Untitled 1970: oil on canvas by Chung Sang Hwa (b. 1932) a Korean artist who first trained in his own country and then moved first to Paris, then Kobe, Japan and returned to Korea in 1992 and has since been working in Seoul. He uses the concepts of grid and covering of the paint on his canvas and folds, sculpts, scalps, and then literally rearranges the zinc-based paint that he uses in multiple layers, a technique that he perfected after years of experimentation to encourage reflection on oriental tradition of painting. A critic, Lóránd Hegyi. says, “The closer the viewers’ interest in the plastic visual details of the painting’s sensual surface, in the painter’s subtle interventions, and in the pictorial and physical methods he uses to structure his work, the closer they also come to another meditative and emotional domain of the artistic process, in other words poetry, the genuinely poetic strategy of the artwork,”
I Open my mouth to eat you 2015: oil on canvas by Jin Meyerson (b. 1972), a Korean who was adopted by a Jewish-Swedish family in Minnesota, learned art in Pennsylvania, then worked first in New York and now between Paris and Seoul. He loves to make huge paintings with plenty of details but always as reflected in shiny curved metallic surface.
Another work by the same artist
Vegetarian III 2005:canvas, acrylic, wax, UVL Gel by Lim Choongsup, a Korean artist who likes to make sculptures with cloth like materials in light monchrome color conveying a sense of peace and tranquility.
29 Brushstrokes 2006: tempera on canvas by Song Hyun-sook (b. 1952) a Korean artist who loves to make sculptures/installations with gauze-like fabric hung or wound around wooden poles.
New Idea 2013: acrylic on canvas by Mark Flood (b. 1957) a Texan artist who likes to leave an irregularly shaped space in a different color at the centre of his abstract color paintings with marble like streaks.
A ball placed at various places in relation to a chair in a series called "Antiquity-like Rubbish Research and Development Syndicate: Sofa type" 2015 by Yeh Wei-Li (b. 1971), a Taiwanese who emigrated to America at 11 and studied photography and art there and is now working in Taipei. He likes to explore his socio-politco-cultural relationship between himself and where he's living.
I love you 2015: a reverse painting on glass, ink, anodized aluminium back by David Renggli (b. 1974), Swiss abstract artist who likes to work on installations in stones or other artificial materials
An installation involving computer screens on potted plants above some chandelier
A plastic sculpture by Eddie Peake (B. 1981), a British artist who works in performance art, video, photography, painting, sculpture and installation in which he tries to explore lapses, voids, the space between verbal and nonverbal modes of communication like images, emotions, bodily movements or sounds playing with the absurd and the erotic and the latent animalistic basis of sexuality. .
A collage by Martin Creed (b. 1968) British musician, painter and installation artist who wishes just to make things and in the process discovers what he wants. He says, " don't know what art is..I wouldn't call myself an artist....The only thing I feel like I know is that I want to make things. Other than that, I feel like I don’t know. So the problem is in trying to make something without knowing what I want. ..I think it’s all to do with wanting to communicate. I mean, I think I want to make things because I want to communicate with people, because I want to be loved, because I want to express myself." He says that he makes art works not as part of an academic exploration of 'conceptual' art, but rather from a wish to connect with people, 'wanting to communicate and wanting to say hello'. The work is therefore primarily emotional: To me it’s emotional. Aye. To me that’s the starting point. I mean, I do it because I want to make something. I think that’s a desire, you know, or a need. I think that I recognize that I want to make something, and so I try to make something. But then you get to thinking about it and that’s where the problems start because you can’t help thinking about it, wondering whether it’s good or bad. But to me it’s emotional more than anything else". I suppose he expresses quite well what art may be about: a form of self-expression and communication.
Leaving Leaves 2014: silicone, charcoal, and graphite on canvas by Angel Otero (1981) a Puerto Rican abstract expressionist painter specializing on process based paintings and deconstructive porcelain and steel sculpture, highlighting the physicality of his artistic materials. He has developed a "deformation" approach by first painting on glass and once dry, scaping the paint as a skin off the glass and then draping and rearranging the material on canvas, thus exploring the historical and contemporary painting narratives to showcase its physicality such that the paint itself becomes the subject of the painting.
A sculpture by Roxy Paine (b. 1966) an American artist who likes to mirrors natural processes and highlight the tension between the organic and man-made environments, between the human desire for order and nature's drive to reproduce, having made highly detailed simulations of natural phenomena hand-wrought stainless steel trees, vitrines of mushroom and plant life in various states of decay and several large-scale machines designed to replicate creative processes and to emphasize the human desire to impose order on natural forces and the resistance of Nature to the artificial and the conflict and perhaps a kind of uneasy 'unity" between reason and instinct. Paine has said, "I’m interested in taking entities that are organic and outside of the industrial realm, feeding them into an industrial system, and seeing what results from that force-feeding. The end results are a seamless containment of these opposites."
His mushroom sculptures
A painting by James Krone (b. 1975) an American artist who works on sculptures, installations, and videos and painting. He says: “I don’t like to think of painting on a canvas as going somewhere so much as doing something.”
Waterhome Screen AQ 2013: oil on canvas by him. Through his works, he wishes to explore the process of art making, as a self-referential practice as well as a means of commenting on philosophical ideas, historical events, and contemporary culture. Painted as monochromes, the shadowed spaces here are where the growth and production of "art" takes place. It is supposed to "represent" the aquarium to the aquarium, thus dissolving the traditional boundaries between the subjective and the objective, the interior to the exterior.
A cross between painting and sculpture, which the pictorial and the physical by Jessica Stockholder (b. 1959) a Canadian sculptor and installation artist who enjoys filling her creations with bright colors and breaking down the boundaries between the two, creating a dialogue between space and form and who says:"My work developed through the process of making site-specific installations—site-specific sometimes in very specific ways but also just by virtue of being "art" in a room; there's at least that much going on between the work and its context; after all, paintings don't hang on trees. In all of the work I place something I make in relationship to what's already there. With installations it's the building, the architecture, or you might say it's the place that I work on top of; with the smaller pieces I work on top of or in relation to stuff that I collect. I don't see a dichotomy between formalism and something else. Form and formal relations are important because they mean something; their meaning grows out of our experiences as physical mortal beings of a particular scale in relationship to the world as we find it and make it. I don't buy that formalism is meaningless".