by David Saric
The paintings of the four artists: Joseph Cach, Ashley Johnson, Mahmoud Meraji and Marcelo Suaznabar are visually united through their uncanny subject matter, evoking images of fantastical landscapes and imaginary beasts
by Emese Krunák-Hajagos
“In my paintings the beauty is in looking and not necessarily what you are looking at….What matters to me is how these things are given shape through the fundamental principles of light.”
by Josephine Mwanvua
Sally Thurlow currently has her solo show, titled At The Root, in the Red Head Gallery, that brings up present-day environmental problems as well as feminist issues.
by Tetyana Herych
Fischer reverses the time saving process of printing art on demand, and decides to become the tool itself, that produces on demand.
by Simon Termine
What becomes increasingly evident throughout Coupland’s works is his injection of personal perspectives, criticisms and obsessions, rather than adhere to more common arguments.
by Brinae Bain
His collage-like technique leaves behind a compendium of textures, shapes, and lines that form together to create an incredibly detailed scene. Almost tactile, it is this aspect that provides Lynch’s works with a sense of depth, one that vehemently projects a sense of ‘place’
by Madeleine Till
2015’s annual installment of The Sex Show proved to be an entertaining and perhaps voyeuristic take on the subjective experience of sexuality, sensuality, and eroticism.
by Mitch Billinkoff
“The Paradox of Power”, the centerpiece of the show, is worth making the trip on its own. The work is both ambitious in its technique and scale and can only be truly appreciated in person.
by Joséphine Mwanvua
I highly recommend talking with these two artists if spirituality, the body and soul are topics that interest you because they have very interesting perspectives.
by Josephine Mwanvua
Although the gallery’s definition of the exhibition labeled Mizuno’s art as being a series of food fetishes, she says that she simply adores drawing women and food, and has always loved to since childhood.
by Kate Pendergast
It is an interactive catalogue, a look at a financial market dystopia that has been pulled apart and magnified.
by Elena Iourtaeva
Together, the two venues put each other’s modes of display in perspective, opening a discussion regarding the contemporary museum experience and permitting a more engaged approach to the show as a whole.
