, because I'm interested in stories and particularly the stories that people invent. I like to think of the paintings as my own invented fairytales, full of strange misfits and conflicting emotional plot twists. I think that all painters can do is try to explore their own lived experience through paint. There are certain subjects that I am attached to because they relate to me and my life. Here are a few examples: human interaction, romantic vs platonic love, the human relationship to the environment, the demise of nature, emotional health. I do my best to create a visual experience so others can see parts of themselves reflected in the work. Viewers often create their own narrative for my paintings, or they feel a certain emotion very strongly. I love that interaction. I mostly work with thin layers of oil on canvas or wood, often with a solid ground of acrylic to start. Lately, I have been doing some watercolour as well which is challenging for an oil painter. I enjoy working on both large and small scale works, often simultaneously. Do you have any rituals while creating art? I don't have many rituals, but I do usually listen to music or podcasts while painting. I spend the first few minutes just looking at the work and thinking about the next steps before acting. Paintings often start the same way, with a solid acrylic ground in a bright colour, and the layers of oil to follow are often very thin, washy and applied very intuitively. Tell us about your works you attached. They are all paintings from 2019-2020. Some of them are from my residency at PADA Studios in Barreiro, Portugal in February 2019 (images #1, 3 and 6). The rest were created in my studio in Montreal over the last year.

Frijke Coumans

Watermelon

Roses aren’t red, violences is blue.

As a little girl, my parents gave me a disposable camera every time we went on holiday. When I think back, I can hardly remember anything but that I've always loved taking photographs. I just didn’t know anything about the possibilities and versatility of the medium. When I got accepted at the art academy I was only focused on painting and writing, but soon I discovered the department of photography. In the first year, I found in the library a photo book of Wolfgang Tillmans. That has really been a turning point for me. I realized that there was a form of photography, in which the coincidence of the ordinary days was turned into something new, and that there were endless possibilities to do so. Since that moment I started photographing everything around me. Life and photography became entangled and I cannot think of a way back now. What concepts and ideas do you explore? The makeable world with its consumer society feeds our desires. Appearance comes first. Against complete makeability is that what you can’t manipulate, that what eludes us, the other. Eros drives us to get to know something outside ourselves, to enter the space between us and the unknown, of which photography may capture the light. I believe that Eros is at odds with the makeable world. This contradiction is the starting point for almost all my projects. Makeability doesn’t result automatically in satisfaction. Often, I have no idea what I want, and it is precisely the unexpected that makes the days special. The satisfaction of control is short and kills our imagination. Imagination is essential in desire. That which you cannot comprehend, that which withdraws itself from you, feels like an emptiness that needs to be filled. Desire always implies a need: at the moment that the need is met, the desire has gone. The relationship between the not-knowing, not comprehending and our continuing desire seems very important to me. This can also be expressed in photography. That also ensures that you have to use your imagination, to think of all possible missing pieces in yourself. My photoseries form a collection of all the information that I have collected and then visualized, from philosophical considerations to diary-like observations. Imagination has the most important role: desire exists in what we imagine. Agitation in my head and unanswered questions do not fit in harmonious and controlled environments. Unanswered questions represent a need, and fuel my projects and correspond to desire. My photo series are full of chaos, not-knowing, impressions and questions, lead by an apparent makeability born in the mind, which however cannot be controlled.

Frijke Coumans

Le Paradis Le Paradis Cest ICI

BARAGAZZI

GARDENERSOFDESIRE

Luli Balboa

I approach the drawing as a primary projection of the human being, which I later transform and deform through technological mechanisms (cellular, computer programs, impressions). The idea represents how technology advances over our thoughts and deforms them into something else. In my drawings you can see that something always happens, as happens to all human beings. Do you have any rituals while creating art? I need to be alone and silent. In daylight, drawing, with natural light. I work with the computer at night, before going to bed. My process is drawing, computer technical drawing in general. Tell us about your works you attached. I draw my feelings that come from the disease that I have. I draw quickly as a way of downloading. Then I pass the computer drawings and deform them until I ďŹ nd an image that interests me. I draw it in large format and with technical drawing elements as if it was a print. Some drawings I cut in laser mdf and work with spray on paper with them.

Luli Balboa

“Untitle”, ink on paper, 150 x 100 cm . 2018

Zahra Mohamadi

‘ask questions and not judge’

Zahra Mohamadi

“Unknown”, mixed material, 30.20.45 cm. 2020

“Unknown”, painting on ready made, 17.17.39 cm. 2018

“Unknown”, mixed material, 30.20.45 cm. 2020

Zahra Mohamadi

â&#x20AC;&#x153;Unknownâ&#x20AC;?, mixed material, 15.10.35 cm. 2020

I loved art since I was 5 years old. And I wanted to be a painter. I followed this dream. I went to the Fine Arts art school and studied painting. I studied sculpturing at Art university. After that, I rented a studio and started making artworks. Art is my best way of expressing my concerns. And that's why I used art to express my feminine identity. Art is the media through which I can speak about women's problems. My main concern in personal and artistic life is women's issues. The best way I could express my concerns was the visual arts. Especially the sculpture. I believe that art is the most influential way of expressing myself. In most of my work I just tried to ask questions and not judge. Basically the artist's job is to design the theme. What mediums do you work with? Why? I use sculpturing in most of my artworks. Because it has three dimensions and the audience can understand it more. Do you have any rituals while creating art? Yes, in general, form has a special place in my artworks. To create and produce an artwork, I first look for the main material. During this process, the main concept of artwork is formed. After finding the material I want, I start to build. In many cases I use ready-made objects and add details. But I use more than ten methods in the manufacturing process. What do you plan in future as an artist? I want to be a better artist every day and embody more of my concerns. I want to have more audiences so my audiences think about my concepts and my artworks influence them. Tell us about your works you attached. All insulting experiences are based on the gender of feminine. Female bodies are our cages. Our gender, our body and our identity are their battle ground. We are waiting for your violence / rape . come in . We are always welcoming you.

Thank you for reading our ISSUE 4, Part 1. ISSUE 4 Part 2 - 12/03/202 LADIES DRAWING CLÃ&#x153;B