Arjan Boeve

"Sunny Side Up", stained glass by Arjan Boeve (30x21, 6in), 2021

2019

"Bob Tondo - Mini", stained glass by Arjan Boeve. Stained glass art representing SpongeBob, the heroe of the animated comedy television serie "SpongeBob S...

"Real boys", stained glass by Arjan Boeve. Stained glass art representing Pinocchio wearing Air Max by Arjan Boeve. Arjan has a fascination for today’s c...

"Tintin & Milou", stained glass by Arjan Boeve. Stained glass art representing the heroes of the eponymous Belgian comic serie called "The Adventures of T...

Simple, reduced forms, coarse materials, large areas of colour, often monochromatic, colour layers woven through each other, thick layers of paint applied with a palette knife - are ...

Sculpture by Yanne Kintgen: "Le secret". Born in Redon (France) on April 26, 1960, Yanne Kintgen has been a painter and illustrator since 1985. To enter Yanne's world is to accept i...

Simple, reduced forms, coarse materials, large areas of colour, often monochromatic, colour layers woven through each other, thick layers of paint applied with a palette knife - are ...

Doug Aitken EveryThing, 2015 Mirror, Fibreglass & resin 92.5 x 119.5 x 12.5 inches Edition of 4 plus 2 AP's Provenance: NB: Available on sale

medium: installation, table, mirror, 20 glass and metal beaded clay sculptures Esperanza Cortés is a Colombian born multidisciplinary artist based in New York City. Cortés has been ...

Since the 1980s, Eric Fischl (b. 1948) has been renowned internationally as one of the most daring and distinct figurative artists. Over the course of his career, Fischl has branched...

Laughter, discomfort, perplexity: these are all plausible reactions to the work by sculptor Cal Lane. The artist’s most recent body of work is an affective assemblage of incongruous parts that, taken together, violate our mental patterns and expectations. Charged with contradictions, metaphor, sexual undertones, and unsettling associations, Lane’s unlikely combinations use absurdity as a way of pointing to western society’s normalized habits and conventions, often with an emphasis on gender and sexuality. For the exhibition Try Me, Lane installs a basketball court in the gallery. The two basketball hoops on opposing walls are embellished with silver-coated frames and lustrous mirrors, which serve as decorative backboards. In place of nets, women’s black lace underwear delicately hang from hoops. A decorative rug stenciled with court lines performs as the court floor. It is a mise-en-scène set in motion by viewer’s reconciliation of the individual parts to the whole, and to their original function. Panties regard themselves in the mirror or perhaps measure up their opponent, which, not without irony, is the mirror image of itself. Themes of gender and sexuality are performed and imagined in the upward voyeuristic gaze of the viewer and the expected swoosh of the ball into the net. This is further elaborated by phallic impressions formed by court lines and their likeness to a work of modernist abstraction—a movement wrought by notions of masculinity. The decorative rug’s connection to femininity and domesticity juxtaposes the rigid geometry. Lane further explores the historical gendering of technology, industry, and war in her series of wallpaper drawings, which depict war submarines on cloud patterned wallpaper. The innocence of the submarine in popular culture and its reality as a phallic war object...

Text by Terence Sharpe There is a moment in Andrei Tarkovsky’s Solaris (1972) when the character Hari commits suicide by drinking liquid oxygen. As she is not actually a human, but an artificial hybrid product of the mysterious planet and the protagonists’ memories, she heals rapidly and is alive again minutes later. Her choice to take her own life is poignant, seemingly the action of a being becoming aware of its hopeless infinitude. Her realization that while the men will die on the space station or elsewhere, her existence is that of immortality, a deeply alienating notion that causes her to seek her own destruction. The Montreal artist Guillaume Lachapelle has one work that prompts a sense of eternal alienation that echoes Hari’s tragedy. The work greets the viewer with a empty doorway flanked by clinically white bookshelves...

Robert Mickelsen Parasol, 2009 Borosilicate glass 33h x 34w x 34d in