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Alberto Peola Arte Contemporanea
Via della Rocca, 29, 10123 Torino
,
Italy
Tel.++39 011 8124460
Fax++39 011 8396467
Hours: Mon.- Sat. 3:30pm-7:30pm and by appointment.
Contact: Alberto Peola
E-mail: a.peola@iol.it
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Amber
Four British artists—Kirsten Glass, Victoria Putler, Antoinette Haechler, and Aimie Reeves—are showing in Italy for the first time.
Kirsten Glass makes paintings in which she combines written elements with images of young girls taken from fashion magazines. Set at the base of the paintings, the texts create a strong graphic foreground, which confers a hyperrealist atmosphere onto the work as whole, somewhat reminiscent of advertising hoardings. The image is constructed using a deliberately imprecise collage technique, in which the roughness of the cuts and the outlines of the joins are accentuated and transformed into a sort of drawing. The artist brings different visual languages together, placing the delicate beside the heavy, careful shading beside chaotic brushstrokes. By concentrating on the details, Glass brings the empty images from fashion magazines to life. In certain areas she applies paint as if it were actual make up, thus enhancing the sensuality of both the subject and the painting itself.
Aimie Reeves starts with drawings and sketches and, in the creative process from these to finished painting, adds different allusions according to how the image develops. She employs neat, bright-colored paints to assemble her works from a variety of different influences, ranging from chaotic, psychedelic imagery to ’60s design. These choices, combined with the way in which the different shapes blend into one another, give fluidity and a strong graphic impact to the painting. Although at first glance the works seem to evoke sci-fi or cartoon imagery, the finished painting is closer to abstraction, devoid of narrative or any recognizable shapes.
Victoria Putler creates paintings that truthfully depict abandoned places and empty landscapes in a palette of pale pastel colors that hardly vary in hue. Putler’s images are of waysides or streets vanishing into the distance and although the perspective itself is definite, the almost identical chromatic tones she employs serve to soften it. The viewer is left uncertain as to whether it is the apparent flatness that tricks the eye into reading the perspective as uncertain, or whether the artist has distorted the very notion of perspective. Putler hopes that her paintings will suspend the viewer’s gaze between a superficial abstraction and an unexpectedly familiar, if not specific, place.
Antoinette Haechler paints on cloth, adding a touch of familiarity to her compositions of symbols that would otherwise appear severe. The paintings depict groups of shapes and flattened objects, which appear to be graphic representations of toys. They are like visual recordings of moments from the artist’s personal history with no reference to a date, a place, or a specific time. The apparently casual arrangement of the objects implicates some connection, but without telling a story. By altering the proportions and excluding painted spaces, Haechler forces the objects to become symbols rather than elements in a message.
The exhibition has been organized in collaboration with the British Council.
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Shafted
Kirsten Glass
2000
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