“20/20” and “20/20 vision” Visual acuity (VA) is acuteness or clearness of vision, which is dependent on the sharpness of the retinal focus within the eye and the sensitivity of the interpretative faculty of the brain. A vision of 20/20 is considered nominal performance for human distance vision.
Perspectivism Ortega y Gasset, an spanish philosopher who proposes that philosophy must overcome the limitations of both idealism (in which reality is centered around the ego) and ancient-medieval realism (in which reality is located outside the subject) in order to focus on the only truthful reality. This absolute truth would be obtained by the sum of all perspectives of all lives.
What is the relationship between 20/20 vision and perspectivism?
20/20 collective exhibition showcases the talent of a group of international emerging artists. Inspired by the idea of an existencial connection between 20/20 vision and perspectivism where each artwork represents an example of a variety of realities. 20/20 is a meeting point where photographers, illustrators and artists share their work of art at The Vyner Studio space to talk about cities, people, family, feelings and fantastic worlds aiming to reflect a variety of reality interpretations making up our daily lives to building up a novelty way of looking.
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20/20 collective exhibition Participating Artists
Gabriel Andreu Marina Ard Harry Bauer Jennifer Chapman Irene Godfrey Alicia Jara Langdi Lin Martina Mc Brearty Michael Piper Tracy Serrao Tor Simen Ulstein 7
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Gabriel Andreu ‘Untitled, Unnamed, Sold’ Photography. C-Type Matt 67.73cm x 101.6cm
Gabriel Andreu’s passionate search of new ways to express himself has taken him to work in the field of art. In his work he combines the roles of artist, director, actor and author; he uses media such as photography, video and performance. Notions of social art, identity and masculinity often crop up in Gabriel’s work. In his most recent projects he works from the perspective of family relationships and questions the meaning of being an artists nowadays. In his work Untitled, Unnamed, Sold (2012), Gabriel found himself in the difficult situation that students confront at the end of their degree. Like him most of these students were questioning themselves about their future in the real world. Questions related to the institution where they spent three years studying and questions about the meaning of being an artist in the twenty first century. Also questions about compromising their artistic integrity to carve out a career: Art for the sake of Art versus Art as a commodity? For this reason, he chose the two profiles of the same person and he placed them facing each other. Looking for answers.
www.gabrielandreu.me 9
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Marina Ard ‘Untitled 3’ Etching on Somerset Satin Paper 76X56cm
My work revolves around notions of storytelling, memories, heritage and family history. I employ printmaking to translate my thoughts into pieces of art as I have always been captivated by its traditions, methodologies and function in contemporary art. I have used my paintings and prints to portray the affiliation between memory and object; how they fade with time and how we constantly rebuild and append novel segments to each tale narrated to us. As a consequence, with the passage of time our memories tend to enhance, develop new meaning and become more magnetic and mesmerizing. I have endeavored to depict these moments since they progressively change as life goes on.
www.marinaard.com
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Harry Bauer ‘Scarlett Letters III 2012’ Acrylic, Oils, Pastel & Charcoal on Canvas 200x180cm Harry Bauer explores the phenomena of modern media and celebrity as they relate to women under the male gaze. He draws his images and ideas from early cinema, Hollywood and the today’s celebrity culture, critiquing the vanity and artificiality of the genre. Bauer’s intention is to deconstruct the sexism of these images and their manufactured glossiness: lipstick, nails, hair, all carefully posed and airbrushed to vacuous perfection. He has also experimented with earlier painting traditions, for example, using the classical triangle to introduce the theme of adoration, the woman as virgin and mother, a contradictory or alternative aspect of ‘invented’ womanhood. Bauer works quickly, allowing his emotions to take over. His canvases are large, giving him room to expand and take flight. Often the results are tumultuous, sensuous, intangible, even theatrical – an expression of his emotional journey across the canvas ground. For Bauer, painting must say something serious about the world and those who inhabit it. Bauer has taken issue with the frippery and shallowness of the celebrity culture and its lack of content and imagination. In doing so, he makes a powerful statement about the times we live in and his journey through them.
www.harrybauer.co.uk 13
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Jennifer Chapman ‘Flashbacks’ - no1, 2012. Acrylic paint and permanent marker on MDF and acrylic glass 30x30x18cm.
My current work is tackling the well documented and talked about issue of the sexual abuse of children. ‘Flashbacks’, is a series of 5 paintings depicting the dynamics of abuse within a family unit over two generations. This carefully planned and well executed series of paintings are dark, disturbing, very thought provoking and full of hidden messages. Flashbacks are a symptom of sexual abuse and the name on the gravestone in this painting is an anagram of abused and abuser. Each painting tells its story in such a pensive way that you can’t help being caught up in the tragedy surrounding the victims. Yet, in the same breathe, if you look for too long, you start to feel the fingers of dread and fear curling themselves around your soul. When viewed together as a whole set, each image then becomes part of a larger conversation revealing the cause and affect of abuse.
ryanrebekah@msn.com 15
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Irene Godfrey ‘As it was’ Oil on board 46 x 38 cm Irene Godfrey paints fragmented landscapes, investigating the interconnectedness of our globalised world. The increasing fragmentation of both society and the natural environment is at stake in her work. She employs chiaroscuro, a plethora of mark-making and the juxtaposition of images to emphasise the dynamism of the natural world and the forces unleashed when humans destabilise this status quo. A web of interdependence spreads not only across the globe but also backwards and forwards through time. What is happening today both parallels and is effected by Europe’s leap into industrialisation in the 18th century. While Godfrey is inspired by the free brushwork of contemporary artist Katy Moran, she also employs the influence of painters from the 16 th to the 18th centuries to express her ideas. For her the distant vistas featured in Northern Renaissance painting (such as the work of Gerard David) represent an idyll; while Rococo work, e.g. Fragonard’s ‘The Swing’ (1767), is more knowingly melancholy in its representation of an ideal that cannot last. Godfrey’s resulting fragmented landscapes are imbued by turns with a sense of vibrancy, beauty, melancholy, fragility and unity.
i.godfrey@ntlworld.com
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Alicia Jara Friend - Instants serie Drawing Pastel 60x50cm
My ‘Instants’ drawing work serie revolves around my memories, heritage and family history. Drawing was my first attempt to make art as a child and it has subsequently served to communicate, explore, and record unrefined ideas, as well as currently working as a formal, final, and personal statement of expression and communication.
Aliciajaraalfonsomolina@gmail.com
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Langdi Lin Blooming Body 150x150x150cm Textile/garments/video
How can body movement bring a new perspective to transformable textiles? Project which aims to combine human body movement with the experimentation and manipulation of different transformative materials. Generating textiles that can move and change through manual interaction, I hope to engineer garments that look to exploit specific areas of body movement to create unexpected material transformation.
www.wix.com/mlangdi/ldlin
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Martina Mc Brearty SAMSARA Oil and mixed media 76x 51cm How we see the world and how it actually is, fascinates me as an artist. I believe that science and art ask the same questions about the world which surrounds us. My paintings question the reality we live in; the constant changes and fluctuations in nature and in society. The past merges with the future through evolution, biologically and culturally. I am interested in natural science as well as social science and question the constant friction between the two. I am inspired by images of cells and amazing creatures such as the iron snail, that has managed to survive and evolve in a totally hostile natural environment. This is also through for the human state in that we are constantly struggling to adapt and evolve not only in the natural evolutionary world but also in the artificial human world. In the past I have worked in various art mediums; canvas, installation and rayographs. I attended Belfast Art College where in my final show I had an installation piece consisting of thousands of scientific drawings photocopied and layered to make an illusion. Therefore, I have always been fascinated with the science and its vision of the world. Most of my work now involves painting in mixed media, but I am a multi media artist and have future projects which will involve more three-dimensional pieces.
martina.mcbrearty@yahoo.co.uk 23
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Michael Piper Dover 30x40 in Digital print Michael’s current work are typologies which combines two subjects:- The homeless and social housing. Separately the projects were named Hundreds of Windows Hundreds of Lives and The Look Just like You. While shooting he realised that they were linked and decided to combine both projects under the title Street’s in the Sky. They Look Just Like You is an project inspired by the work of Jacob Riis, Michael has tried not to glamourise or turn his sitters into heroic examples of the poor. He has tried to hunanise his sitters by engaging and photographing them in their own environment. Hundreds of Windows Hundreds of Lives looks at social housing namely tower blocks, influenced by the Bermd and Hilla Becher who captured disappearing architecture in Europe and America. Although tower blocks are not completely disappearing from the landscape, Michael feels that these brutalist structures which where once thought of as the new utopian solution to help London finally end its housing shortage have become more associated with crime, poor living conditions, anti social behavior and reported as not fit for purpose unless inhabited by the upwardly mobile. London based photographer Michael Piper combines together projects dealing with social housing and homelessness. In his practice he address two questions; that social housing is seen as inferior, and the other question being are they still useful for all members of society? Michael’s homeless images reference the work of earlier documentary photographer’s such as Jacob Riis. Michael has added a modern contemporary twist by shooting using modern colour media.
www.michaelpiper.co.uk 25
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Tracy Serrao Self- Portrait, Untitled #8, 2012 13x18cm Stitching on Photograph In this series of self-portraits, Tracy Serrao explores her identity. Using a long exposure, she creates purposefully blurred portraits. In the blurred movement, she becomes partially hidden. Leaving only a trace behind, Serrao sews onto her photographic self, concealing herself further. She stitches onto the photographs, depending on the result of the blurred movement. Often stitching over what can be seen, and adding what cannot be seen. Serrao started using stitching to create different characters onto her photographs, which continued into this new series. In her other work, Serrao has taken on other roles, playing different ages and genders. Also creating selfportraits dressed as family members, as well as recreating old photographs of her younger self. Serrao is interested in disguising her appearance, which can be seen throughout her work.
tracyserrao.wordpress.com
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Tor Simen Ulstein “You lose, you lose it all�, Toten, 2012 70 x 50 cm Digital Print
The stories that come to me all have a narrative and are mainly about the lives of different people in their every day situations. The sets for the images come from thoughts, experiences, media, and the slow days in front of the black box in front of me. I leave it to the viewer to interpret the light.
www.ts-ulstein.com
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Cover design: Ver贸nica Garc铆a Catalogue design layout: Patricia Puertas @The Vyner Studio, 2012, London
20/20 collective exhibition
Contact us Iker García Barrenetxea Patricia Puertas Verónica García
The Vyner Studio 1 Vyner Street E2 9DG London UK
info@thevynerstudio.co.uk www.thevynerstudio.co.uk +44 (0) 7588103923