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FLOWERS OF ETHIOPIA AND OTHER HARMONIES

Flowers of Ethiopia

It is not hazardous to say that Robin Yong‘s journey, it’s a journey into beauty. The goal is a long journey made of miles of experiences merging directly into the definition of colours and light. This is the key to approach the perfect harmony of his shots, which touch a dazzling aesthetic, built not on simple expressive formalism or pure technique, but on a movement that has its roots in emotions.

Yong travels for thousands of miles, to meet people and immerse himself in different cultures. A journey in a different world, that he faces with the certainty that he will be able to go back to the roots where his artistic research lays. A passionate path towards that beauty which is expressed in such aesthetic perfection, because it is first lived and sedimented inwardly. As Susan Sontag loved to define the natural and profound approach to the work of art, so is Yong’s approach sentimental and almost erotic. Yong lives in a deep state of desire that allows him – as he underlines “my shots are made with natural light, without predispositions of artificial lighting systems” – to naturally grasp the essence of a beauty that already exists and that needs to be caught in its purity, in an unparalleled form.

Flowers of Ethiopia is one of Yong’s most surprisingly beautiful works. The journey in the Horn of Africa, in the Omo National Park, where ancient Ethiopian tribes live, brings him in a context of primordial nature, simple and pure, made of spontaneity, smiles, and innocence. The gaze of Yong frees himself of his “superstructures” to be able to grasp naturally what the great and wonderful mother nature offers him: flowers adorning other flowers, clothes of nature revealing purity, smiles for exchanges of understanding and friendship.

Flowers of Ethiopia is a tribute to the great people of a great land.  Yong did not simply picture the reality of life, he has designed it with his own colours. Naturalness that meets other naturalness, immortality of an encounter of love.

Impossible to not be appreciated.

Gianfranco Valleriani

London, March 7 – April 5, 2019

Antonella Catini

Antonella Catini nasce a Pisa, ma vive e lavora a Roma. Laureata in architettura, ha costantemente coniugato gli interessi per lo spazio, la forma e la percezione visiva con la ricerca pittorica. Lavora sul colore e la materia pittorica componendo forme e segni, attraverso un processo di sovrapposizioni e sconnessioni. Le tracce e le impronte lasciate sulla materia alludono ai percorsi e alle stratificazioni della psiche e si costituiscono come metafora di contenuti della contemporaneità. In molti suoi lavori la dimensione spaziale è spesso rarefatta, mentre domina il colore che diviene veicolo di intensa esperienza sensoriale. Le opere più recenti affrontano la tematica del paesaggio urbano e  della percezione del movimento e della velocità.

L’artista ha partecipato a innumerevoli mostre in Italia e all’estero. Le sue opere sono in mostra permanente presso spazi istituzionali e sono state pubblicate su numerosi cataloghi e riviste del settore. Ha esposto in Italia, Germania, Gran Bretagna, Turchia, Francia, Olanda, Spagna, Russia, Giappone, Cina. Ha al suo attivo premi e cataloghi personali.

Energie Fluide

Il Gesto e la Memoria

I paesaggi dell’anima di Antonella Catini

A cura di Gianfranco Valleriani

C’è un perfetto equilibrio nella pittura di Antonella Catini, che non è dato, ma ricercato e raggiunto in un gesto espressivo che non è affidato semplicemente alla tecnica, a una metodologia di processo, ma ad un movimento  interiore.

Monocromie, o policromie, che si muovono fino a trovare forme delicate composizione, lasciando intatto il segno dell’azione. E’ proprio in questo equilibrio tra movimento e forma che si compone l’opera pittorica della Catina. E sulla tela c’è l’espressività di un tracciato, di un movimento gestuale – come fa notare Philippe Daverio – che non è casuale o irrazionale, ma  che segue invece ricordi e emozioni; che muove da una propria interiorità in cui la tecnica accompagna solo, delicatamente.

La composizione finale è un gioco visionario tra il figurativo e l’astratto, dove il figurativo diventa astratto e viceversa, che assume i contorni di paesaggi immaginari, di elementi naturali che seguono fisionomie e luoghi del ricordo. E’ un equilibrio di toni, quando il gioco è policromo, o di semitoni, quando invece l’opera è monocroma; ma è soprattutto un equilibrio interiore, tra due parti di se stessi, tra ying e yang, tra femminile e maschile, tra movimento e forma, tra gestualità e ricordo.

E’ una tela materica, quella della Catini, che ha il sapore dell’evanescenza, della leggerezza; dove la fisicità della materia è solo motivo di slancio verso una dimensione interiore, della memoria o forse dell’anima.

Antonella Catini was born in Pisa. She now lives in Rome, where she obtained her degree in Architecture. She works on colour and pictorial matter composing forms and signs through a process of overlaying and fractures. She experiments with the surface of the canvas by identifying other dimensions and by exploring a parallel universe made of space, objects and places, where solid and void, inside and out, measure each other and continuously recall one another. Reality is fragmented, crumbled, decoded and interfaced through a process aiming also at inquiring the most hidden aspects of the “self”. The traces and imprints left on the canvas refer to the layering of the psyche and grow as a metaphor of contents of contemporaneity. The artist has taken part in numerous personal and collective art exhibitions in Italy and Europe.

Juliette Pearce

Juliette Pearce is a French South African artist born in 1989. She uses oil paint to reflect upon places that she has visited; places that, though seemingly lifeless, have got as much to do with life as life itself. Based on photographs, these paintings bring forth an outlandish realness, which instantly draws the viewer into the scene. Pearce’s work creates contrasts on various different levels. The chosen perspectives turn the visitor from a ‘viewer’ into a ‘voyeur’, observing a scene, which bizarrely depicts no living being to be observed. Built by humans for humans, these places create an atmosphere that goes way beyond desertion. Though Pearce mostly applies bold, sometimes even acidic colours to her paintings, these do not as expected turn the paintings into lively reproductions of the original photographs. If anything, these eye-catching colours genuinely increase the contrast between lively and lifeless, involvement and exclusion, absence and presence. Pearce’s paintings and her use of colour are a perfect example of how colours can communicate an idea or atmosphere, which in its original form would not be connected to them.

Pow(d)er by Gabriela Herma

Gabriela Herma is a Polish Fine Art Photographer, based in London. Her work is characterized by an extremely long and fascinating process that allows the artist to transform a photo into a unique – one of a kind – original work.

Herma’s photographs are printed onto metal and later supervened with resin and mixed materials such as Swarovski, broken mirrors and sparkle dust. Her photographs freeze moments of emotion and are brought to life by layering resin and reflective elements. Through this process, she injects a vitality and tangibility that invites us to step into the scene and experience first hand the moment Herma captured.

This new provocative series of works is presented for the first time at Le Dame Art Gallery at the Melia White House. Gabriela explores the theme of Power and its iconographic objects, from the US dollar to cocaine or famous brand such as Coca-Cola. Covered in Swarovski and diamond Powder, even a gun looks sparkling and possibly can be perceived positively, and so does the Instagram icon, inviting the viewer to think about how social media have contributed changing the perception of what we truly like or dislike.