Fiumano Clase, London
German artist and recent Royal Academy Schools graduate Marianne Thoermer boldly blends traditional techniques of composition and unconventional materials. For Volta 2019 will be exhibiting a selection of works from her “States of Affairs” series.
These semi-figurative pieces begin as monotype prints, inscribed on Perspex glass. Thoermer then blurs and distorts them, wiping and scratching away at the surface to create multiple layers. A variety of materials are applied including plaster, latex, scrim and glass wax, which means Thoermer’s works become more than just two-dimensional pictures to look at; they are three dimensional obtrusions into our space. The physicality of her works result in pieces that both attract and repel.
Takefumi Hori was born 1978 in Tokyo. Having completed his studies in classical and contemporary calligraphy in 2004, he moved to New York where he continues to work from his studio in Brooklyn.
Hori’s practice is rich and varied in its execution with gold leaf being his media of choice. Working onto a base coat of gold acrylic paint, Hori layers clear gel mixed with pigment followed by gold leaf. The process of cutting, sanding and scratching then begins, repeated over and over again.
His additive layering process with gold combined with the continual stripping back and scraping away of areas of paint results in work that progressively unfolds to the viewer over time. Each layer, revealed or concealed, gives the frontal surface of the painting temporality and visual impact. These are not works to be simply glanced at, the nuances and gradations warrant a more thoughtful and pensive gaze.
MIYABI 雅: one of the traditional Japanese aesthetic ideals. In modern Japanese, the word is usually translated as elegance and/or refinement.
Hori’s balanced and harmonious paintings can be best described as Miyabi. His fundamental understanding of composition and the way our eyes, and therefore our minds, ‘read’ results in works that are not only elegant and refined but also an expansion of the vocabulary of painting. The combination of the different Gold karat grades (eighteen, twenty-two and twenty-four) enables him to achieve a remarkable depth and variety of effects.
Whereas Hori affixes no definitive prescribed meaning to gold he embraces its diverse historical and cultural associations; from Western wealth and opulence to the more East Asian allusions to enlightenment and inner peace. These are references all can share and they will each have a different degree of importance unique to the individual.