30 Maple Street London W1T 6HA United Kingdom T +44(0)208 286 4426 F +44(0)208 286 8976 M +44 07862 283 414 firstname.lastname@example.org Opening hours: Monday/Tuesday to Sunday 12pm to 6pm Occasionally closed on Mondays, please check current exhibition opening hours Transport: Tube: Warren Street (5 mins), Goodge Street (6 mins), Great Por tland Street (7 mins), and Euston Square (8 mins) Bus: 10, 134, 14, 24, 29, 390, 73 at Warren Street Station Car: Nearest car park is on Clipstone Mews, W1W 5DG
Catalogue designed by Mona Choo, 2013.
20 Dec 2013 to 5 Jan 2014 Closed 24 - 26 Dec 2013
Andreas M. Georgiou Alia Bilgrami Asmaa Hashmi Julian Dams Mona Choo Myrianthe G. Sozou Samar F. Zia Curated by Samar F. Zia
30 Maple Street, London, W1T 6HA I 0786 228 3 414 I www.hanmigallery.co.uk I email@example.com
Rough Around the Edges Statement from the curator, Samar F. Zia In contemporary society much can qualify as art and quite often, to conceive an idea is sufficient. The making of a physical, tangible piece is secondary; materiality and skill are allotted a back seat or outsourced to technicians and machines.
In Ring (Collapse, pichukk, resurrection), 2013. Gauze, muslin, pomegranate juice and wood. Sizes variable.
Samar F Zia Zia is an emerging artist who lives and practices in London. Her current body of work began as a celebration of the human body and the extraordinary design of nature evident in it. She is fascinated with the idea of using biotechnology to affect the natural order of things. Through her practice, Zia aims to realize the pseudonatural products humans are capable of constructing through technology and their implications for humanity while attempting to establish the sanctity of nature. The pomegranate is a recurring symbol in her work, it is meant to represent nature and divinity alike. Trained as a painter and miniaturist Zia's art has evolved significantly; owing to her desire to experiment with material and media she has explored unusual materials such as muslin, gauze and gel medium, while also crafting sound and video installations. Utilizing scientific development and curious materials her aim is to make art that is challenging for her while remaining intellectually stimulating for her audience.
Rough Around the Edges aims to address the craft versus concept hierarchy as the pieces included in this show exhibit critical thinking via the action and labour that has contributed to the materialization of the work. As an ode to the artists of yesteryears, the artists in this group show recognise the importance of manual labour, skill and making in art. Extrapolating from the technical expertise of the artists of bygone times, this group show will emphasise the careful deliberation on construction and materiality as a means of acknowledging craft as a mandatory element of contemporary art. My aim for this exhibition has been to showcase artists who haveÂ spent significant time in arriving at the final material used to resolve their work while engaging with the process of making. Materiality takes centre stage as the physical effort that has gone into the making comes to the fore as a subject just as important as the concept that drives the artistâ€™s practice.Â Each artist in this group has painstakingly put together their piece(s), be it through hammering, sawing, connecting points, layering colour, building with gauze or projecting their physical being onto their creation. The exhibition space also exemplifies the theme of Rough Around the Edges. The derelict interior architecture of Hanmi gallery has a rustic and mortal feel that brings into focus the unique human quality of handmade as opposed to the slick output of a machine or computer, reinforcing the concept of skill and the basis of this exhibition.
Zia has exhibited widely in Pakistan and London. She holds an MA FA from Central Saint Martins, London. She is preparing for an upcoming two-person show at Khaas Art gallery in Islamabad, Pakistan. www.samarfzia.com firstname.lastname@example.org
Samar F. Zia
MicroOptasia I (Detail), 2013
Single Action I, 2013. Acrylic pigment on perspex mirror. 100 x 75 cm.
Single Action II, 2013. Acrylic pigment on perspex mirror. 100 x 75 cm.
MicroOptasia I, 2013. 167,100 silver drawing pins on transparent PVC approx. 3 x 3 m.
Andreas M. Georgiou
Georgiou’s inspirations and influences derive from the disciplines of painting and sculpture, as well as from performing art and body ar t, pursuing mostly the idea of 'body energy'. His work presents an attempt to capture the energy of the human body and he is highly attracted by the ways this energy is transmitted through an action, out of the body, into the space. Balancing between painting and sculpture, Georgiou creates sculptures that serve as surfaces for his gestures.
Myrianthe Sozou is an emerging fine artist living and working between London and Limassol, Cyprus. Born in London in 1987, she has studied BA (Hons) Fine Art and has just completed MA Art and Science, both at Central Saint Martins College of Art and Design.
Single Actions, a series of gestures on mirror. A large custom-made spatula loaded with color paste is made to function as the extension of the artist’s hand. In one single action, the paint is projected violently onto the mirror. The studio becomes the artist’s stage and the reflective surface becomes the arena in which he acts. Reinstalled in the gallery space and carrying the traces of an act already performed, Single Actions calls upon the viewer to envision this precedent action. The slightly distor ted reflected reality through the Perspex mirror serves to question the physicality of appearances. Currently lives and works in London, United Kingdom. www.andreasmgeorgiou.com email@example.com
Working with a wide range of media, Sozou’s body of work is focused on a sculptural and spatial approach to ar t. In her site-specific installations, she maintains the honesty and aesthetics of simple industrial mass materials and explores their 'micro-macro' elements, as well as their reflective, distortive and ultimately alienating qualities. As metaphors for the workings of the visual system, the works play with one's vision and human perception whilst adhering to a somewhat minimal formal stringency. She has exhibited in galleries and in institutions such as the British Library and the Victoria & Albert Museum and her work is on a permanent display at Foyles bookstore in Soho, London as well as been acquired by private European collectors. Currently, Sozou is preparing for her upcoming participations in group shows in London including a project in collaboration with the Wakehurst Millennium Seed Bank at Kew Gardens, whilst planning her debut solo show in Cyprus. www.myrianthesozou.com firstname.lastname@example.org
Andreas M. Georgiou
Web of Consciousness, 2013. Acr ylic rods, fibre-optic strands, LED lights, glue, mirror panel. 60 x 65 x 75 cm.
Between Dimensions, 2013. Wooden rods, glue, light. 65 x 65 x 75 cm.
Hidden Love, 2013 Solar plate etching, chine collé and handwriting on paper. 13 x 18 cm.
I'm going to London to visit the Queen, 2013. Gouache, photo emulsion, tea stain, solar plate etching & chine collé on hand-made wasli paper. 18 x 25 cm.
Choo’s current work involves making objects largely from clear material. After many years working on the twodimensional surface, Choo now explores the ambiguity that lies between dimensions. She therefore aims to create work that have a quality of weightlessness and transparency, in an attempt to capture a sense of the space where dimensions change from one to the other. Light and shadow are also a regular feature of her current work.
Alia Bilgrami’s artworks contain fragments from a personal sense of dislocation, endeavoring to portray the dichotomy that exists when you have both a sense of belonging and of being scattered all at once. The notion of displacement is a topic that has featured extensively in her practice. Initially using the cardboard box and maps to visually translate the feeling, her work has shifted slightly in terms of both imagery and resonance. Settling on the tulip as a symbol to represent displacement in her ar twork, she uses labour intensive media such as photo emulsion, analogue photography, contemporary miniature painting and solar plate etchings. Her practice has taken on a slight political twist as these newer works comment on the fall of Capitalism globally and the pieces coming apar t, locally. Bilgrami has an MA in Fine Ar t from Central Saint Mar tins College of Art & Design, London (2010) where she won the Cecil Collins Memorial Award for Drawing that same year. Her first solo show, ‘Tulipmania’ was at the Rohtas Gallery, Islamabad (2011). She has exhibited all over Pakistan and internationally. She is curator at Khaas Art Gallery in Islamabad, Pakistan, where she lives and practices.
This fascination with dimensions stems from Choo’s compulsion to imbue within her work the mysteries of the Universe. Driving her work is the belief that there is a Universal intelligence of which we are a part, and that the consciousness of every living thing is interconnected. She endeavours to communicate ideas of this interconnectivity, the question of consciousness, and higher dimensions. . In 2009, Choo was the International Print Artist-In-Residence at the Victoria & Albert Museum. In 2010, she was commissioned by the Financial Times and RBS Coutts for their annual ‘Women In Asia Awards’. In 2012, Choo was invited to represent Singapore at the first Macau Printmaking Triennial. Choo has exhibited widely in group shows internationally and has had solo shows in Australia and Singapore. Her work is in the permanent collection of the Singapore Art Museum, the archives of the Macau Printmaking Research Centre, and in private and personal collections around the world, including the United Overseas Bank of Singapore, and Leo Burnett. In 2013, she exhibited at the British Library, FloatArt London, and was shortlisted for the Art Lacuna prize and the neo:graduates2013 prize.
She holds an MA in Art & Science from Central Saint Martins. www.monachoo.com email@example.com 6
Tabula Rasa I, 2009. Acr ylic, dry pastel on Arches. 51 x 76 cm.
Tabula Rasa II, 2009. Acrylic, dry pastel on Arches. 51 x 76 cm.
Tabula Rasa III, 2009. Acr ylic, dr y pastel on Arches. 51 x 76 cm.
Düsseldorf Interior, 2013. Gesso and linen on OSB. 213 x 152 cm.
Asmaa Hashmi, born in Quetta, Pakistan, is author to work that delves into the dialogue between the ‘inner self ’ and the sexual dynamics of being a South Asian woman. Her work emanates unrestrained emotions and an unvoiced plea that overtakes the canvas and evolves and unfolds in front of us.
Our experience of a photograph is invisibly tied to the attentive obser vation of the photographer. The illusion of a photograph (a two dimensional surface yielding the impression of a three dimensional space) allows us to ar tificially inhabit the viewpoint of the photographer, via the camera’s lens. We readily par take in this when viewing photographs. But what does the physical experience of inhabiting the viewpoint of a photograph feel like? Is it a mundane experience, or has the photographer achieved a heightened experience – a moment of exchange – between themselves and the object before them?
She explores the inherent discomfort with one’s own sexuality that is communicated in a silent yet emphatic fashion from one generation to the next. Through her practice, she reflects on unacknowledged emotions and passions via an unspoken and hesitant exploration of female genitalia covered in sheer layers of roses. Her technique of layering colour and line is meant to communicate a deep sense of loss, hurt and anger intrinsically interwoven with the unravelling of a sense of self. The imagery of a rose and the use of faux fabric roses allude to the symbolism of eternal beauty that is exploited in order to suppress passion, female sexuality and desires. Print making, layering of colour, mark making, weaving, and patchwork are essential elements of the artists long standing practice and persistently make an appearance in her work. Hashmi has an MFA from Hawaii. She currently lives and practices in Oxford, UK. www.asmaahashmi.net firstname.lastname@example.org
In the fifth work of the re-dimensional-photo-construction series, Julian Dams offers the viewer an oppor tunity to experience the photograph as a physical space; a place where the relationship of space and viewpoint can be experienced. A suspended three-dimensional state of exposure, in which the physical, tangible relationship between photograph and photographer exist. The work concerns itself with Thomas Ruff ’s Interior, 7E (Düsseldorf), 1983. www.pleaf.com email@example.com