Tetat Ton is a painter from Bangkok, Thailand.
Will you be in New York City in April? Then you can’t miss Philippe Charles Jacquet’s surrealistic landscapes.
Philippe Charles Jacquet is an architectural painter: his haunting surrealistic landscapes are an exercise in precision, layered variety, and esoterism
Opening Reception on 27 April, 2019, 6-8pm
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Les Reclus is a solo exhibition featuring the carefully articulated dreamscapes of Philippe Charles Jacquet to be exhibited at the Hugo Galerie in New York City. The show introduces new pieces by the artist in his celebrated style in which he builds his watery worlds with various and highly planned painting techniques.
Les Reclus’ title is more relevant to his canvas’ structural capacity than their figural; while most canvases contain more than one figure, rarely does a canvas contain more than one structure. The reclusivity of Jacquet’s built environments, dramatically poised within surreal and stretching landscapes, lends his paintings an enigmatic quality. Adding to their mystery is the fact that they cannot be quickly dismissed as make-believe—they are too realistic, too aligned with our own experiences of stone houses, wooden rowboats, reflection pools, receding tides, and cloud-filled horizons. Even the slope of a figure’s slouching shoulders is too… personal.
Jacquet is an architectural painter; he plans his landscapes and their built environments with measured precision, constructing them in a layered variety of media and methods until they are as real as they are imagined. The materiality finessed, from mirror-like water to rust-scored wood grain, brings his painted compositions to life. The combination of textures, geometric accuracy, and concise colors creates an esotericism that includes viewers rather than excludes them; Jacquet’s solitary structures do not reject but envelop the viewer with the familiarity of a feeling. As if we’ve been here before. Perhaps in a dream.
Hugo Galerie is a fine art gallery in New York City specializing in contemporary figurative painting and sculpture. The gallery represents an international roster of artists working in a variety of media and range of genres.
Le Reclus, oil on board, 311⁄2″ x 311⁄2″ (80 x 80cm)
Le Port d’Attache, oil on board, 283⁄4” x 351⁄2” (73 x 90.2cm)
Une Soirée Ordinaire, oil on board, 471⁄4″ x 471⁄4″ (120 x 120cm)
This is Neural Zoo, a zoological & botanical collection of nature that doesn’t exist imagined in collaboration with a CNN (Convolutional Neural Network).
Sofia Crespo is an artist with a huge focus in bio arts and technologies. one of her main interests is the way organic life uses artificial mechanisms to simulate itself and evolve, this implying the idea that technologies are a biased product of the organic life that created them and not a completely separated object. On the side, she is also hugely concerned with the dynamic change in the role of the artists working with machine learning techniques.
Gateway to the Subconscious
The main theme of my work has always been the connection and synergy of all living organisms. It’s symbolic of the delicate balance and inter-dependency of life. I see these interconnections as a perfectly choreographed dance where each element is singular, yet part of the whole. It’s a simple and timely message, and my hope is that the viewer recognizes this in my artwork and takes with them a sensitivity and awareness of all life forms on the planet. My art is a process. The physical act of drawing or painting taps into my creativity, and there are always new discoveries and surprises. I view this process as a gateway to my subconscious because it’s not analytical. It’s completely intuitive. I typically begin with an initial inspiration, such as an ancient bristlecone pine tree, or an exotic orchid, or even the structure of a single cell. Sometimes this initial inspiration is representational, and at other times it may become abstracted, or so stylized as to appear surreal. From that point on I trust in the creative process to lead me. I start every painting with a detailed drawing. The act of drawing is where most of my creativity happens. It’s like a stream-of-conscious where each new element leads to another, and the connections between them evolve – sometimes with surprising results!
Born in 1928, in Kochi, Japan, Toshiko Okanoue grew up in Tokyo. She began to make photo collages while she was studying fashion design and drawing in Bunka Gakuin in the early 1950s. When she first began working, she had very little art historical knowledge, and knew nothing of the Surrealist movement.
In post-war Japan, a shortage of goods and materials meant the country was flooded with commodities from foreign countries. Okanoue used fragments from Western fashion magazines such as Life, Harper’s Bazaar and Vogue, to create radical compositions combining body parts, animals and inanimate objects in dynamic arrangements. Although the component parts of her collages originated from Western sources, Okanoue herself regarded her technique of image making as deeply rooted in Japanese tradition. She thought of her works as a form of hari-e (‘hari’ meaning pasting and ‘e’ meaning a picture in Japanese), a traditional Japanese technique of making pictures by pasting small pieces of coloured paper onto pasteboard.
It was only in 1952, upon meeting the poet and artist Shuzo Takiguchi, that Okanoue found her own place in art history. Takiguchi was a leading figure of the Surrealist movement in Japan, and introduced Okanoue to the works of the famous Surrealist, Max Ernst, whose style had a decisive influence on her. During the subsequent six years, Okanoue produced over 100 works. Her collages remained idiosyncratic and dreamlike in their juxtaposition of contradictory imagery. In 1953 and 1956, she held solo exhibitions at Takemiya Gallery, Tokyo. However, as with many Japanese women of this era, her marriage in 1957 ended her artistic career.
Okanoue returned to her hometown of Kochi, where she now lives. She is married to the painter Fujino Kazutomo. Her work faded into obscurity and was overlooked for almost 40 years. However, it was rediscovered by the curator of the Tokyo Metropolitan Museum of Photography in the mid 1990s, and has since gained recognition for its contribution to the Japanese avant-garde. In 1996 her works was shown in Meguro Museum of Art, and has subsequently been collected by the Museum of Fine Arts, Houston, and the Museum of Modern Art, New York.