Patrick Heide Contemporary Art, London
Patrick Heide Contemporary Art is delighted to present a group of works at VOLTA Basel 2019 that pursue the question of how art can change the structure and the understanding — or at least the perception of our world. The selected artists deal with ideas of transformation and the ephemeral by uncovering the hidden, the spaces in-between and by disturbing and modifying our visual behaviour.
Reinoud Oudshoorn (b. 1953, Netherlands) takes the illusionary language of painting and applies it to sculpture to form a bridge between the spatial illusion of a flat surface and the concrete reality of a physical object. His constructions with frosted glass symbolise the contemplative and mysterious.
Sophie Bouvier Ausländer (b. 1970, Switzerland) eliminates, disrupts or perforates the structure of the objects she works with. Her small and large-scale waxed maps are covered with paint, then scratched and scribbled into with abstract shapes or grids. Sometimes recovered with paint drippings, they question the map as our vehicle of understanding, as a true representation of the world.
Dillwyn Smith’s (b. 1958, United Kingdom) delicate fabric paintings play with the alternation of front and backside, surface and stretcher. Moreover, Smith has been fully dedicating himself to colour and its metaphysical values in the purest form. From essences of pigments that he sprays and saturates into fabric and canvas to purely hand and pre-dyed fabrics.
Caroline Kryzecki’s (b. 1979, Germany) is interested in the disturbance of the viewer’s visual experience. A minimum of two layers of identical or similar parallel line grids form the basis for each drawing. Set against one another at a flat angle, with the degree of the angle also changing within certain drawings, the resulting moiré effect of symmetrical patterns is partly intended and partly the visualization of a chance outcome.
Finally, Andy Harper’s (b. 1971, United Kingdom) latest works from a solo exhibition he recently held at the gallery complete the group. Thematically, Harper returns to a set of forms and subjects that he constantly references and that accompany his oeuvre since his early career: motifs from botany, organic shapes and vibrant colours, which combine to semi-abstract arrangements.