Rosa Loy is a member of the so-called ‘Neue Leipziger Schule’. Her work predominantly depicts women in phantasmagoric compositions; blushy women of socialist realism that appear in Kafkaesque mise-en-scènes. Reminding of western art historical female figures, however they never find peace in static posing. They are women caught in the act of movement, as if the world is run by them alone. Loy grew up between east and west Germany, in between the shift of communism to capitalism. An in between that involves a socialist realist style of painting from former east Germany to articulate an idea of feminism, yet motivated on a personal intuitive level of interest.
Rosa Loy was born in 1958 in Zwickau, (east) Germany.
Gareth Nyandoro’s art practice is marked by the urban sphere of Harare, Zimbabwe. He creates portraits of individuals or glimpses of vibrant daily life activities, often situated or referring to places of economical exchange. Within his work he alternates and combines three dimensional objects and two dimensional collages, by using a various pallet of found, on-hand materials, and ad hoc and traditional craft techniques, dubbed by himself as ‘Kucheka cheka’, after the infinitive and present tense declinations of the Shona verb cheka, which means ‘to cut’.
Gareth Nyandoro (b. 1985) was born in in Bikita, Zimbabwe and currently lives and works in Harare.
Special thanks to De Rijksakademie van Beeldende Kunsten Amsterdam for providing their guest studio
Pamela Bartlett is interested in an abstract language of painting, and how a suggestion of amorph figuration directs and misleads the gaze.
Bartlett was born in Guildford, Surrey 1996 and grew up in West Sussex, England and Isle of Bute, Scotland.
The subjects included in the paintings of David Noro range from boorish to affable. Through their movement into new and unfamiliar realms David questions their casual status as symbols. The technical
combination of these subjects seems both frantic and layered and in each painting it becomes hard to define whether we are witnessing a collage of separate motifs or a scene. Both readings are simultaneously
possible but if we treat them as scenes the paintings stand as snapshots of its early stages. Potential narratives are proposed, set-up, but left to be played out by ourselves. (text: Jacob Dwyer)
David Noro (1993, DK)
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