+ IACO : International Art Cooperative Organization +

2024. 3. 29


Sunflower Gallery
ÀÌ ¸§ IACO (219.¢½.27.6)
³¯ Â¥ 2009-05-08 03:20:32
Á¶ ȸ 10022
Æ®·¢¹é http://artiaco.com/home/bbs/tb.php/talk/217
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Artists in Sunflower Gallery

Gallery Soulflower is housed within SILOM GALLERIA, the well known ART CENTRE of Bangkok.This complex houses many well known art galleries offering a variety of Art and Sculpture ranging from THAI to INDIAN. Known for its prime location and well-designed space, the gallery has a very simple interior design, allowing the space to always enjoy a friendly and uninterrupted natural atmosphere.

01-

B M Kamath(Manjunath Kamath)

Manjunath Kamath works with iconic fragments. He renders fragments of narratives and various mise-en-scenes. The fragments achieve the status of a symbolism we think we know but nevertheless retain a sense of mystery.
Kamath draws from his experience of everyday life and the titles of his works claim a concern with the momentary. Detailed images of buildings, the artist in front of a canvas, animals, clouds and signs of domestic and urban contexts float across monochrome backgrounds. The blank backgrounds do not suggest the absence of a greater picture. Rather, the fragments function to represent how we perceive and describe the world. In this respect, Kamath moves from an engagement with the local and idiosyncratic to more universal considerations.
Understanding is, of course, linked to intelligibility. Visual imagery, however, offers a curious challenge to the processes of coding and de-coding received information.  Kamath brings out the essentially enigmatic nature of images and meaning always seems in flux. Looking at his artworks, the fragments that make up his artworks, one can weave and re-weave interpretations. What we think we might know about the world around us always becomes something else.

02-

George Martin PJ

 
My work always realm of freedom in which the artist own all the infinite riches of the world and this delights us and excites our admiration by the miracle of creative exploration of the world. My works exists somewhere between objects and images. As both site and site-specific experience they appear as autonomous, self-contained entities, decidedly abstract yet devices. Experienced with mind, they become monumental shapes of space, their opening invite the viewer to become a visitor, physically entering the work of art to experience it not as a thing but as a place.
The viewer is part of my work I tried to communicate with him by stimulating his memory. The viewer has the right to interpret the work of art as he like to make his own work of art, for me it is enough simply to give him this sign, to communicate with him with out trying to teach or direct him. I want to bring out the viewers interiors and invisible powers.
The invention of the new context seems to me the invention of reality, in other words the radical discovery the contrast with the view of the world image is the only important thing.
George Martin P.J.

03-

Bose Krishnamachari

 
Bose Krishnamachari was born in Kerala and studied at Sir J.J. School of Art, Mumbai. Krishnamachari's oeuvre includes a manipulation of photographic elements as well as vibrant, colorful abstract spaces. While his canvases operate on a formal capacity, with their spectacular combination of color, texture and contrasting designs, they also have a strong intellectual basis. Influenced by the conceptual slant of much modern British art, a result of his tenure at Goldsmith College, London, Krishnamachari makes us rethink the connection between signifier and signified. He questions the validity of the image as a purveyor of fixed meaning. His abstract patterns embody a shifting network of signs, mischievously evading definition and counteracting the assumption of a singular truth. Bose lives and works in Mumbai.
 

04-

Be Takerng Pattanopas

 
For over the past ten years I have been defining and redefining ¡®temples¡¯ of my own with combinations of three major elements: space, light and the presence or absence of the human body.
My sculptural practice began in 1996 with an attempt to understand a type of illusion I called `counter-form illusions`. Here sculptures that were an equivalent to a mould of the human body were lit in a very specific way and resulted in concave space being perceived as convex. These works necessitated the creation of installations to control viewing points, in order to maximize the illusion, while also positing my work in spiritual and cultural contexts through the use of tapered tunnels. Recently the tunnel has become more significant as I am aware that the tunnel itself can represent the human body, or parts of it, and this is evident in the work HAL-O.
The HAL-O series, began in 2007, makes a quantum leap from installations; installations rely heavily on the gallery space and its lighting conditions while now my free-standing sculptures have almost total control of their own internal spaces ...
My works are typically balanced on a hocus-pocus tightrope as they seduce the visual perceptions of the audience and engage them with seductive spatial experiences. But with everything in its right place, audiences become aware that what I have done is simply invite them to contemplate their own bodies and, ultimately, their own impermanence
 
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