Chinese-Finnish artist Canal Cheong Jagerroos creates richly layered mixed-media canvases and immersive installations that combine traditional Chinese art techniques and materials with a distinctive visual language of symbols, textures, color, and abstraction. Her multidimensional, enigmatic compositions communicate both the artist’s inner world and an open invitation to find meaning.
We talked to Cheong Jagerroos about her creative process of deconstruction, how the places she lives influences her practice, and the inspirations behind her new series of works on show in the upcoming online exhibition, opening in the Ronewa viewing room on June 16, 2021.
We chatted to Swiss-Tibetan artist Tashi Brauen ahead of his exhibition at SAC Gallery, Bangkok, and online exhibition in the Ronewa online viewing room, opening on April 8, 2021.
Brauen discusses the origins and different processes of the two series of works on show, which both employ unique mark-marking methods that balance intention and coincidence.
Marinda Vandenheede repurposes found objects marked by use and time to create quietly enchanting sculptural objects and paper works that spark curiosity and wonder. Her exhibition ‘Re:Generations’ opens in the Ronewa online viewing room on March 3, 2021.
Vandenheede juxtaposes unique signs of a past life and the natural degradation of materials with geometric forms and surprising compositions. Her playful works nod to the inherent dualities found within humanity and nature, and invite viewers to see the beauty in decay.
We talked to Vandenheede about her relationship to her chosen materials and objects, the conceptual balance she strikes in her compositions, and the moment of stillness she offers her viewers.
The upcoming online exhibition ‘In Plain Sight’ with American-Swiss artist Michele Colburn presents recent works from her stirring abstract series of gunpowder paintings. Read the press release here.
Colburn employs symbolically loaded materials connected to violence and war. Through her process, she disarms the explosive substance and creates beautiful and poignant works that invite reflection on violent histories and current realities. The works soon on exhibit in the Ronewa viewing room were all created in 2020, many under Covid lockdown conditions in Washington, DC.
We caught up with Ms. Colburn and discussed her use of symbolic materials, her gunpowder painting process, and the personal and political contexts of her work. Our conversation took place just a day before the shocking events on January 6th in Washington, DC, and her works feel more relevant now than ever.
The upcoming online exhibition ‘Ritardando - In Color’ by Berlin-based artist Elisabeth Sonneck features works that continue her exploration into the physical relations of form and color in space.
Ritardando is a musical term meaning a gradual decrease in speed. This sense of slowing down describes Sonneck’s rhythmic repetition of broad and steady brushstrokes that allow nuances of color variations and interactions to play out on paper and canvas surfaces. These surfaces are gently manipulated into dynamic shapes that form a dialogue between the intrinsic properties of her everyday materials and situational elements of space, light, environment, and audience. Read the press release here.
We talked to Sonneck about her process, her love of paper, and the spatial relationships that make each installation of her works unique.
Rico Lascano's upcoming exhibition in the Ronewa Online Viewing Room opens on September 3rd. We talked to him about his meditative art practice, nature and spirituality, and making art during lockdown.
Lascano's abstract practice draws from the breathtaking nature in the Philippines, the spiritual traditions of his home country, and his own quest for serenity and peace in a busy world. Within his floating compositions and delicately textured expanses, Lascano creates boundless spaces of stillness and timelessness. He invites viewers to occupy the transcendantal space of his inner journey.
26 October 2019 - 12 December 2019
Tashi Brauen’s objects and pictures aren’t meant for all eternity. Back in the studio from an exhibition, cardboard might get a second coat of paint. Then the previous shade might announce itself on the surface in soft shadows, or mix itself with the temperature of the new layer of acrylic. Tashi Brauen delights in materials and enjoys a nearly intimate relationship with paper. He tests its narrative potential by treating it with paint or damaging it just slightly. A crease, split or tear draws light, irregular veins into the red or blue ground. Cardboard jumps off the wall three times, forms half drums and, with cracked edges, evokes a notion of columns, lanterns, lampshades. And that’s where it happens: painting flirting with design and delivering a commentary on the environment and architecture. A piece of paper glued to the surface becomes a threshold, its micro-edge casts a dark, narrow shadow onto a monochrome surface. Doesn’t a landscape have its beginnings in such a minimal gradation?
The works of Swiss artist Tashi Brauen are created amid genres.
Between image and sculpture, surface and volume, as well as between different media of artistic expression, Brauen creates expansive installations, picturesque-looking photographs and relief-like wall objects that playfully trace the phenomenon of the surface.
Through his material manipulation, Tashi Brauen opens up a new and unusual view of traditional materials and focuses on their physical properties.
The works of Berlin based Spanish artist Patricia Sandonis possess a strong political character.
The partly participatory installations, objects, and drawings translate social phenomena into artistic processes. For example, Sandonis deals with the creation and consolidation of collective memory. For this, she has dealt with the conservation of European monuments, and has developed her own artistic language of remembrance.
The Berlin-based artist Elisabeth Sonneck uses painterly means to create exciting color spaces. However, these do not constitute a self-contained illusionistic image, but are directly related to their environment.
In temporary site-specific installations as well as in autonomous pictorial objects, Elisabeth Sonneck's painting emanates from surface and wall, becomes vivid and conquers real space. With minimalist lightness, her works expand artistic boundaries.
Tashi Brauen is a Swiss-Tibetan photographer, painter, and sculptor based in Zurich, Switzerland. His work combines the fragility of paper, spontaneous folding and manipulating surfaces with bold color and texture to reveal the artist's affection for geometric forms, shifting perspectives on dimension and exploring the interplay of scale, impact and details.
Meeting Tashi for the first time at his exhibition in Bern at the Museum of Fine Arts, our easy conversation led the way to a recent visit at his studio in central Zurich. There, we discussed his upcoming exhibition in Berlin at Ronewa Art Projects, his work and process as well as sharing a personal glimpse of his life as an artist.
German artist Veit Schmidleitner's paintings from his "Coupure" Series of abstractions fuse a sense of the industrial with inherent elegance that create new surfaces that defy tradition. These sometimes dramatically contrasting notions are brought together in compositions that evoke both a new visual topography and a sense of grace that nod to industrial roots, but that in some ways deflect traditional artistic methods.
The works range in scale from moderate to those that anchor an entire gallery wall, and as the spacious galleries include natural light at certain times of the day, many nuances and visual textures are revealed to the delight of the viewer.
At first glance, compositions appear to feature a traditional paint application of washes that harbor the subtlety of watercolor work, but there is more. A variety of color tones and greys that shift and evolve of their own accord take over the compositions. In some areas, there are bursts of intense color that grab the eye and interrupt initial readings. Simultaneously, curiosity is piqued as these works have what appear to be a mix of traditional and industrial pigments, and high-gloss varnish that gives the work an extreme polish or sheen that is intriguing. The treatment of surface is reflective and as the viewer approaches the work they may see their reflection and elements in their space. This is not a classic painting approach, it is something very new indeed.
Schmidleitner creates with cut panels that are often times irregular, but that are joined to make finished stable rectangular or near-square compositions. Orientations may be primarily vertical or horizontal depending on the piece.
I had the opportunity recently to speak with Schmidleitner by Skype and also in person in Berlin, before the vernissage.