Lysandre Begijn (Belgium), Peter Jeppson (Sweden), Amaya Suberviola (Spain),
Qin Tan (USA) and Johnson Uwadinma (Nigeria)
Until May 26, 2021
Chopinstraat 31, Amsterdam The Netherlands
Marian Cramer is pleased to present an exhibition of works by Lysandre Begijn (Belgium), Peter Jeppson (Sweden), Amaya Suberviola (Spain), Qin Tan (USA) and Johnson Uwadinma (Nigeria)—the first time these five artists have been featured together. On view at Marian Cramer Projects at Chopinstraat 31, Amsterdam, The Netherlands, LET’S CONNECT places the artists into dialogue around their expressive use of color and light, and their distinct versions of contemporary painting and sculpture. Born in the eighties and nineties —in different parts of the world—the five artists came of age outside of the dominant centers of the art world, internalizing the spaces and light of the their past and present experiences as well as current events. Working in painting, installations and sculpture, respectively, each work exploring internal dialogues and methods of expression that are observant of what it means to be human in the present day and challenge the traditional boundaries of their media in search of a new form of expression. Though all artists practices occupy differ, they find common ground in their sharp sensibilities and distinctive eye for color and the never-ending intrigue of human co-existence.
After her studies psychology, sculpture and mixed media, Lysandre Begijn took up painting. Her work, which bears an affinity with installation art, embodies a strong connection between the psyche and art. While much of Begijn’s painterly work can be defined as abstract, her recent body of work strongly tends toward the figurative. Faces – or masks – is what instantly comes to mind. At the basis of these colorful ‘faces’ is an assemblage of abstract, flat painted forms and scraps of textile material.
Peter Jeppson is a self-taught visual artist from Stockholm, Sweden working within the field of figurative art. The graffiti background is clearly visible in the bright contrasting colors, the humorous titles as well as in the techniques being used. The most obvious similarity between Peters art and graffiti are however the approach to art and how to create. It is experimental, anarchist and naive. Jeppsons techniques varie but recurring influences and objects feature cartoon like figures as a source of inspiration.
Motivated by the consumption and manipulation of digital images Amaya Suberviola deals with painting from a contemporary point of view. Her paintings show elements like curtains that dialogue with stains or lack of visual information. These forms hide and show, they question what is the figure and what is the background, what is positive and what is negative. Watching and unveiling, hinting and intuitition lie at the centre of her works.
Qin Tan was born and raised in Beijing, China and is currently based in New Jersey, USA. Tan’s work is often introspective, exploring internal dialogues and methods of expression that are observant of what it means to be human in the present day. For Tan, color is an integral element of her practice. The subjects of her paintings range from surreal landscapes to symbolic stick man figures that occasionally morph into different objects and tools. They reflect and capture life in its most pure and primordial form—blue skies, green grass and a conscious observer that is looking for answers and meaning.
Johnson Uwadinma’s work offers an opportunity for him to reflect on historical and sociological issues with particular heed to how society affects his individuality as well as the profound impact of today’s contemporary culture. In that regard, Uwadinma explores politics, religion, collective memory, consumerism, and Nigeria’s chequered historiography. He often employs fragmented hues, invented and known symbols, letters and alphabets, as a means to tickle the imagination of the viewer in a process to urge recollection and a journey through memory. Looking into relationships and cohabitation, Uwadinma seeks to explore where we have gone wrong and offers an opportunity, through his work, for discourse and dialogue towards problem solving.
Events offer opportunities to ruminate on historical occurrences and narratives that have shaped our lives and the worlds trajectory. In exploring these trajectories he uses the body as a marker of identity and experiences, a reservoir of memory, and the inexhaustible ways that gestural pose could reflect times. How the body is perceived offers an opportunity to review questions around identity profiling and the politics of subjugation. Uwadimna’s work examines these and offers a springboard for a better enriched dialogue and understanding that is laced with empathy and support.
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