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Ocula ReportArt Jakarta: World spirit, Independence Day and Asian Games16 Aug 2018 : Hera Chan for Ocula{{document.location.href}}
A four-legged beast with an ornate mirror for a face and the hybridized horns of a Bawean deer stands in the centre of Chan + Hori Contemporary's booth at the tenth Art Jakarta (2–5 August 2018), housed in the Grand Ballroom of The Ritz-Carlton. This contemporary mythical beast is Lugas Syllabus's Wild Legend (2018): a strong teak wood testament to...
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Ocula ConversationInga Svala Thórsdóttir{{document.location.href}}
Since meeting in Iceland in 1990, Inga Svala Thórsdóttir and Wu Shanzhuan have developed a cosmic database of signs, words and forms as a result of their continual and unbiased questioning of the nature of things. 'Our studio was basically a piece of A4 paper,' explains Thórsdóttir, recounting the initial years of their collaboration. From this...
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Ocula ReportRIBOCA 2018: Riga’s first biennial gives time to change10 Aug 2018 : Stephanie Bailey for Ocula{{document.location.href}}
In early 2017, a presentation for the first Riga International Biennial of Contemporary Art (RIBOCA) circulated on Facebook, and a discussion unfolded over the private Russian backing behind the project, and the absence of Latvian institutional (or state) support. The relationship between Russia and the formerly Soviet Baltic states has become ever...
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Andrew Browne works primarily in painting, but also in photographic mediums including both digital and more traditional forms such as photogravure and lithography. Since the late 1980’s he has investigated the landscape, both natural and man-made, as a motif in his work with a particular interest in representing observed phenomena that deals with illumination and the poetics of the nocturne, evoking the uncanny and the surreal. The work treads a fine line between realism and abstraction, taking into account the formal lessons of modernism, and often seek to insert the artificial into the natural world. Whilst his photographs generally deal with an intuitive and direct response to both man-made and natural phenomena in the landscape, his paintings emerge out of a more complex series of relationships that encompass the photographic, the historical parameters of landscape painting, ongoing issues dealing with technological and social change and our at times ambiguous and contradictory place within our evolving environment.

His works have been variously described as romantic, cool, eerie and spectral in quality, uncanny, iconic and emblematic, odd and engaging. They have been identified as essentially psychic landscapes of apprehension but also of giving the impression of realism while using, ostensibly, the language of abstraction. The artist has in the past referred to his "interest in creating an interpretive and introspective space via an engagement with a lived experience of the contemporary landscape".... "....increasingly though, I am concerned with the direct psychological impact of particular images, both in the paintings — which have become more stylized and suggestive, anthropomorphic and surreal — and the photographs, where at times clarity, crisp focus and the overly descriptive have been jettisoned in favor of a reductive palette, suppressed detail and blurred form."

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