GROUP EXHIBITION

Showcasing a melange of different expressions united by the common artistic generation the artists on show belong to, the project aims to display a fresh snapshot of contemporary painting. Specifically, what emerges from the works on display, is the intersection between a new way to conceive figurative art and the themes that characterise our contemporaneity. Not only the show has the value of documenting an era, by freezing its art in a determined instant, viewers are also captivated and driven to embark on a journey of introspection which leaves us with further inquiries and input of reflection.

By realising an iconography based on her unique interpretation of the human form and its relationship with the world, Aniela Preston’s (b.1998, UK) introspective canvas offer a glimpse into the complexities of human feelings. A sense of surrealism emerges from her works and the dreamlike atmosphere her painting is imbued with, lets us dig into our own subconscious, inviting us to introspect our own sensibility.

Like Presto’s works, Quinten Ingelaere’s (b.1985, Belgium) paintings initially appear familiar, drawing on the imagery and techniques of old masters. Yet, beneath this surface lies a deeper exploration of our subconscious and collective memory. While rooted in a shared visual vocabulary, Ingelaere’s works defy expectations, presenting seemingly recognizable elements—such as garlands, doves, and flowers—that upon closer inspection reveal themselves as distorted, abstract forms.

Despite their figurative nature, Ingelaere’s paintings challenge our understanding of reality. Through reinterpretation and decontextualization of classic themes and iconography, his art serves as allegories of alienation. Ingelaere’s work invites viewers to reconsider their perceptions and expectations, engaging them in a dialogue about the complexities of representation and meaning.

Close to Presto’s and Ingelaere’s approach is also Wedhar Riyadi’s (b.1980, Indonesia) art. Riyadi captures the essence of everyday life, inviting viewers into a world where reality and imagination intertwine. Through his mastery of color and form, his vibrant palette and meticulous attention to detail generate scenes that lie in a surreal dimension.

Riyadi’s figurative art consists of a visual tapestry that speaks to the complexity of contemporary society, in highlighting the element of randomness, he drives our consciousness to reflect on the complexity of today’s society and universal themes of loss, and longing through a sense of nostalgia often subtly emerging from his paintings. Riyadi’s art resonates with viewers on a deeply personal level, forging a connection that transcends cultural boundaries.

Geoffrey Bouillot (b.1990, France), seamlessly, blurs the specifics of cultural boundaries, merging French aesthetic, inherited by his own culture with Japanese influences, from the artistic language of his chosen culture. His contemporary style, blending Manga, Pop Art, Cubism, and Italian Futurism, evokes a sense of longing and reminiscence. This latest series, inspired by cartoon pop culture, combines geometric designs with colors, creating a poignant development in his aesthetic, mostly characterized by black and white and grey tones.

Perhaps the most explicit transgression from the “conventional” painting aesthetic is offered by Jon Burgerman’s (b.1979, UK) works on show. Transforming the underlying emotional chaos of abstract expressionism into vibrant bursts of color, infusing cuteness with a hint of ferocity, and embracing childlike aesthetics while rejecting any other explicit or even subtle conventions has become a central tactic of the avant-garde art scene, Jon is part of. By embracing this fresh perspective, we open our minds to an art scene guided by a newfound inner logic.

The same personal approach is present in Benzilla’s (b.1984, Thailand) art. His artistic style draws from a mix of pop culture, street trends, music, and fashion, blending seamlessly across various mediums like mural art, sculptures, toys, and product designs. His iconic creation “LOOOK”, the subject of the work he realized for “Crossing Boundaries: Contemporary Figurative Perspectives”, featuring three eyes, serves as a central figure in his work, inspired by sci-fi and enigmatic entities. “LOOOK” symbolizes hope and forward-looking vision, reflecting the artist’s emotions and intuition.

Very different is Giuseppe Mulas’s (b.1995, Italy) perspective. Sexuality frequently emerges as a theme in his art, prompting him to delve into the depths of the human psyche and blur the distinction between the public and the private spheres. This intimate essence permeates his compositions, reflecting his exploration of the significance of intimacy within contemporary Western culture. In an age where social media amplify the urge to digitally broadcast one’s daily life, he scrutinizes how this phenomenon erodes the boundaries between the personal and the public.

Unique, like Mula’s alphabet, is Giuditta Branconi’s (b.1999, Italy) language. Her artworks serve as modern-day fairy tales, inviting viewers into a captivating and diverse female realm depicted through her brushstrokes. Within this realm, mythological or fantastical figures coexist with occasional portraits of real individuals. Branconi employs a technique of ‘accumulation,’ layering paint on both sides of the canvas until the pictorial space brims with symbols, details from paintings, engravings, and tattoos sourced from her continuously evolving personal archive. Her aim, as expressed by the artist, is to construct a fresh lexicon capable of conveying narratives of innovation, freedom, and tranquility.

Autobiographical is also Studio Lenca’s (b.1986, El Savador) poetic. The figures he depicts project confidence and boldness while adorned in vibrant attire and stylish hats, this creates a paradoxical reference to his Salvadorian origins. His artwork cleverly weaves together personal stories, introspective musings, and elements of folklore, reshaping visual symbols to assert control over a fractured narrative of history.