For those visiting during Art Basel in Hong Kong (29–31 March 2019), the smell of fresh paint may still be in the air at the latest heritage conservation project, The Mills, which opened on 16 March to encompass the Centre for Heritage, Arts and Textiles (CHAT), joining the ranks with ex-prison complex Tai Kwun, along with Eaton HK—a retro...
Firenze Lai says that she knows her studio of a few hundred square feet intimately; from the textures of its surfaces to the way the breeze blows into the room. The spaces depicted in her paintings are equally intimate. When curators seem to be at a loss for words to discuss troubled times, fear of containment, and the feeling of being completely...
In Meiro Koizumi's three-channel video installation, The Angels of Testimony (2019), the central frame features an interview with Hajime Kondo about his time as a solider of the Imperial Japanese Army during the Second Sino-Japanese War. The conversation centres on war crimes perpetrated in China, including the beheading of Chinese prisoners for...
Office Baroque is pleased to present an exhibition of new work by DANIEL SINSEL.
This will be the artist's first solo exhibition at the gallery. Sinsel's minimal yet intricately detailed works reflect a focus on the nature of painting and sculpture and on the particular qualities and associations of the materials he uses. These materials carry meaning through their origins and historical resonances. Vellum –essentially animal skin- is either cut o woven to form columns and pipes.
Sinsel underscores the alchemy using one material as the basis for representing another material. His paintings are indebted to art history, working through its formal and iconographic developments. The canvases are small in scale and rendered using a crisp, firmly delineated style achieved through the traditional method of building up multiple layers of oil paint on prepared linen supports.
Sinsel's frequent use of trompe l'oeil celebrates skillfulness while always signaling the limits of representation. Peeking and trying to look under things, peering at cuts, punctures, slices and slits form part of the pleasure of looking at Sinsel's paintings. His sculptures feel preoccupied with spaces, forms and textures. These tactile pieces speak of craft-based methods of construction such as weaving, folding and sewing, through which states of rigidity and flaccidity are alluded to in various forms.
Despite the technical nature of their making, the result is human, sensual and anti-modernist in form. Sinsel's use of raw silk in creating a hand-woven seamless fabric sculpture inverts the notion of the canvas as support for the image, with the support becoming the subject itself.
Daniel Sinsel's fidelity to traditional pictorial genres rendered in oil on canvas, as well as his employment of age-old craft techniques in the fabrication of his objects (including metalworking, ceramics and casting) seems intent on making us aware of the time and labor invested in them. The work fascinates in how it is knowingly constructed against the contemporary quick-fire economy in which it also circulates.
Born in 1976 in Munich, Daniel Sinsel received his B.A. in painting from the Chelsea College of Art and Design, London, in 2002 and his M.F. in painting from the Royal College of Art in 2004.
Over the past years, Sinsel has been the subject of solo exhibitions, including the Chisenhale Gallery in London (2011); Galerie Micky Schubert, Berlin (2009); The Breeder, Athens (2008); Sadie Coles HQ, London (2009 & 2007) and Luisa Strina Sao Paulo (2006). His work was included in group exhibitions at Kaleidoscipe Project Space, Milan (2011); Galeria Franco Noero, Milan (2010); Jerwood Space, London (2010); Royal College of Art, London (2009); MoMA, New York (2009); Institute of Contemporary Arts, London (2007); Hauser & Wirth, Zürich (2005) and Andrea Rosen Gallery, New York (2004).
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