INTIMISTS 8
Beautiful World
Artists:
Tjaša Iris
Hannah Feigl
Denis Serrano
Sonia Ben Achoura
Đurdija Vucinic
Discover Artists:
TJAŠA IRIS, SLOVENIA/MALAYSIA
b. in Slovenia in 1968. She works with both photography and painting, depicting vibrant and saturated images of flowers, gardens and vegetation. Iris’ primary focus is investigating the expressive abilities and nuances of colour. The last 12 years she mostly spent living/creating/ traveling and exhibiting in South East Asia: Singapore, Indonesia, Thailand, Laos, Cambodia, Myanmar and Malaysia.
In 2020 she got stranded in Koh Phangan Island in Thailand, due to Covid , where she created a series of artworks called: ANAN (which means peaceful in Sanskrit) SEA GARDENS. The series is very vibrant, but also peaceful at the same time.
HANNAH FEIGL, AUSTRIA
Hannah Feigl is an Austrian Artist who studied at the University of Applied Arts in Vienna, under the supervision of Professor Maria Lassnig where she graduated in 1995 with a diploma in painting and graphic design.
Since graduating, Hannah has exhibited her work at numerous Austrian and international art venues.
Hannah Feigl is currently living and working in Vienna, Austria.
Motivated by the fascination of the numerous diversities of nature’s appearance, her paintings are mainly depicting human beings as well as animals, mainly insects.
Generally, as an artist, she is concerned with the dualities of life, or life´s oxymorons: life and death, peace and war, heaven and hell, beauty and ugliness.
Her paintings are realistic, focusing on expression and vividness.
DENIS SERRANO, MEXICO
was born in 1990, she is living and working in Mexico City. Denis’ work explores the hidden undercurrent of challenging subjects such as isolation; mental health; misogyny and domestic violence. She’s interested to make research and open discussions about these topics mainly through photography.
She received her Bachelor of Design and Visual Communication in 2012 from Faculty of Arts and Design, UNAM. In 2013 finished a Diploma course in Contemporary Photography in the Academy of San Carlos, UNAM. During 2019 joined the Circulo de Produccion program in Gimnasio de Arte y Cultura where produced the Edmundo series, where she explores the impulse of the creative act through the story of her uncle who was diagnosed with schizophrenia when young.
SONIA BEN ACHOURA, FRANCE/U.K.
was born in Paris, France. Having travelled extensively, she settled in the UK. A self-taught artist with a previous career in psychology, she was inspired by Leonardo da Vinci from an early age. Art and science converge in her paintings, manifesting in insightful explorations of mind and nature. Her career in fine art spans over two decades, with a distinctive body of work characterised by a vivid chromatic palette, a detailed execution, and a futuristic edge. Her fascination with human nature at the present stage of evolution (characterised by pervasive interaction with technology) manifests in geometric compositions with futuristic overtones. The artist shapes light and colour as the basis for her compositions. Like intimations of perfection, her paintings are born out of an interplay between light and colour. She creates a world of vivid colour, dynamic forms, and geometric perfection. Captivated by abstraction, her art nevertheless lies between the abstract and the figurative. An elaborate art vocabulary allows her to bring to life powerful conceptualisations of mental phenomena, informed by thorough research and synthesised through visionary imagination. These manifest in psychological icons, blueprints of the mind in both oils and acrylics. Sonia’s intuitive style emanates from a meditative place. As a result, her paintings often incorporate figurative elements in her abstract works, giving rise to atmospheric compositions. Her concern for the environment transpires throughout her body of work, as she contemplates future outcomes through her art. The potential for a partnership between mankind and nature is envisaged as she weaves organic forms over the fabric of robotic geometry.
Sonia regularly exhibits her work at galleries and art fairs in Europe. She sells her paintings internationally.
ĐURĐIJA VUCINIC, USA
is a musicologist, composer and media artist based in New
York City. She grew up on classical music and jazz in Belgrade (Serbia) and
holds an MA in Musicology from the University of Arts in Belgrade, where she
worked as a Music Editor on National Radio, one of the oldest stations in
Europe.
Integrating love towards soundscapes and music for moving images, Vucinic
began creating sound compositions and short videos in which originally
composed music becomes a part of a dialogue with the city/moment. Fuse of
a “radio drama” in real time, recordings of people, stories and sounds of daily
life.
In video and sound installations, she is exploring a role of time and duration
in the natural impulse of a spectator and listener to create a pattern from
“chaos” and complete the action.
Her work has been featured in Europe, New York and South Korea.
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Nebula
In a way, both of the categories (Beautiful world and Covid era) resonate
with this piece since it was created during the New York City lockdown. It was
a day in May and I took a long walk by the Hudson river on the Upper West
side, passing number of men fishing for hours without any catch in sight. In
the time of social isolation, witnessing this family’s proud moment felt like a
nucleus of a single atom in space.
Longer observed, scene becomes more augmented, more “electrons”
become visible, almost as a still frame, a Neo-Impressionism painting.
Following musical exposition, thematic material will start revealing and
disintegrating themes created from a simple melodic nucleus that act as a
counterpoint to one another and the scene.
Long take is about being there as opposed to getting there. Mind is focused
on the destination. Traveler can’t appreciate being in present, perception of
time and space is constantly shifting. This story is like a single chord held for
too long and thus became meditative. The long take requires a viewer
involvement. How deeply can you go in the discourse of a static frame?