Lilac Gallery New York is pleased to present a collection of works by Campbell La Pun pieces created by using everything from stencils to aerosol and acrylic paint on wood and canvas, La Pun invites us to journey through a modern world; his paintings reflect the dizzying range of motifs, colours, and forms that manifest themselves in pop culture iconography and advertising images of the global marketplace. As well the pieces by Derick Smith showing within his practice materials are tools with a view to honoring their integral essence and of not losing sight of their primitive nature. The paint is treated primarily as paint; it is employed as a means towards exploring the possibility of the existence of 'pure vision'. Through the interaction of the paint with itself and, in so far as possible, the least intervention, one can bear witness to the unfolding of what may appear to be microcosms. And complementing with the glamorous works by Steve Smythe creating a body of work solely from layers of paint, mixed media, spray paint and screenprint. Inspired by decollage from his own torn paste-ups and artists such as Jacques Villeglé and Raymond Hains.
Lilac Gallery New York is pleased to present a collection of works by Gieler, as for years, he remained active with spraying letters on walls and as he got older, graffiti evolved in street-art and he also started to experiment on canvas. The street influences can still be recognized and by using hand torn collected street posters, he is able to compose unique images on canvas captivating the viewer with the voice of the people and his own. Blending urban elements in a highly intricate way, he creates beautiful compositions that differentiate him from his counterparts. Since 2014 he has been diligently creating this body of work by replicating the captivating beauty of pop icons with his own style. As an emerging artist from The Netherlands, his collage works are always being provided with posters he collects from walls out of the streets; he has developed a technique of ”Sustainable art" which gives a living and edgy character to his paintings. He also uses other old materials, like damaged brushes, blunt stanleyknives or other older and sometimes broken tools. Since by working with these tools and materials the result is always more surprising and exciting.
More information following soon.
KANG CHAN MO
Kang Chan Mo was born in 1949 in Nonsan City, Korea. He graduated from the Department of Western Painting, College of Arts and Chung-Ang University. He studied traditional Coloration at Japan School of Art. And as well studied traditional coloration in Tsukuba University, in Japan. He was Awarded 2013 Gold Prize at Salon Exhibition, The France beauregard castle Museum. Progressively fed by his background in history of art and steps of his personal experiences, and based on his belief in the being and a deep idea of purity, his painting puts us at the heart of the reign of nature, through atmospheres imbued with silence and peace, suiting the specialty of his sensitive and mental approach. In margin of aesthetical and accepted classifications, his perception is not satisfied by the surface of things, but endeavors to keep only the essential of the rendering. This approach cultivates the process of ellipse and strips his backgrounds from what is superfluous, with necessary distance in order to shape the shortcut that sharpens the presence.
Roh Jae-soon began to draw from the early days. Sometimes he drew the whole body, but mostly focused on eyes and faces. This collection of the lip work has its significance in telling the story of the world. The moment the artist commits the photographed lips to the canvas, the atmosphere and message of the art work are determined. For instance, tight lips express the absence of communication, and open lips the carpe-diem kind of gaiety. Depending on the expression of the lips, some lips suggest hope for the future, and only the lips are highlighted. Roh expresses the lips in various ways. Looking at the works of Roh Jae-soon, we can feel many stories being told through just one simple element: the mouth. Roh refuses to let daily life slide by, incorporating elements of sympathy into his paintings. If the sentence inscribed in the wall becomes a sentence, the lips on the canvas will tell stories as if they had become a reporter. We can hear the cry of the times through Roh Jae-soon’s canvases, embracing the stories of the world. The lips drawn on the canvas are about to tell a story. Roh's drawing's are not simply the lips, but the ‘expression’ of the lips.