Dasha Loyko’s current concern lies in the relationship between the subject and the object (such as the self and the other) with a particular focus on the abject, as defined by Kristeva in ‘The Powers of Horror’. The concept is characterised by the feeling of horror or disgust at the threat of a loss of meaning when the boundary between the subject and the object disappears. Supplemented by the analysis by Mary Douglas (dirt as matter out of place), she is fascinated by the role (and, subsequently, the breakdown) of order and hierarchy in our perception of the everyday and, likewise, the hierarchy within art production, valuation and consumption. Questioning the established order in the art world leads her into the field of institutional critique. She feeds on the ideas of John Cage and John Baldessari, especially the latter’s seminal exhibition ‘Pure Beauty’. By rearranging familiar patterns, be it physical rearrangement or tricking the audience’s preconceived expectations, Loyko creates a new experience. Her current work is a practice-based research of the matter where theory underpins practice. Tropes such as handwriting and mirrors recur in her work. Both are used as an aid to rearrange and point out something which largely goes unseen or assumed, such as someone’s prejudice to a work of art or one’s own reflection in it and its role in the interpretation of what is seen.
Born in Minsk, Belarus, Dasha Loyko has lived in England for the past seven years. She is now at the emerging stage of her career and is currently a student of Philosophy at the London School of Economics and Political Sciences (LSE). Loyko works across various media (painting, collage, installation, performance, photography, film), with a recent focus on collage and installation.
b. 1991, Düsseldorf, Germany:
The concept of coexistence is utilized as Pfleger’s point of departure. “Rather than searching for a place where I can relate to, I try to embrace different feelings of belonging to fully engage with the moment I’m in, which I entirely contribute to through painting.”
In his works of art, Pfleger is dealing with the exploration of his own identity, which is portrayed in a combination of abstract motives, forms and figures, symbols and realistic elements. The emerging artist is able to create a vivid, colorful and figurative universe, which seams to provoke a stimulus satiation at first glance.
The human creatures of Pfleger’s creations portray the impossibility of maintaining a fixed identity in the fast paced society we find ourselves in. Pfleger’s paintings display hints of everyday objects providing a new habitat through his artistic expression.
Pfleger lives and works in Düsseldorf, Germany.
b. 1991, San Francisco, USA
Emma's current body of work addresses the tension between an old world rooted in lived experience and our modern world that exists in virtual space. In her work, the use of painterly, romantic, and figurative techniques representauthentic real experience, and the use of fabricated collage (or implied collage) evokes virtual space -- calling attention to this mashup of tradition and modernity. Subject, object, and architecture are arranged to reveal the non-linear timeline and history that her subjects carry.
Growing up in the San Francisco Bay Area, in a climate dense with fog, has influenced her to represent landscape in a blurred and dreamlike way. The use of natural settings, organic shapes, and colors specific to this landscape are repeated elements in her work. San Francisco is also an area of innovation within the social media industry. Living in this environment she is inundated with virtual stimuli. With the explosion of tech and social media innovation in San Francisco her work digests the effect of this phenomenon on our subconscious by creating visual depictions of the layered and fragmented ways in which we consume media. Digital media being integrated into every day life is something that she has observed, participated in, and critiqued within her life and work.
b. 1992, Offenburg, Germany:
David Schwarz engages in intuitive painting, letting his mind wander while creating abstract portraits.
His creative acts find form in the depiction of heads, often in subtle and delicate brushstrokes, yet vivid and bright colours. His works are a reference to street art and originate out of the stimuli he finds in his surroundings – honed with emotional aspects and spontaneity the observer finds him- or herself in the mind of the artist.
Emily Nelms Perez
Emily Nelms Perez’s work explores the complexity of human relationships, the longing for reconciliation, and the impressions those relationships leave on individuals, for good or ill.
She gives fragile and often non-verbal scenarios a physical form. Nelms Perez is most interested in subjects that appear emotionally void yet are physically present.
Emily Nelms Perez is from Ft. Lauderdale, Florida. In 2013 she graduated from the Savannah College of Art and Design, in Savannah, Georgia, with a Bachelors of Fine Art in painting. Emily has shown with the Women’s Caucus for the Arts, the Brooklyn Waterfront Artist's Coalition, and the National Association for Woman Artists in New York. During the summer of 2014 she exhibited at
Cartasia Biennale D'Arte in Lucca, Italy. In 2015, she was a resident artist with RESPIRO in Castel del Piano, Italy
In the course of her artistic practices Carolin Mojavari has incorporated multiple references into her large format paintings: in particular, the atmospheric aspects of landscapes. Translucent colours reflect unique forms of light — yet creating a fascinating tension between urban and rural environments.
Mojavari establishes botanical personalities, who propose a profound discourse of blossoming nature and fading metropolitan. Her entire oeuvre is informed by observations of the natural world as a statement of reminding her audience of their intrinsic habitat.
Thereby, she bridges the divide between figuration and abstraction — negotiating a path through the detritus of urban existence.
While extracting environmental details she transverses seemingly innocuous elements of contemporary urban life — perceiving landscape painting as a powerful mirror of portraits of human individuals.
Mojavari works and lives in Berlin, Germany where she also studied Fine Arts. She received several awards and works by the artist are held in private collections around the world.
63 x 59 inches, 150 x 160 cm, Mixed Media and Oil on Canvas, 2009-2015
59 x 43 inches, 150 x 110 cm, Oil on Canvas, 2009/11
73 x 57 inches, 185 x 145 cm, Oil on Canvas, 2010-14
71 x 43 inches, 180 x 110 cm, Oil on Canvas, 2013/14
Die Berge (The Mountains)
134 x 99 inches, 340 x 252 cm, Acrylic on Canvas, 2010/11
110 x 90 inches, 280 x 230 cm, Acrylic on Canvas, 2011/12
59 x 43 inches, 150 x 110 cm, Oil on Canvas, 2011-2013
Verena Bonath’s works shed light on the constant challenge of reconciling the self with the universe, the subjective with the collective, and the individual with the culture of her time. Bonath calls her artistic endeavor 21st aesthetics, which strives to be an artistic attempt to preserve the visual culture and developments of the 21st century.
'Seeing' is one of the most important skills in our digital and visual time, influenced by a daily accumulation of digitally edited images affecting our perception significantly. This new 'restaged view' is part of our contemporary culture, how we recognize and judge our environment.
Whether bright, colorful or high-contrasted, for each manipulation of images, there is a corresponding filter creating a new aesthetic of our daily life. The constructed imagery, the superficial way of living inspires the artworks of Verena Bonath.
Fascinated by the possibilities of the Internet, the endless number of pictures and illusions Bonath aims to build up a new aesthetic. Facing the fact that the digital world attaches more and more importance to define identity and a certain purpose of life, the intention is to depict this current sense of our visual culture.
It is this processed and superficial, somehow unreflected and self-staging sense, which defines the artist’s works and visions and makes her artworks contemporary.
A novel essence of superficial and erroneous views determines the images of the 21st century and her projects. Her works reflect how imaginations provide standards and ideals and become a part of today's youth culture and society at large.
Her creations play with the idea that images are living and breathing entities, endowed with magical and destructive qualities, which are capable of influencing and transforming human nature evoking complex and contradictory emotions.