D!NG CATHERINE LEMBLE BIANCA BONDI JORIS VANDECATSEYE CATHARINA DHAEN
WE AR DAS HAUS ( AUSGESTELLT)
RE HAVING O U R F I R ST EXHIBITION P R o Ve P a D
15.0 5 22.0 .14 5.14
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CATHERINE LEMBLE GHENT, BELGIUM
CABIN FEVER For this ongoing project I was inspired by the phenomenon â€˜cabin feverâ€™. Cabin fever is the feeling of extreme restlessness and irritation one can feel when isolated in a small place with nothing to do for some time. With this series I try to depict the solution for cabin fever: going outside, interacting with nature, finding some rest (in) (and) solitude. My fascination with mountains started in my childhood, since every summer holiday my mother took my sister and I to the mountains to go hiking. For this project I went to the Alps and the Sierra Nevada. Hiking there gave me this great feeling of freedom. Alone with my camera, I could do whatever I wanted to do.
Especially nowadays, in a world where oversupply and lack of privacy is king, the urge for silence, simple things and solitude is strong. With this project I try to transfer this experience of wanderlust to the public.
alone with my camera,i could do whatever i wanted to do
BIANCA BONDI w w w . b i a n c a b o n d i . c o m
untitled (ode to virginia woolf), 2013. latex, talc, soapstone, wax
THE MOUTH KISSES,THE MOUTH SPITS; NO ONE MISTAKES THE SALIVA OF THE FIRST FOR THE SECOND. SIMILARLY, THERE IS NOTHING IMPURE ABOUT DIRT. WHAT MUST BE DETERMINED ARE THE CONDITIONS UNDER WHICH A SURFACE MARKING IS EXPERIENCED AS A STAIN. mohsen mostafavi and david leatherbarrow, on weathering
memorium for the unrememberable, 2013.
The inherent power of art lies in its ability to take on the role of catalyst for the word, bridging the gap between sentiment and plastic result. When face to face with an art experience, one finds oneself confronted with a suspended moment wherein memory and imagination come into play. A moment that, though existing intangible to language, is constantly incited for a portrayal by words. I place a particular interest in the moments in our lives that are inexplicable yet present, and which exist beyond the realm of designations, the un-said undercurrent whose presence becomes a universal common thread. It is essential for me that an artwork is multidimensional, therefore I focus on evoking issues that are important to me, most often that of an environmental or social discourse whilst injecting a particular aesthetic sensitivity. I try doing so in such a way that as a spectator, you either see it or you don’t, the intrigue lying in the artwork’s latent potential, and in what is seen otherwise. I select elements and experiment with the relationship created when the ideas built up around them or what they represent, and their own inherent energy accumulate or come into play. I translate my ideas through various media, most often that of an ephemeral nature. Working with a selective list of ‘ingredients’, the majority of which are elements that are humble and have acquired the patina of a previous life in another form, I like to play with the relationship created when the organic and inorganic encounter one another in order to emphasise the fragility, transience, and mutability of that which may appear definite. Events in life are always situation related, dependent upon context. One cannot properly assess a point of view unless directly involved, or informed from all angles and sometimes only from being completely removed. I use this idea to my advantage, and take the risk of remaining ambiguous – yet I feel that should an artwork spark even the slightest bit of curiosity, it will be remembered
ONE CANNOT PROPERLY ASSESS A POINT OF VIEW UNLESS DIRECTLY INVOLVED, OR INFORMED FROM ALL ANGLES AND SOMETIMES ONLY FROM BEING COMPLETELY REMOVED
untitled (dreaming of kepler 22b) 2013. Mixed media
untitled (-347g), 2013. soapstone, pharmaceutical vial, chalk
JORIS VANDECATSEYE GHENT, BELGIUM
These photographs are taken from one of Joris Vandecatseye's most recent series 'Leave On'. They were made during a six week road trip through the US. Joris set off in Atlanta, crossed the southern states, and arrived in San Francisco by the end of May, 2013. Joris also made a self-published book collecting 32 photographs from this road trip. (the book: Leave On; self-published; self printed; edition: 25; 2013)
Joris Vandecatseye, born in 1983, lives and works in Ghent, Belgium. He graduated from the Royal Academy of Fine Arts in Ghent in 2005. Joris often documents his walks throughout European and American towns in scrapbooks. He currently has 26 of scrapbooks of his travels.
I COULD DEFINE MY WAY OF WORKING AS ONE OF FREE EXPRESSION AND AIMLESS WANDERING. STROLLING AROUND AND IDENTIFYING SITUATIONS, COMPOSITIONS AND DETAILS OF THE WORLD SURROUNDING US. ISOLATED IN THE FRAME OF THE PHOTOGRAPH AND CUT OFF FROM THE CONTEXT I TRANSFORM A BANAL REALITY INTO SOMETHING ENIGMATIC.
CATHARINA DH My paintings are about the exploration and, in the long run, the investigation of the medium itself. For a long time, I've occupied myself with topics I retrieved from the visible world. The objects I painted were left in an almost unaltered condition. I didn’t like to set up still lifes, I wanted to find them. In the beginning I’ve painted works with naked bodies, but then, my work evolved into a more emotional discours. I wanted the objects and bodies to be narrative, but it turned out that I’m a bad storyteller and that I have too many things to tell. It all became too personal. And that’s when I realized this way of working was frightening me. From then on I started using geometric forms as a means to an end, rather than as a goal in itself.
HAEN GHENT, BELGIUM
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D!NG #7 with Catherine Lemblé, Bianca Bondi, Joris Vandecatseye and Catharina Dhaen. Online magazine by Jolien Dirix