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Open: Tue-Fri 10am-6pm, Sat 11am-6pm

55 Eastcastle Street, W1W 8EG, London, UK
Open: Tue-Fri 10am-6pm, Sat 11am-6pm




to Sat 2 Oct 2021
Tue-Fri 10am-6pm, Sat 11am-6pm

Pi Artworks London presents Intersections, a group exhibition bringing together works by Osman Dinc (b.1948, Turkey), Maude Maris (b.1980, France), Selma Parlour (b.1976, United Kingdom) and Kemal Seyhan (b. 1960, Turkey) running from 1 September to 2 October 2021.

Pi Artworks Intersections 1

Pi Artworks Intersections 2

Pi Artworks Intersections 3

Pi Artworks Intersections 4

Pi Artworks Intersections 5

Pi Artworks Intersections 6

Pi Artworks Intersections 7

Intersections refers to the point where two things come together and influence each other. The exhibition draws collectively four artists whose paintings and sculptures offer a crystal illumination of this intersecting radiation and cross-over association. By retrieving the boundaries between frames, colours, surfaces, shadows, raw materials and media, each artist intervenes in the terrain around them through the strain of subjectivity. Oscillating between abstraction and figuration, the works in the show encapsulate how each artist explores the crossroads between different dimensions and indirectly creates new forms of meaning.

Osman Dinc utilises ceramic wood as his sculptural medium, converting it from a stolid entity into rhythmic and undulating polished curves, and underlining the intrinsic sense of weight, density, and inherent natural colour of the raw material. The sculpture protrudes the raw material while embracing the interface between nature, culture and technology. Paralleling his sculptures, the cut glass paintings he works on in his France studio draw inspiration from nature, the world, science, the planets and more, using the paintings as a megaphone for his personal voice, which acts like his diary containing how he creates new shapes of significance grounded from the middle of life.

In Maude Maris’ process, she first fabricates miniature plaster animal models, staging them, taking photographs and then relaying them onto her canvas. With manipulating the surfaces, shadows, colours and depth of the objects, the animal figures are imbued with a state of life, wrapped in a floating, fluid, and semi-abstract universe structured around reflection and symmetry, further exploring the interaction of photography in sculpture, and painting along with the visual stretching of sculptural properties to painting.

Selma Parlour’s paintings are deliberately rendered through soft oil films on linen to accentuate the perception that they have been dyed or printed, spotlighting surfaces endowed with tactile properties, characteristic luminous colour units, subtle ribbons of shadow and diagrammatic space. Glowing blocks of colour converge into precise shapes into which the colours in the graphic frame are etched, a new vision is woven in by zones of shadow and veils of colour, reaching the address of the eye, creating the illusion that the painting is virtually a screen.

Kemal Seyhan’s practice is anchored in four elements: horizontal, vertical, colour, intensification. Through thousands of spatula strokes, each canvas forms a layer created by Kilos of paint, where colour is no longer the skin of the canvas, but a matrix of texture, and underpins a highly intensified surface, a kind of confrontation with the illusion of three dimensions, exhibiting an abstract language that eschews the intrusion of narrative elements.

Courtesy of the artists and Pi Artworks, London

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