Published by Lionel Smit Studio, 2016
138 pages, hardcover with slipcase, includes artist statement and interview with Lionel Smit.
“When I moved from Pretoria to Cape Town (2008), I started painting the Cape Coloured and Malay women. Right away, their mixed heritage became a point of intrigue to me. It’s a culture so unique to Cape Town, but also has a universal quality. The idea behind the paintings is loosely based around that dual identity, which I’ve interpreted as fragmented and broken up.”
Please contact the gallery for more information.
Essay by Robert C. Morgan
Published by CYNTHIA-REEVES, 2014
36 pages + cover; includes artist statement.
“Shen’s blurred, misty effects are deeply poetic in their intent; His brushwork, leaving traces of color on carefully prepared canvases, communicates a love of subtle reasoning that seduces his audience into a contemplative reverie, the abstractions serving as a kind of matrix enabling the extended study of the effect of Shen’s hand on the surface of his paintings. The work may seem neat at first, but the artist endeavors to create an atmosphere that stands up to the recent history of painting and is seen as a way of communicating fundamental values about art.”
Essay by Stephen Traux
Published by CYNTHIA-REEVES, 2015
16 pages + cover.“Like a traditional landscape painter, she works with beauty, the natural world,and one way of imaging the pastoral. The satellite images become a frameworkfor an abstract language in her paintings and prints. Aerial views of farmlandbecome non-repeating abstract pattern. Physical maps of mountainous terrainbecome calligraphic lines on an open field. The images trace social, cultural, andgeographic boundaries. From these breakages, she traces her lines.”
Essay by Jonathan Goodman
Published by CYNTHIA-REEVES, 2008
30 pages + cover; includes artist statement.
“Of course, it is the interior world that Feng constantly refers to. In his grasp, art is filled with presence and enlivened by gesture. The drips and spills that animate his art belong to a convention, but it is a legacy that Feng has internalized for the sake of an emotive sign, given over entirely to his practiced hand.”
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