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re-title.com artist
directory |
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The re-title.com artist directory is
full of talented emerging professional artists from all over
the World.
In this issue we would like to introduce you to a
selection of painters....
Please follow the links below to go directly to the
artist's portfolio on re-title.com
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Neil Morley, London |
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Neil Morley
Mask -
Roots
Acrylic on fabric mounted on canvas 2009
75cm
x 65 cm
The main areas of research are travel,
tourism, colonialism, post-colonialism and the politics of
representation. These seemingly disparate elements are
combined to provoke discourses surrounding fiction and
reality. The paintings create parallels with nineteenth
century colonialism and twenty-first century tourism as well
as highlighting the importance and significance of colonial
artefacts in the historical development of modern art.
Neil Morley was born in Leeds. He studied
at Staffordshire University BA Hons in Fine Art and a Master
Degree in painting at the Royal College of Art 2001. He has
recently completed the Berwick Gymnasium Fellowship 2010 and
in 2006/7 was involved with a Arts Council England placement
dealing with the interdisciplinary aspects of art and science.
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Hiroyuki Nakamura,
New York |
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Hiroyuki Nakamura
"backyard
campers"
2009
acrylic on canvas
H36" x W60"
(91.4cm x 152.4cm)
My work takes place in the imaginary
proscenium of the Great American Desert, a place where past
mythologies meet with present realities in unknown and often
unacknowledged ways. My art is a quest into this unknown - a
modern day expedition to discover what previous settlers have
done and how to recreate old mythologies for present and
future settlers. The cowboys in my paintings are, like myself,
outsiders without any definite home, co-existing with the old
and the new like the east and west bends of the Mississippi
River.
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Louisa Chambers,
London |
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Louisa Chambers
Radiate,
2010
210 × 29.7 cm
Acrylic on paper
Inventing fantastical objects and constructions are the
starting points of my recent practice. These spaces and
objects symbolize personal narratives; they are aesthetically
playful but have an underlining dark humor. I primarily use
memory but also appropriates from source materials that
reference architecture, popular culture, scientific
technology, folklore and mysticism. From these sources and
through the mediums of paint and drawing, shapes transform
into anthropomorphizing inanimate objects or machines.
Enjoying the act of blurring fiction and reality sometimes an
eye appears in a dark space; the towers gain cameras as eyes
or a separate limb appears on a structure creating humorous
absurdity.
Louisa Chambers lives and works in London. She studied an
MA in Painting at the Royal College of Art (2005-2007) and at
the Surrey Institute of Art and Design (2002-2005) where she
achieved a BA(Hons)Fine Art with first class honours. She has
recently worked on a collaborative project with the poet
Katherine Gallagher and in 2008 she was selected for the
prestigious John Moores 25 Contemporary Painting Prize.
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Tom Snelgrove, New York |
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Tom Snelgrove
Swansea Arms Race
Oil on Panel
48 inches x
60 inches
2009
Tom Snelgrove's work explores the
interaction among life forms and their environments. The idea
that the human disconnect is an artificial belief and that
worldly entities can co-exist within disparate systems.
Routinely working in oil on panel, he uses traditional
materials to develop brightly keyed contemporary work with
glossy surfaces, resembling plastic, thus creating a sense of
artificiality. His paintings present the viewer with multiple
juxtapositions to ponder.
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Alex Virji, London |
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Alex Virji
"Lights"
2010
Oil on Linen on Board,
10"x6.5"
The similarity between archaeological
processes and the act of painting is the point of departure
for my work. Floral motifs are a constant within the current
work and form the bones that are then "rediscovered" through
rigorous glazing and erasure. Flowers are used as the lack of
identity and impersonal nature that the imagery affords allows
them to become vessels for more oblique narrative strands. The
paintings can be seen as a kind of rubbish dump for the
overtly "twee" patternation that pervades one's
memory.
Occasionally the flowers interact with passages of
geometric abstraction, which serve to divide the picture plane
and demarcate boundaries of separate painterly realities.
Interstitial spaces and voids occur within the work and open
up a sort of "no-man's land" of pictorial space but due to the
physicality of the heavily grained linen, they take on a very
tangible presence and definite sense of surface: a kind of
additive subtraction.
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Peter Blundell,
London |
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Peter Blundell
Untitled, 2009
oil on canvas
44 x 51 cm/17 x 20 in
My small densely worked abstract paintings
are built from successive attempts to find a new pictorial
form. Incorporating handmade stencils laid flat on the canvas
I use a vocabulary of painterly movements and registers that
coalesce in a manner not readily anticipated but nevertheless
intended. This approach has helped me to develop my work in a
semi-organic way encouraging what I feel is a strange internal
logic to be manifested in each painting. I am informed
by many current and historical figures, recently I have been
drawn to the work of Liubov Popova, Jean Fautrier, Serge
Charchoune and Mary Heilmann.
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Thorbjørn Andersen,
London |
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Thorbjørn Andersen, 2009.
Glass
Octagon IV
From "Geometry of Hope OR 42.000 + 3.600 =
45.600"
Acrylic resin on glass, Ø 49 cm. Framed
Thorbjørn Andersen investigates both the
relationship between space and form, and geometry in itself -
geometry which to Plato was sacred, visionary, mysterious,
sublime. A cosmic space of generic forms, blending the
rational with the irrational. In general, these works are
related to Modernism and in particular to the German art's
hermetic and alchemical tradition: the antroposophy of Rudolf
Steiner, Kurt Schwitters' Merzbau, Emma Kunz and Joseph Beuys.
Thorbjørn Andersen (b. 1977, lives and works in London and
Copenhagen) has graduated from Slade School of Fine Arts in
2006 and from The Royal Danish Art Academy in 2007. He is
currently at The Woodmill Studios in London.
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Emil Bakalli
Divergence-Shatter # 4, 2009
oil on
linen
36 x 34 inches / 91 x 86 cm
The aim of my work is to penetrate into the
very condition that I am trapped in, into the very rift and
situation that I am situated in my milieu or in the mode of
how I experience and perceive the Things that make up my
environment. I "abstract and distill my experience" as being a
part of a condition, of a lively plexus, and of spontaneities
or occurrences in the reality-of-being-there. I am a part of
this reality and yet, I am not fully it; i.e., I am still I as
long as I am the wondering and gazing eye.
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