Davidson Contemporary, New York

521 West 26th Street, New York, NY 10001, USA

info@remove.me @davidsongallery.com

www.davidsongallery.com

 

 

Nicky Broekhuysen works with binary numbers 1 and 0 hand stamped on to paper, objects and installation spaces. “The binary numbers represent data. Everything in life and nature gives off some form of data in a complex world of information and meaning. “My work uses this binary data as a metaphorical language for potential and change with in an environment of chaos and order. I shift the numbers in and out of structures and forms forever adapting and evolving them away from fixed states. With in the binary numbers lies an endless potential of meaning and form which exists beyond time, filled with past, present and future potentials.”

Nicky Broekhuysen was born in 1981 in South Africa. At the age of 13 her family moved to New Zealand where she completed her studies. In 2004 she graduated with a Bachelor of Fine Arts Degree from Auckland University. For the next 2.5 years she based herself in Shanghai, China followed by a move to Berlin in 2008 where she currently lives and continues to exhibit.

Boo Saville's work (b.1980) has evolved from a drawing based practice which explored pattern and surface through to working with different materials: clothes dye, biros, household bleach and oil paint. Saville's recent work focuses on divergent models of aesthetic exploration, polar opposites or simultaneous opposites. This work presents itself as large open fields of pure colour next to smaller more modest monochromatic black and white figuration. These two working mediums explore the way in which we experience and respond to images and colour respectively.

The so-called ‘monochrome’ works are chosen from a larger selection of images gathered from a simple internet search. Saville uses the search engine algorithm to find the subsequent image and works on pure instinct to make the selection. The monochromes emerge from a taxonomy of metaphor in a hope to inform the abstracts, which embody the same things. The abstracts are fields of pure color, intense and layered and stem from the artist’s own emotions. However, Saville removes almost any trace of the painter’s hand, inviting and provoking the viewer to project her own emotions and classifications onto the work.

The manipulation of the paint also describes the different engagements she has with thoughts. The thin, eked-out black and white oils in the figurative works encapsulate a different cognitive process to that in rich and layered colour, akin to either academic or emotional, conscious or subconscious; the id and ego of the artist, where the id is the instinctive use of colour and ego is the conscious choice of subject and its meticulous reproduction. Her work has been heavily influence by thoughts of death but this has shifted recently to focus on cognition and how our inner dialogues memories and emotions inform the decisions we take. Boo Saville studied at the Slade School of Art, London, graduating in 2004. From 2003 she formed part of the WOWOW! collective in south London with, among others, Matthew Stone. In 2007 she was a nominee for the Sovereign Painting Prize, and in the summer of 2008 she completed a residency in Paris at the Cite des Arts. Her first solo show was at Martin Summers Fine Art in 2008. Saville is currently represented by TJ Boulting (formerly Trolley Gallery) where she held her third solo show in 2012. Saville is represented by Davidson Contemporary in New York, where she had her first solo show in the United States in 2017. In 2009 she produced an edition of unique prints with Damien Hirst's print and publishing company 'Other Criteria'. In Spring 2013, her work was shown in a survey of new British artists at the Museum of Contemporary Canadian Art, Toronto and was recently acquired by the Museum of New and Old Art, Tazmania. She has been featured in Francesca Gavin’s book ‘Hell Bound: New Gothic Art’ as well as her latest book ‘100 New Artists’ on British artists under 35 years old creating the aesthetics of the next decade. 

Nicky Broekhuysen, THE BLACKBOARDS, MEANING AND MADNESS I, 2017, Oil paint stamped on canvas, 31.5 x 43.31 in (80 x 110 cm)
Nicky Broekhuysen, THE BLACKBOARDS, MEANING AND MADNESS II, 2017, Oil paint stamped on canvas, 31.5 x 43.31 in (80 x 110 cm)
Nicky Broekhuysen, THE MAP IS NOT THE TERRITORY I, 2016, Oil on paper, 39.37 x 27.56 in. (100 x 70 cm)
Nicky Broekhuysen, THE MAP IS NOT THE TERRITORY II, 2016, Oil on paper, 39.37 x 27.56 in. (100 x 70 cm)
Nicky Broekhuysen, THE MAP IS NOT THE TERRITORY III, 2016, Oil on paper, 39.37 x 27.56 in. (100 x 70 cm)
Nicky Broekhuysen, THE MAP IS NOT THE TERRITORY IV, 2016, Oil on paper, 39.37 x 27.56 in. (100 x 70 cm)
Nicky Broekhuysen, THE MAP IS NOT THE TERRITORY V, 2016, Oil on paper, 39.37 x 27.56 in. (100 x 70 cm)
Boo Saville, Abstract #22, 2017, Ink on paper, 30 x 22 in. (76.2 x 55.9 cm)
Boo Saville, Abstract #23, 2017, Ink on paper, 30 x 22 in. (76.2 x 55.9 cm)
Boo Saville, Abstract #24, 2017, Ink on paper, 30 x 22 in. (76.2 x 55.9 cm)
Boo Saville, Abstract #25, 2017, Ink on paper, 30 x 22 in. (76.2 x 55.9 cm)
Boo Saville, Abstract #26, 2017, Ink on paper, 30 x 22 in. (76.2 x 55.9 cm)
Boo Saville, Abstract #27, 2017, Ink on paper, 30 x 22 in. (76.2 x 55.9 cm)
Sam Messenger, All Along (NI.44.17), 2017, Ink and graphite on paper, 15.5 x 11.5 in. (39 x 29 cm.)
Sam Messenger, Never Saw (NI.46.17), 2017, Ink and graphite on paper, 15.5 x 11.5 in. (39 x 29 cm.)
Sam Messenger, How Not (NI.49.17), 2017, Ink and graphite on paper, 15.5 x 11.5 in. (39 x 29 cm.)
Sam Messenger, Almost Was (NI.55.17), 2017, Silverpoint, gesso, and graphite on paper, 15.5 x 11.5 in. (39 x 29 cm.)
Sam Messenger, Go Against (NI.56.17), 2017, Ink and graphite on paper, 15.5 x 11.5 in. (39 x 29 cm.)
Sam Messenger, Forgotten How (NI.57.17), 2017, Ink and graphite on paper, 15.5 x 11.5 in. (39 x 29 cm.)