PASCAL FELLONNEAU

Since the beginning of French Presidential Campaign 2012, PASCAL FELLONNEAU has photographed election posters in Paris.


It is an on-going series but here are some first results.



☁ PASCAL FELLONNEAU
☁ PASCAL FELLONNEAU PREVIOUSLY ON LE ZÈBRE

PAUL CADDEN

HYPERREALSIT DRAWINGS


PAUL CADDEN /// INTENSIFY THE NORMAL

I think the creation of Art need not lead to alienation and can indeed be highly satisfying; one pours one's subjectivity into an object and one can even gain enjoyment from the fact that another in turn gains enjoyment from this. Although the drawings and paintings I make are based upon photographs, videos stills etc , the idea is to go beyond the photograph. The photo is used to create a subtler and much more complex focus on the subject depicted, The virtual image becomes the living image, an intensification of the normal. These objects and scenes in my drawings are meticulously detailed to create the illusion of a new reality not seen in in the original photo. The Hyperrealist style focuses much more on its emphasis on detail and the subjects depicted. Hyperreal paintings and sculptures are not strict interpretations of photographs, nor are they literal illustrations of a particular scene or subject. Instead, they utilise additional, often subtle, pictorial elements to create the illusion of a reality which in fact either does not exist or cannot be seen by the human eye. Furthermore, they may incorporate emotional, social, cultural and political thematic elements as an extension of the painted visual illusion; a distinct departure from the older and considerably more literal school of Photorealism.


" It was the straying that found the Path direct."



☁ PAUL CADDEN

DOUG FOSTER

The Heretics' Gate
Installation view in St Michael's Church, Camden
This large scale digital film installation, created for Lazarides' Hell’s Half Acre exhibition in 2010, was inspired by Dante Alighieri’s Inferno. The Heretics’ Gate represents Dante’s entry point into the Sixth Circle of Hell, where non-believers burn for eternity in furnace-like tombs.

The fiery, ectoplasmic forms were created with liquid and light. The score is by UNKLE (J Lavelle, P Clements and J Griffith).

Chimera
Installation view in The Old Vic Tunnels, London
This large scale digital film installation, created for Lazarides' The Minotaur exhibition in 2011, was inspired by the genetic soup in which we all swim. It is a sister film to The Heretics’ Gate and contrasts with that work in many ways while sharing the same soundtrack. The two films can be presented simultaneously in the same sound space.

The score is by UNKLE (J Lavelle, P Clements and J Griffith).


DOUG FOSTER
Foster has long been fascinated by the intricacy of the human visual system and how it can be fooled by optical illusion. In 1981 he built a walk-in film installation for his degree show that used projected imagery and large mirrors to incorporate its viewers into an infinite panorama.

He worked in London for several years, honing his filmmaking skills as a visual effects cameraman, a lighting cameraman and then a commercials director. He filmed all over the world and won some of the top awards in the industry.

In 2006 Foster started using newly available technologies to realise some of his earlier ambitions. He gave up commercials to work full-time on a series of finely crafted, high-definition and stereoscopic digital film installations featuring cyclical narratives.

Some of his pieces explore the lengths that people will go to when faced with serious challenges, while others attempt to beguile at a primal level by imposing perfect symmetry on irregular forms from nature. If there is any common theme it is that each of his works strives to engage the viewer by focusing on one small detail of the human condition.


☁ DOUG FOSTER

CONOR HARRINGTON

CONOR HARRINGTON
Are you a graffiti artist, a figurative painter, or simply a painter?

A painter first and foremost. If you asked me that 10 years ago I would have said a graffiti writer but now as I get older I’m trying to shake off all those labels. It’s a strange position for a lot of us these days. We come from graffiti and street art but now we want to move beyond that. Thats why I like the term post-graffiti a lot. It sounds pretentious but its the label that I find most accurate really. I used to do graffiti. now I paint. But I wouldn’t be doing what I’m doing now if I hadn’t painted on the streets. Simple.


☁ CONOR HARRINGTON

JOE WEBB

JOE WEBB

"My collages work to a basic rule of sourcing just two or three images....Then I present them as a reinvented single image with the objective of communicating a new message or idea.

I started making these simple hand made collages as a sort of luddite reaction to working on computers for years. I like the limitations of collage...using found imagery and a pair of scissors, there are no Photoshop options to resize, adjust colours or undo."

☁ JOE WEBB