Beatriz Guzman

Bichos de Luz

2023

The medium of choice for Do Byung-Kyu, born in Cheonan, Korea, is dolls: they are both his conceptions and his physical expression. At the same time dolls are also the perfect tool for communicating the artist’s inner self. Expressing himself by means of dolls liberates Do from the restrictions of the mundane world. By embodying in the form of dolls his actions and thoughts, dreams and desires, and even the instincts lying in the depths of the subconscious, he transcends the secular boundaries. Dolls are his alter ego, his other self that he can construct precisely the way he wants. Sublimating the experiences and memories from his youth into various subjects of desire, Do uses dolls to paint a descriptive picture of the ambiguous feelings of contradictions from his childhood when he would abuse and kill a plaything, for example a frog, then bury the body in solemn mourning over its death. These sexual or violent games from his childhood are not likely to be limited to Do’s experiences alone. Most of us can vaguely remember indulging in sadistic acts of sexual love against a doll. Rising above a child’s simple curiosity, it is an intuitive game of the senses we play by ourselves. In a number of Do’s paintings, sticky liquid can be observed dripping down a doll’s face. This brings back recollections of the life inside our mothers’ womb where we were also enveloped by mucous waters, like the amniotic fluid. It refuses contact with the anything, and nothing wants to touch it either. The shape of such a mucous liquid is a protective layer sheltering the intrinsic identity and desires of man. It is also a substitution that satisfies the ego’s instincts otherwise suppressed by social norms. The dolls’ eyes...

Sensational paintings of glass vessels come to life in this dynamic exhibition featuring new works by Korean artist Inkyeong Baek. Demonstrating an uncanny ability to capture her sub...

Born in 1979, Denis Meyers is a Belgian urban artist. He studied at the National Superior School of Arts and Visuals of la Cambre, in Brussels, city where he currently lives and works. Denis Meyers is particularly known for his frescoes and stickers in form of faces, which he calls his “perso”, printed and cut out by hand and then spread in the urban space. The artist defines himself as a typographer, a vocation that he inherited from his grandfather, Lucien De Roeck...

Cao meticulously places each smaller image to form a dynamic gradient from dark to light which tricks the eye into seeing one image. This expertise in contrast is exemplified in all ...

The medium of choice for Do Byung-Kyu, born in Cheonan, Korea, is dolls: they are both his conceptions and his physical expression. At the same time dolls are also the perfect tool for communicating the artist’s inner self. Expressing himself by means of dolls liberates Do from the restrictions of the mundane world. By embodying in the form of dolls his actions and thoughts, dreams and desires, and even the instincts lying in the depths of the subconscious, he transcends the secular boundaries. Dolls are his alter ego, his other self that he can construct precisely the way he wants. Sublimating the experiences and memories from his youth into various subjects of desire, Do uses dolls to paint a descriptive picture of the ambiguous feelings of contradictions from his childhood when he would abuse and kill a plaything, for example a frog, then bury the body in solemn mourning over its death. These sexual or violent games from his childhood are not likely to be limited to Do’s experiences alone. Most of us can vaguely remember indulging in sadistic acts of sexual love against a doll. Rising above a child’s simple curiosity, it is an intuitive game of the senses we play by ourselves. In a number of Do’s paintings, sticky liquid can be observed dripping down a doll’s face. This brings back recollections of the life inside our mothers’ womb where we were also enveloped by mucous waters, like the amniotic fluid. It refuses contact with the anything, and nothing wants to touch it either. The shape of such a mucous liquid is a protective layer sheltering the intrinsic identity and desires of man. It is also a substitution that satisfies the ego’s instincts otherwise suppressed by social norms. The dolls’ eyes...

In a captivating new collection, Alex Guofeng Cao dazzles audiences with his unique twist on instantly recognizable images. Inspired by history and pop culture, Cao manipulates one iconic image to create another in his extraordinary large-scale works. From a distance, the pieces appear to be a singular image but as the viewer approaches closer, you find each work is a masterfully crafted compilation of minute detailed images layered next to one another, creating a mesmerizing and hypnotic optical illusion. Cao meticulously places each smaller image to form a dynamic gradient from dark to light which tricks the eye into seeing one image. This expertise in contrast is exemplified in all of his works, from striking black and white pieces to stunning explorations in high-definition color. He cleverly mirrors this visual contrast in his subject matter by subverting the main image and creating a dialogue between the macrocosm and microcosm. Take the piece, Ali vs Armstrong; here we see the iconic image of Muhammed Ali’s victory composed of thousands of tiny portraits...

Layla Luna, Ramona II, 2020, Acrylic on canvas. 48 x 36." This fantastical painting by American artist Layla Luna is a contemporary, abstract, circular, and...

Acrylic on canvas painting by Joe Shannon (b.1933). Titled "Three Business Men" signed and dated 1972. New York Times art critic Grace Glueck observed tha...

Signed and dated. «Taking a chance on the dancefloor» was part of O. F. Hvidsten's first solo-exhibition «This will never pass». The works comprising the exhibition is first and fo...

Signed and dated. «This is not a prison» was part of O. F. Hvidsten's first solo-exhibition «This will never pass». The works comprising the exhibition is first and foremost a visual memory of two dramatic years since 2020 that have affected us all. Covid, and its consequences, have become a common point of reference that we will all talk about and bear remembrance to for a long time. But our memories are like life itself; dynamic and in constant change, often weakening with time, and can either ebb out or be reinforced. O.F. Hvidstens work in this period stand out as an anchor point for this common experience. Ole Fredrik Hvidsten...

Signed and dated. «Doppler Modus» was part of O. F. Hvidsten's first solo-exhibition «This will never pass». The works comprising the exhibition is first and foremost a visual memo...

Signed and dated. «Meg og deg» was part of O. F. Hvidsten's first solo-exhibition «This will never pass». The works comprising the exhibition is first and foremost a visual memory ...