Living and working in Paris, Echard's work looks to reexamine the binary between nature and technology by intermixing organic and manufactured materials through collage; a technique which closely aligns her practice with the appropriated reality and assemblage works of artists of the Nouveau Réalisme movement in 1960s Paris.
Since 1962, Seo-Bo has incorporated Korean hanji paper into his works. As he has explained in Ocula Magazine, 'hanji absorbs colour and becomes one with the paint. The Eastern view on nature disagrees with the idea of revealing oneself. Hanji absorbs everything because as a paper medium, it is rooted in this Eastern perspective.'
Images: Exhibition view: Park Seo-Bo, White Cube, London (17 March–1 May 2021). Photo: Eva Fuchs, Ocula.
Arshile Gorky at Sotheby's Online, 27 March 2021
This stunning Arshile Gorky painting, Garden in Sochi (1941) was a highlight for us from the Sotheby's cross-category sale on 25 March 2021 and sold for well over the estimate, fetching GBP 8,585,700 (including buyer's premium).
Main image: Arshile Gorky, Garden in Sochi (ca. 1940–1941). Courtesy Sotheby's.
Lekkerbreek reveals Kentridge's long-standing fascination with trees as a subject, which he paints and prints over dictionary paper.
Lekkerbreek trees are indigenous to Southern Africa, and through placing them within the context of words, they recall a series of associations relating back to Kentridge's childhood.
Touching on themes of procession, history, and memory, the woodcut print Mantegna reimagines Andrea Mantegna's painting Triumphs of Caesar (1484–192), as a means of expressing the weight of one's history.
Through this material, Chung contemplates Korean identity, having grown up in Korea in the years following the Japanese occupation. The artist played a key role in the Dansaekhwa movement of 1970s South Korea.
Demand's painstakingly detailed and unique approach to model-making and photographing challenges how we make and absorb images, and interrogates artists', as well as society's, relationship with appropriation.
Incorporating vinyl adhesive to create tactile and curvaceous forms protruding from the canvas, Matsutani's painting expands the possibilities of surface, whilst remaining tightly bound to the colour black, except for a deliciously deep blue emerging from underneath.
A master at creating biomorphic forms whose curved lines and simplicity are so pleasurable for our eyes to trace, Arp's instantly recognisable amoeba-like shapes are equally satisfying in this smaller scale.