Frieze Seoul, COEX, Stand B22, Seoul
Timothy Taylor is delighted to announce our inaugural participation in Frieze Seoul 2022. Featuring exceptional contemporary and post-war works by artists Daniel Crews-Chubb, Ding Yi, Jean Dubuffet, Armen Eloyan, Loie Hollowell, Alex Katz, Sahara Longe, Chris Martin, Annie Morris, Richard Patterson, Sean Scully and Antoni Tàpies our presentation explores the rich variety of art saddling the border between abstraction and figuration.
In his new 2022 Immortals series, Daniel Crews-Chubb explores a more minimal palette within his mythological language of gods, giants and monsters drawn from folk tales and ancient legends. Vivid threads of scarlet and cobalt paint combine against an ecru surface that recalls the influence of seamless weaving of abstraction and figuration practiced by Jean-Michel Basquiat and Cy Twombly.
A late painting by post-war French artist Jean Dubuffet shows wide- eyed figures shifting in a pale grey and rose-coloured landscape, giving the viewer a window into the artist’s desire to capture the sensory claustrophobia and isolation of the Parisian crowd as he experienced it during the early 1970s.
In the realm of pure abstraction, Chinese artist Ding Yi and Irish painter Sean Scully have created distinctive languages of obsessively reworked crosses and stripes for decades, each of which draws upon the atmosphere and landscape of their native homes. Landline Green White (2014) by Scully sees stripes of orange melt into dark blue and emerald, suggesting the horizontal lines of land and sea, sea and sunset merging together. Since the mid-1980s, Ding Yi has created his own visual language centred around crosses and grids, using his abstractions to reflect alternately on the rise of Shanghai as a metropolis, the surface of the picture plane and the appearance of neon lights. In his latest body of work, Ding Yi turns his attention towards the sky and its planets, examining one’s place within the cosmos and the mathematical geometries that unite all elements in the universe.
In works by Annie Morris and Loie Hollowell, the female form is interpreted across painting and sculpture as swelling abstract spheres. Exploring themes of sexuality, pregnancy and birth, Loie Hollowell’s intimate golden-hued painting evokes the Hindu lingam as a symbol of female fertility. She expertly manipulates space, light and shadows, leading to glowing, perfectly symmetrical images that suggests the harmony of the earth rotating on its solar axis.
Annie Morris has evolved from the grief from a of birth to the obsessive joy of creation in her totemic jewel-toned Stack sculptures, begun in 2014. A new 2022 large-scale multi-coloured Stack features Morris’ distinctive palette of cobalt, red, moss-green and lavender shades sandblasted into foam over a steel and concrete core to capture the look of raw pigment.
Chris Martin’s glittering Circulation of Energies (2019-20) combines bright, gestural ruby and cadmium-yellow brushstrokes with an eclectic collage of an oasis in the desert, which the artist found in Chinatown, New York and painted into the work using a hologram effect. The immersive painting suggests the dazzling but disorienting colour and speed of urban life.
Zurich-based Armenian artist Armen Eloyan, known for his satirical paintings of cartoonlike figures in expressive brushstrokes, creates unusually luminous, intimate images which toy with the still life genre. Shadowed with deep chiaroscuro under radiant light that evokes the Dutch Old Masters of the Rijksakademie in Amsterdam where Eloyan studied, the paintings inflate fruit and insects to odd, cartoonish proportions, playfully presenting the traditional still life as animated creatures.
Since the 1960s, Alex Katz has captured what he calls ‘the artefacts of culture’, summarizing the essence of American life in hyper-stylized paintings with a crisp sensory vividness that projects the immediate present.
British artist Sahara Longe positions geometric planes of cobalt blue, mauve and velvety green against a minimal portrait of a woman with blacked-out eyes titled Evening Walk (2022), a new work created for this presentation.
A recent series of small abstract paintings by Richard Patterson are coated with warm, vivid rose-tinted swathes of colour, formally recalling the work of English painter Howard Hodgkin. Patterson paints his canvases wet into wet, requiring immense focus over time. Though his abstract painting relies on the painterly expansiveness of Abstract Expressionism, he sees them as imbued with the emotional sensation of the landscapes they are inspired by.
Two striking black-and-white abstract works by renowned post-war Catalan artist Antoni Tàpies show the compelling minimalism of the artist’s late works.
Together, these artists show the many variations in the fluctuating border between abstraction and figuration seen in the gallery’s program, blending spirited work by early-career artists with pillars of post-war European painting who have marked Timothy Taylor’s exhibitions.
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