Group Show "RED"


Josepha Gutelius - USA



Petr Jedinak - Czech Republic

I entered 6 photographs from "The Red Edition", a collection shot for Prague Quadriannal, the festival of contemporary scenography. Red Edition was exhibited as a part of the Crossovers project conceived as an intersection between professional and freestyle photography. Throughout my career as a professional photographer I have dedicated many years to portraying ballet, a fascination that took hold of me as a child. Its multilayered representation of corporeal beauty found a suprising echo in my adult encounter with the world of body modification. Documenting this subculture became a hobby of mine as well as a source of transformative personal experience from which the initial idea for Red Edition was born: both worlds focus on the human body and its limits. To seize the body¥s full potential requires sacrifice. This pain stemming from voluntary self-restraint is overtly celebrated in rituals of body modification, yet remains modestly hidden from the audience of ballet performances. The choice of red colour to link these two worlds thus highlights, among all its other implications, the martyrdom that seeks transcendence from the corporeal dimension. Its dominant symbolism is marked by the fact that I seldom use colours in my freestyle photography.



Gavin Mayhew - United Kingdom

I am an artist, sculptor and painter using mixed media, oils and acrylics. I like my art to have a sense of humour and also to sometimes make the viewers put on their thinking caps by using humorous optical illusions.



Jonathan Murrill - USA

As an artist it is important for me to represent the emotional kaleidoscope of the individuals present in my life. In my concentrations of oil painting and charcoal drawing I now focus primarily on the human expression and personalities of the many Southwest Virginia workers I have met or have worked alongside. Through my co -workers I have gained a deeper understanding of the lifestyle, struggles, and the human spirit that each of these workers embodies. My intention in my own work is to provide a contemporary perspective on the human spirit of the working class through the use of expression. This use of expression provides a new perspective on the subjectivity of beauty and how beauty may be treated using unique subjects and contrasting techniques.
In my own work with oils I have found that the techniques of scraping the paint into and out of the canvas allow for the rugged and tattered feel that these workers possess. In my paintings I work completely without a brush using palette knives or any other tool capable of scraping and degrading the canvas surface. My work in oils is complimented by my charcoal drawings which, through photorealism, provide a different context of reality from which to see and interact with each individual I represent. Overall, my work does not represent an idealistic beauty, but rather, it represents the spirit of working class individuals and depth of character that they each possess.


Harry Robertson - United Kingdom



Seungbo Roh - USA

I, Seungbo Roh am a Korean painter who lives and works in Cleveland, Ohio. My paintings are influenced by social complexities of the urban spaces in which we live. By focusing on these types of spaces, I work to express feelings that are solemn and bleak, yet somehow splendid. My work expresses the complexities of urban space, using the entire canvas to display these scenes in the second dimension. In addition, expanded second level dimensions and simple color are used to express my artistic intentions. My works are based on unique methods that construct spaces in accordance with the artistís invisible sensational order, which comes from inside.



Alain Rousseau - China

Between Time and Velocity, between form and Sublime
Alain Rousseau studied painting in the early 1960ties. Painting, watercolor, architecture and cultural theory as such did not suffice to satisfy his fatherís worry about a solid and nurtured future, which is why Alain Rousseau consecutively enjoyed a higher education in communication and the media. And it seems it was almost this which fortunately would bring him to harbors where he saw these divas, anchoring in these harbors of the public, in the limelight, hovering in front of the mass like flagships bringing the promise of a better, a brand new time. Other-wordy they may have seemed, majestic maybe, but during the sexual revolution those women unhinged their arms as accompanying beauties of the male, they became independent. They evolved into future portraying characters nobody should ever forget, to form looesly and more freely what constitutes a visual culture, a popular culture which until today is still evolving. And smoking, during the 1960 and 1970ties was paramount. Not only was there the smoking actors glide. Politicians of highest ranks smoked in talk shows, journalists and photographers alike, almost the whole world seemed to blow smoky circles into the air as if in search of something higher, something mythical, transcendental. Nobody seems to bother about the medical downside of smoking, its possible harms. Smoking as an expression of freedom, or the ìlaisser-faireî. Jeanne Moreau once was quoted that ìMen who quit smoking appear uncanny to meî. Still, society started to change, and since the mundane evolved further away from world war two, the signals of smoke, that communication with the sublime, seemed to change. It was 1994 when the cigarette in the hand of Uma Thurman in ìPulp Fictionî symbolized rather the soothening of her anxiety while waiting for her ultimate consumption of cocaine, than connecting herself to the sublime by smoking itself. Even more, it seems as if within such moments the exorcism of smoking as it had been must have set in. At the turn of the millennium, the successful feminist series ìSex & the Cityî portraits its main character Carrie while she quits smoking, and since then it seems to be that only James Bond is still maintaining his strict dress code which would demand for such rites as smoking. Still, until this day, smoking remains an addition to the expression, even if it has been marginalised into such rather hysteric, bohemian characters as Penelope Cruz` in the 2008 ìVicky Christina Barcelonaî by Woody Allen. Smoking, here, has become a haptic imitation of a lifestyle or a decade which is revisited instead of lived, almost as if the pose is a dress worn for a day, on special occasions, moments of love, of admiration, rekindle the spirits of invisible but formidable bonds between people. In either case, there is a time reference as an immanent quality. And time is always linked to memory.



Lynn Skordal - USA

Lynn lives and works on an island in the middle of a lake surrounded by a big city, in the beautiful Pacific Northwest. After retiring from the practice of law eight years ago, she began making artistís books and small works on paper. Old-style cut & paste collage has been and remains a favorite medium, and she frequently also incorporates sewing techniques, thread, fabric, metal, wood and other materials into her pieces. The goal is always to tell a story that might startle, amuse or provoke. Lynns work has appeared in book arts and collage exhibitions across the country.



Travis Washington - USA


Yalim Yildirlm - TURKEY

We, who try to keep up among all the rush and chaos of society...
With endless questions in our minds, exhausted and mindful faces, experienced sufferings and people who want to cry out their suffering even the words on tip of our tongues which we cannot express.Creation process of my paintings is based on expressions reflected by people in such processes and situations in extraordinary pace of life.Standing for a moment and looking at them, experiencing these moments and become a part of them will explain all hidden moments of paintings. Anyway, isnt it important for all of us to capture that moment in life?