Category: guest articles

Ten Finnish Artists

Text written by Emiy Quli

Finland, although perhaps more commonly renowned for its breath taking  Nordic Lakes and the Northern Lights, has a flourishing contemporary art scene. People travel to Finland for its natural beauty, often over – looking the under publicised art scene which exacerbates this native beauty. From Jussi Goman’s regenerative Fauvist works to Peetu Liesinen’s intricate drawings and paintings, here are ten Finnish artists that you should be following today. 


Jenni Hiltunen

@Jenninhiltuneartist

Jenni Hiltunen

Jenni Hiltunen’s contemporary paintings depict human figures built with new, gaunt dimensions through her use of shades and colours offering fresh perspectives to approach the female portrait. The gazes she portrays are haunting and melancholic. There is a certain solemnity and nonchalance to her work. Although she paints the everyday, it certainly isn’t mundane as the figures ensure that the audience is drawn to the vibrance of the character. 


Tuukka Tammisaari

@TuukkaTammisaari 

Tuukka Tammisaari

Tammisaari’s work has an abundance of  explosive shapes, fragments, colours and blocks. Despite a slightly overwhelming and anarchic initial feel, everything fits coherently and makes sense on a thorough glance. They are deep works of imagination and coordination. The titles themselves are an ode to the imagination and provide the observer with direction to approach and acknowledge the image. 


Jukka Virkkunen

@JukkaVirkkunen

ten Finnish Artists

Virkkunen is provisional of innovative methods of creating art. His feed is full of “behind the scenes” style videos of him using his mop to create incredible pieces. This shows the fun and excitement involved with the production of art. His inkworks, although appear rather monolithic are intimidating and full of depth, particularly against the blatancy of the white wall on which he presents them.


Ari Pelkonen

@AriPelkonen

ten Finnish Artists

Each of Ari Pelkonen’s works feels like a verb through the different envisagement of lines and the way they can transform and move on a canvas. The gradient of colours and the depth of dimensions all move through these lines. These create complex, pleasing and soothing pictures to look at. 


Timo Vaittinen

@Timberland_Vaittinen

ten Finnish artists

Timo Vaittinen’s work is alive. Things fold into each other and fold out of the canvas. The colours break apart and come out together. Pictures, creatures and large overwhelming shapes dominate the canvas. They are large and, on occasion, rather psychedelic, immersing the observer into each imafe as they try to make sense of it. 


Karoliina Hellberg

@karohellberg

ten Finnish artists

Helberg’s paintings are transformative of ordinary landscapes, changing them into ethereal and exotic fantasies. The vibrancy of each of her paintings injects the scenes she paints with a potency of life that cannot help but translate off the canvas.


Peetu Liesinen

@peetu_stovey

ten Finnish artists

Peetu depicts enchanting figures through archaic style drawings and paintings. The figures and portraits are always removed from the observer through the dated feel to them and the inability for the characters to engage with the audience. They are detailed and yet there is an absence to the figures – a mystery to each one he paints. Peetu is both able to tell a story about a character and censor elements to it. 


Petri Ala-Maunus

@AlaMaunus

Ten Finnish Artists

Ala – Maunus’s portraits provide the inky backdrop and scenery for the melting pot of colours to intermingle, mix and divulge. The identity of each of the figures is sacrificed as the emotions of the portraits dominate and dictate the paintings. This is done through the varying colour schemes he uses. The eyes of each portrait eerily haunt the audience: remaining observant, still and unchanging in a canvas that is perpetually transitioning around it. 


Tuuli Kerätär

@Tuulikeratar

Ten Finnish Artists

Tuuli has an eclectic, experimental mix of works as if they are each resolving a train of thought. This consequently invites the audience to resonate their own thoughts with the beauty in every day life and the beauty that Tuuli depicts on the canvas. The paintings attempt to categorise each elusive thoughts through these beatific stimuli such as flowers, architecture and colour that resonate with the observer. 


Jussi Goman

@JussiGoman

Jussi Goman

Goman’s works are fun and playful. They take impressions of everyday objects from things such as fruit to flowers to create indulgent, progressive images. His work  has a real sense of Fauvism being regenerated into today’s contemporary climate. He is the wild beast of today experimenting with varying gradients, shapes and objects to create an impressive, holistic final image. 


Contemporary Artists using Performance – selected by Rosie Gibbens

Sculpture involving Sound – Selected by Harrison Pearce

Artists working in Denmark – selected by Rasmus Peter Fischer of Galerie Wolfsen

Ten Other Galleries – Selected by Sotiris Sotiriou of Coma

Artists working with Themes of Post-vandalism – selected by curator Stephen Burke

My favourite Australian Artists – selected by Jordy Kerwick.


Ten Other Galleries – Selected by Sotiris Sotiriou of Coma

For more from Coma, see their website

Blank Projects

Coma Gallery
James Webb, “This is where I leave you (Radiant guide. Equanimity in the harsh storm),” 161 x 46 x 64cm.

A condensed look at the future of intelligent contemporary art coming out of South Africa. 

High Art

High Art
Three paintings by Tom Humphreys

An eclectic selection of high voltage artwork. High Art introduces a fantastic set of new emerging work to the world on a regular basis and presents beautiful exhibitions. 

Antenna Space

Coma Gallery

Some of the most important young artists to come out of China and beyond in recent years. Antenna Space has kept a continually interesting and very active fair and gallery program. 

The Breeder

Coma Gallery
UNDER CONFINEMENT : @vanessasafavi 
#ArtandRealness

Responsible for connecting Athens with the rest of the contemporary art world and facilitating brave new work from a changing city. 

Commonwealth and Council

Commonwealth and Council
Rafa Esparza
‘thanks for staying alive Fern.1994,’ 2020
Acrylic on adobe panel (local dirt, horse dung, hay, Hoosic River water, chain-link fence, plywood)

An extremely admirable and visibly collaborative venture which has influenced and inspired many gallerists and artists. 

Marfa

Marfa
Composition With a Recurring Sound 5, 2018, Vartan Avakian 
Copper alloys, radio waves and a river

A thoughtful and introspective space that has helped shine a spotlight on Beirut and create a dialogue with the city and artists based out of the country. 

Sweetwater

Thoughtful and personal presentations of cutting edge emerging artwork that traverse location and time. 

JTT

Coma Gallery

#ElaineCameronWeir
 “In Martinique the root of Monstera Deliciosa is used to make a remedy for snakebite,” 2015
brass, alabaster

Powerful and socially aware exhibitions of some of the most important emerging voices in contemporary art today. 

Experimenter

Experimenter
CAMP’s A Photogenetic Line is part of Experimenter’s group exhibition: ‘Cataloging Time’ in @ArtBasel’s second iteration of Online Viewing Rooms.⁣

One of the main reasons to watch India as a vibrant and vital part of the art world. Experimenter also very evidently supports and elevates their own local scene. 

Jaqueline Martins

Coma Gallery
Ana Mazzei
Guardiã
2013

Research-based and historically aware while simultaneously keeping current collectors and viewers excited and attentive. 

For more top tens:

Contemporary Artists using Performance – selected by Rosie Gibbens

Sculpture involving Sound – Selected by Harrison Pearce

Artists working in Denmark – selected by Rasmus Peter Fischer of Galerie Wolfsen

Artists working with Themes of Post-vandalism – selected by curator Stephen Burke

My favourite Australian Artists – selected by Jordy Kerwick.


Una Ursprung in Conversation with Sarah Forman

Una Ursprung

The #LockdownEditions are a Delphian-run initiative to support some of our favourite contemporary artists during these difficult and unprecedented times. Throughout the remainder of the quarantine measures, we will be releasing a new print each week, with all of the profits going directly to the artists themselves. This week, we’re excited to feature our eighth artist, Una Ursprung, to talk about artificial intervention, solidifying borders and moving away from the physical.

Sarah Forman: Tell us a bit about yourself and your practice.

Una Ursprung: Well, I’m from Taiwan, and I graduated from the Ecole Européenne Supérieure d’Art de Bretagne in France. I make works that are mostly painting, collage and photography, focusing on forests and natural scenery. Initially I chose a sort of floating line style, using ribbons of spray paint to represent the colorful effects of lighting, but in quiet, serene, beautiful settings: in the woods. Every touch of brush reflects how nature, and forest environments, make me think and feel. But because we mostly see spray paint in the city, its contrast in my paintings speaks to human intervention in the ecosystem. I try to find the balance between the ecological and the artificial on the canvas, just like how we as people need to find balance with our environment.

SF: Where are you based and how has the current global health crisis affected your day-to-day?

UU: I’m based in Kœstlach, a very small village in France near the border of Switzerland and Germany. Honestly, the lockdown situation hasn’t changed my day to day so much, because I have a very closed countryside life with my studio in my garden. My life is normally one of confinement.

But I can’t help but be affected by watching the global news. It makes me very sad, and I feel the presence of borders in a way that’s depressing. It’s not even so much border control itself, but the feeling of a real existence of a border that’s affected me. My husband and I used to often go to Basel, the nearest city, and we never really felt they were different countries. Now my husband can go to Switerland because he’s Swiss. I can’t.

At the beginning of the epidemic, I was in Taiwan and everyone was wearing masks, despite the fact that there were fewer than 10 cases. When I came back to France in February, there were none. It made me really anxious. I felt insecure going outside without a mask, but at the same time was afraid of discrimination if I went out with one. It just feels different. I also had two exhibitions suspended.

SF: In what ways have you changed how you work and/or what you’re working on?

UU: No, my subject matter is quite personal to me, and that hasn’t changed, but I’ve done some more small sized works and am exploring some new ideas.

SF: How have you seen your community affected by the current COVID-19 crisis? Inside and outside the art world?

UU: I think we could see the whole world is moving increasingly from the physical to virtual, which is also true of the art world. There are more and more online exhibitions, online stores, you can visit museums with VR headsets and also there’s the great idea that is the artist support pledge – where artists sell their works on social media and help other artists – this has really created immense support and fostered the strength of the community. Because of this, unknown artists like me may have more chances than before to be seen through platforms like Instagram. I think this has maybe changed some habits of the art market for good.

SF: Can you talk to us a little bit about this print and why you chose it?

UU: Actually, it was Benjamin who chose this painting to print, and I’m really happy with it. This painting, “COVID-Study for Plants #15”, was done at the beginning of the pandemic. I found I unconsciously wrote COVID across the flowers, and I only really realized it days after I finished the painting. I think it stands to be representative of my work at this period of time.

SF: Do you feel there’s a certain pressure to respond to what’s going on in the world right now? If so, what does that look like?

UU: I don’t really feel that kind of pressure. Maybe I’m a little worried about the unknown future, but I’m trying to keep positive and accept the change of the world, keep adopting myself into it.

SF: Have you seen initiatives taking place that really scare you? Excite you?

UU: It really scared me when there were not many strict measures against the virus early on in Europe, seeing most people’s negligence at the beginning of March. I think Delphian’s initiative is genius. I feel so lucky that Benjamin found me on Instagram, and I’m grateful to have been chosen to be a part of this.

Moley Talhaoui in conversation 

Lucia Ferrari in Conversation

Sunyoung Hwang in conversation

Matt Macken in conversation

Igor Moritz in conversation

Rob Tucker in Conversation 

B.D. Graft in conversation

For more from Una Ursprung, see her INSTAGRAM


Sunyoung Hwang in conversation with Sarah Forman

Sarah Forman

The #LockdownEditions are a Delphian-run initiative to support some of our favourite contemporary artists during these difficult and unprecedented times. Throughout the remainder of the quarantine measures, we will be releasing a new print each week, with all of the profits going directly to the artists themselves. This week, we’re excited to feature our sixth artist, Sunyoung Hwang, to talk about the practice of walking, cutting up old works, and virtual crits.

Sarah Forman: Tell us a bit about yourself and your practice.

Sunyoung Hwang: I’m a London-based Korean artist. Since graduating from the Royal College of Art in 2016, I’ve been painting full time in a Bow Arts studio. 

I explore physical and psychological layering through an intuitive approach to painting, without preliminary sketches, drawings, or photographic references. My work can be described as a tangible representation of the unconscious, incoherent flow of metaphorically internalised thoughts, emotions, memories, impressions, and as an attempt to see the invisible accumulation of these phenomena through the tangibility of paint on canvas. 

S: Where are you based and how has the current global health crisis affected your day-to-day? 

SH: I’m based in East London; my studio is in Bow and I live in Hoxton. They are an hour’s walk apart, and I’ve been trying to walk to the studio once a week. Walking is an important part of my practice, as the process of my painting is similar to that of walking. I used to spend more time painting in the studio before COVID-19, but now I spend more time walking, which makes me feel like I’m kind of painting outside the studio. 

I realise mental health and physical health are equally important right now, so I’ve been trying to remain calm despite the frustrations and uncertainty.

S: In what ways have you changed how you work and/or what you’re working on? 

SH: I had three exhibitions originally scheduled for April and June, and like most other shows, they’ve been either cancelled or postponed with no new date confirmed. Rather than getting annoyed with this situation, I decided to have fun with this challenging time, working from home and catching up on all those things I put off all last year. 

I’ve been working on the paintings on paper I made last year when I participated in a residency programme in Lisbon. By cutting out pieces with shapes or gestures and sticking them together with different arrangements, I’ve gotten to spend more time experimenting with collaged elements.

S: How have you seen your community affected by the current COVID-19 crisis? Inside and outside the art world?

SH: The lockdown has affected how people communicate with each other, how we can be social without physically socialising. Physical distancing doesn’t mean that we are psychologically distant from each other. In the midst of gallery closures with cancellations or postponements of a number of exhibitions, everyone in the art world is still doing their jobs, creating connections, and supporting each other. Artists keep making from home and galleries are virtually presenting bodies of work, benefiting from social media, which I think we are using more meaningfully than ever before. I’ve even begun to think that, in some ways, people seem to be closer and more connected than ever before, and it might be a great opportunity to experiment with our virtual connectivity.

On the other hand, it seems like people outside the art world have been more affected by this challenging time than people inside it. A certain amount of social distancing was already a part of the daily routine of most artists, who spend at least some time alone in their studios. However, this situation is more likely to be a sudden change, stressful, for those who spend the majority of their days working with people and whose social interactions are a huge part of their lives.

S: Can you talk to us a little bit about this print and why you chose it?

SH: I was kind of surprised Delphian chose “Fizzing” to be printed, because it’s less known, even for me. It was last shown in 2017, so I was pleasantly surprised to see the painting again after three years.

S: Do you feel there’s a certain pressure to respond to what’s going on in the world right now? If so, what does that look like?

SH: I think we all need to respond to the current situation in our own way, but there is no pressure for me at all. I’m going to participate in Choose Art | Give Light to Refugees, an online auction in the fight against COVID-19 this coming June. It will raise funds to provide critical support to vulnerable communities, particularly during the current pandemic. 

S: Have you seen initiatives taking place that really scare you? Excite you?

SH: I’ve seen some great initiatives for artists in lockdown to participate in and to feel like we are distantly together, like #artistsupportpledge which was started by Matthew Burrows to provide a platform for artists themselves to share and sell their work. Virtual Peer Crit Group, organised by Kate Mothes of Young Space, for virtual critical discussion, is also awesome. It’s important for artists to be able to share, learn, and interact as usual during this crisis. I admire #LockdownEditions, which is what Delphian Gallery is doing at the moment to support artists in whatever way they can. It isn’t easy for a small gallery to take no commissions on sales, with all of the profits going directly to the artists themselves.

For More:

Moley Talhaoui in conversation 

Lucia Ferrari in Conversation

Matt Macken in conversation

Igor Moritz in conversation

B.D. Graft in conversation


Artists working in Denmark – selected by Rasmus Peter Fischer of Galerie Wolfsen

This is a list of 10 artists living and working in Denmark. It might not be the best, they are for sure not the worst, but no matter what it’s 10 artist I love and collect privatly. My name is Rasmus Peter Fischer and I both collect, curate and deal art.

Lars Calmar – Born 1968

Lars Calmar

Kirsa Andreasen – Born 1975

Rasmus Peter Fischer

Rune Christensen – Born 1980

Rune Christensen

Morten Løbner – Born 1965

Rasmus Peter Fischer

Henrik Godsk – Born 1975

Frederik Næblerød – Born 1988

Frederik næeblerød

Lasse Thorst – Born 1979

Rasmus Peter Fischer

Alessandro Painsi – Born 1995

Rasmus Peter Fischer

Julien Deiss – Born 1983

Rasmus Peter Fischer

Gurli Ellebækgaard – Born 1969

Rasmus Peter Fischer

For more by Rasmus Peter Fischer, see Galerie Wolfsen


Igor Moritz in conversation with Sarah Forman

in conversation

The #LockdownEditions are a Delphian-run initiative to support some of our favourite contemporary artists during these difficult and unprecedented times. Throughout the remainder of the quarantine measures, we will be releasing a new print each week, with all of the profits going directly to the artists themselves. This week, we’re excited to feature our fifth artist, Igor Moritz, to talk about being baseless, shifting radii and fake plants.

Sarah Forman: Tell us a bit about yourself and your practice.

Igor Moritz: I was born in 1996 in Lublin, post-communist Poland. When I was very young I migrated with my family to London, only to return back to Poland as a teenager, where I attended an art high school. My paintings are mainly focused on inner-life, and I tend to paint the people closest to me, usually portrayed in domestic landscapes but also somewhere else – deep insides their heads. 

S: Where are you based and how has the current global health crisis affected your day-to-day?

IM: My plan has been to move to London since finishing university last summer, but new residencies and shows kept on popping up in my calendar and I didn’t want to commit to high studio and flat rates only to move shortly after. I guess you could say I’m not really based anywhere. The pandemic had a hand in this, as rumours of the potential lockdown reached me a few hours before my most recent flight, so I decided to stay with my girlfriend in Grenoble in the French Alps throughout the course of the quarantine. In France, the lockdown was enforced completely, strictly and quickly, which made our lives utterly house bound. We spend the days on the balcony, where I paint. We have a nice routine with her flat mates that includes a daily exercise and cooking calendar. 

S: In what ways have you changed how you work and/or what you’re working on?

IM: The biggest change to my work has been the shift to painting on the balcony. As a result, I’m only able to work with sunlight, which has made my paintings a lot lighter. Additionally, and honestly ironically in the face of the lockdown situation, it’s meant that there are more integrated elements of the outdoors in my work. 

S: How have you seen your community affected by the current COVID-19 crisis? Inside and outside the art world?

IM: I think the pandemic has affected the community in a variety of ways. I think it has made my close circles closer and pushed the outer ones a bit further out. I personally don’t see the sense of unity and camaraderie others have been talking about. When I go to the shop everyone is a bit on edge; myself included. Regarding the art world, well despite the huge amount of shows that have been pushed, which must have really affected the galleries and artists, there are a lot more smaller works on paper being made, which I personally love to see. 

S: Can you talk to us a little bit about this print and why you chose it?

IM: The print I’m releasing as a part of the Lockdown editions is a still life called “Wiosna, 2020”. The image is of two fake plants and a bowl of fruit sitting in front of a colour field background. I think despite the very sweet vivid colours there is something slightly unsettling about this work. I think it’s worth mentioning that “wiosna” means spring in Polish. 

SF: Do you feel there’s a certain pressure to respond to what’s going on in the world right now? If so, what does that look like?

IM: I don’t like my paintings to comment on global events in any direct way, so I personally don’t feel the pressure to do so. However, there might be motifs that appear in my quarantine-made paintings, put in there for formal reasons, that may actually comment on this situation better than I possibly could. 

S: Have you seen initiatives taking place that really scare you? Excite you?

IM: I don’t know if you can call the fact that the Polish presidential elections will be conducted via mail, with no anonymity, an initiative, but that’s scary to say it politely. As for initiatives that are exciting, I think the Artists Support Pledge (https://www.instagram.com/artistsupportpledge/) is a great idea. However, I haven’t actually taken part in it, because I don’t want to be going to the post office too much nowadays. 

For more conversations with Sarah:

Moley Talhaoui

Matt Macken

Lucia Ferrari 

B.D. Graft 


Sculpture involving Sound – Selected by Harrison Pearce

For more by Harrison Pearce – see his WEBSITE

Tim Hawkinson – Pentecost

I saw this piece in Hawkison’s retrospective at the Whitney in New York back in 2005. It was the first time I’d ever seen the artist’s work and was my first real introduction to a giant sound sculpture. I still think about it.

Harrison Pierce

Haroon Mirza – HRM199: For a Partnership Society

Haroon’s solo show at Zabludowicz last year was a knockout. It was a vivid demonstration of the material reality on which our casually ephemeral idea about digital experience fallaciously rests.

Harrison pierce

Oliver Beer – Vessel Orchestra

Oli’s work at Ropac in London, where he opened the new space with a solo show, was a crisp combination of haunting warmth and analytic clarity. This was probably even better demonstrated by this recent work at The Met in New York where he got to work with some unbelievable stuff. Hopefully this will come to London in the future.

Oliver Beer

Ryoji Ikeda – Test Pattern

I saw this when Lisson Gallery took over The Store, 180 Strand, in London. It was a powerfully impressive flex of audio-visual installation. It’s a very intense work but I loved experiencing the high velocity synchronicity


Yuko Mohri – painfully

I saw this little piece at Mother’s Tankstation during Condo in London last year. Mohri makes exceptionally poised works with a delicate balance of elements that lifts mundane objects to a perplexing and poetic realm

Harrison Pierce

Hannah Perry – Rage fluids

This work at Somerset House as part of her solo show Gush was a completely captivating experience.

Hannah Perry

Nathaniel Mellors – Progressive Rocks

This was the best thing I saw back in 2018 at the New Museum. I was thoroughly amused and watched the whole fairly lengthy thing without blinking.

Harrison Pierce

Ima Abasi Okon – Infinite Slippage: nonRepugnant Insolvencies T!-a!-r!-r!-y!-i!-n!-g! as Hand Claps of M’s Hard’Loved’Flesh [I’M irreducibly-undone because] —Quantum Leanage-Complex-Dub (2019)

This installation at the Chisenhale was so compelling. I loved the combination of the slowed down audio with the air circulating through industrial air conditioners

Harrison Pierce

Rebecca Horn – Concert For Anarchy

An all-time favourite. If you ever get to see it do it’s thing it’s hard to forget.


Jónsi – In Bloom

In this piece from Tanyar Bonakdar Gallery, PA loudspeakers are arranged into the form of a poisonous foxglove flower and mounted with chrome butt plugs from which emanates a sonic tapestry of processed field recordings of flora and human fauna. I love the way Jonsi shapes sound freely across sculpture, music and cinema.

Harrison Pierce

For more top tens, see:

My favourite Contemporary Artists using Performance – selected by Rosie Gibbens

Artists working with Themes of Post-vandalism – selected by curator Stephen Burke

My favourite Australian Artists – selected by Jordy Kerwick.


Lucia Ferrari in Conversation with Sarah Forman

Lucia Ferrari

The #LockdownEditions are a Delphian-run initiative to support some of our favourite contemporary artists during these difficult and unprecedented times. Throughout the remainder of the quarantine measures, we will be releasing a new print each week, with all of the profits going directly to the artists themselves. This week, we’re excited to feature our fourth artist, Lucia Ferrari, to talk about pay raises for the NHS and Andy Warhol coming back from the dead.

Sarah Forman: Tell us a bit about yourself and your practice.

Lucia Ferrari: I’m a London based artist and hold a degree from The Slade School of Fine Art at UCL. My work has taken a huge turn given the current climate and being in isolation. It’s forced me to really push boundaries and explore materials I would have previously never thought of using. I’m heavily influenced by my Italian heritage and after living in Venice have since become obsessed with 15th century frescos, like the ones in San Marco. Narrative is the driving force behind my work and often guides where my paintings go. I lay paint onto a surface, see images appear and from these I start filling in what may be a face, a hand, and build the narrative out of that subject. I think my subconscious plays a vital part in that, perhaps. 

SF: Where are you based and how has the current global health crisis affected your day-to-day?

LF: I’m based in North London, literally just on the belt. In terms of the pandemic I’m not working my nine to five. Instead I’ve been lucky enough to dedicate all this time to working in ‘my home studio’. A few months back I cleared out half of the garage…maybe I saw this coming. 

SF: In what ways have you changed how you work and/or what you’re working on?

LF: I think what has changed the most is actually having the time to dedicate myself solely to my practice. It’s proved to me when you can give every day to painting, drawing, you can really improve a lot and consolidate what’s successful or not, learn quickly from what you’ve done. Aside from time, I’ve developed a ‘take risks’ attitude -nobody is really going to see if a painting I do completely falls flat, so I just throw myself into it. I’ve treated this time as if I was on a residency, just in my own house. 

SF: How have you seen your community affected by the current COVID-19 crisis? Inside and outside the art world?

LF: The artistic community has done incredibly well to support one another. I’ve been involved in other group shows that have been setup for the same purpose as Delphian’s initiative. Ultimately everyone is being affected by this crisis, whether it’s being away from loved ones or being away from work, among many other things. It has completely altered our current lifestyle. I just hope after all of this people continue to be selfless. And that NHS workers get a pay raise.

SF: Can you talk to us a little bit about this print and why you chose it?

LF: Narrative is really important to my work and while making the original drawing I was thinking about how our freedom has been stripped away from us, despite it being for the right reasons – protecting our loved ones, our supports. I realised I’d taken for granted how easy it was to see my partner, family and friends. I was also thinking of our liberty more in a dystopian setting, than directly drawing our current crisis. It’s just relevant. 

SF: Do you feel there’s a certain pressure to respond to what’s going on in the world right now? If so, what does that look like?

LF: I think by default if you’re making work now it becomes work you’ve made through isolation, whether you are directly responding to the pandemic or using materials that are readily available to you as a result of having limited resources. The other day I ran out of canvas but I had a full sheet of ply wood, so I’ve just cut that up instead, using oil undercoat that was lying around – and had slightly gone off – to seal the wood. I would never have used this as a surface if we weren’t in these circumstances, but I have to say, it’s great.

SF: Have you seen initiatives taking place that really scare you? Excite you?

LF: It’s not an initiative per se but I did spend a couple of hours the other day going through The National Gallery and Tate virtually. Online exhibitions have provided a really good platform particularly for emerging artists, and the artist support pledge was a little bit of genius, really. I also signed me and my mum up for a MOMA course. After having her run into my room the other day, telling me Andy Warhol was on “This Morning with Holly and Phil”, I figured it was time to intervene…the courses are free and they give you something to do. Yale and Cambridge also have some online free courses as well. 

For More:

Moley Talhaoui in conversation 

Matt Macken in conversation

B.D. Graft in conversation


10 artists working with Themes of Post-vandalism – selected by curator Stephen Burke

Olivier Kosta Thefaine@olivierkostathefaine

The use of ‘lighter graffiti’ in Olivier’s work has always caught me as something really intriguing. I love this material exploration and it so evidently relates to real life, a great combination!

post-vandalism

James Earley@james_earley

I was introduced to Earley’s work form a young age through the many murals he has around Dublin. His work plays on his family heritage of stain glass window making which he explores through the formation of abstracted figurative paintings. One of the most interesting artists working in Ireland today!

Post-vandalism

Bram Braam@bram.braam

I had the opportunity to see Bram’s work for the first time in Galerie Burster Berlin. His use of material and structure to convey meaning about the city is really quite nice. I definitely recommend seeing his works in person if you can. 

Bram Braam

Antoine Donzeaud@donzxoxo

Antoine is an artist currently working in Paris, his work examines spatial perception and architecture within the city. His recent series of works which depict broken screens or windows are an interesting gesture towards societal issues.

Post-vandalism

Milosz Odobrovic@milosz_odobrovic

I’ve always liked Odobrovic’s work due to its relationship with graffiti removal. His paintings carry an intriguing tension between censorship, information and resistance.

Post-vandalism

Aches@achesdub

One of the most promising artists coming out of Dublin currently. His debut show in Atelier Maser last year was really brilliant. His work examines and critiques our use of digital technologies through series of sprayed RGB portraits.

Post-vandalism

Keke Vilabelda@keke_vilabelda

Vilabelda’s ‘Materia Transitoria’ is a series of works I really enjoy! He portrays moments of the everyday very honestly.

Post-vandalism

Alexandre Bavard@87mosa87

Bavard’s translation of graffiti into contemporary art is one of the most original and interesting today. His multidisciplinary approach is evident through the many mediums he uses, ranging from dance choreography to clothing. His ‘Bulky’ choreography system is a set of instructions which translates the gestures of tagging into a series of bodily movements. 

Post-vandalism

Sofia Hulten

Hulten’s work manipulates everyday materials in order to encourage the viewer to examine their environment more closely. She focuses on the previous usage of materials to convey notions of time and decay.

Post-vandalism

Ricardo Passaporte@ricardopassaporte

With an air of humour to his work, Passaporte produces paintings and installations which draw attention to the relationship between art and commerce. He utilises bright colour combinations to reference capitalistic and marketable aesthetics often employed by consumer companies. 

Ricardo Passaporte

For more top tens, see:

My favourite Contemporary Artists using Performance – selected by Rosie Gibbens

My favourite Australian Artists – selected by Jordy Kerwick.

For more by Stephen Burke, check out his Instagram account dedicated to artists working in Post-vandalism, click HERE


10 of my favourite Contemporary Artists using Performance – selected by Rosie Gibbens

Artist Rosie Gibbens has selected her top 10 picks for artists using performance that we should all know about.

Anna Perach@Anna_Perach

Beautiful carpet creations

artists using performance

Emily Louise Perry@EmilyLouisePerry

Working with non-actors to create uncomfortably voyeuristic yet intimate experience for viewers

artists using performance

Katherine Araniello@KatherineAraniello

Sharply satirical, hilarious and political work.

Katherine Araniello

Keijaun Thomas @Keioui

Performances that are both confronting and caring. Striking, sad, yet joyful.

Keijaun Thomas

Korallia Stergides@Aillarok

Improvising  characters into absurd stories. Playful and weird.

Artists using performance

Mette Sterre@MetteSterre

Creation of strange characters and abstract narratives through body assemblages and experimental costumes.

mette sterre

Rosa Doornebal@PictureOnScreen

artists using performance

Absurd, unsettling and funny. Interacting with sculptural objects as body substitutes.

Rosa Johan Uddoh@Rosa_Johan

Political and deadpan (my fav combo). Complicating language and interrogating institutions.

rosa johan uddoh

Tim Spooner@TSpooner0

Big stage installations with ingenious chain reaction creations and intriguing creatures.

artists using performance

Yuki Kobayashi@YukiKobayashi0226

I like it when something that appears silly is taken deadly seriously by the performer.

yuki Kobayashi

What did you think of this list of artists using performance? Feel free to let us know your thoughts, or to suggest other topics to cover in the comments below.