For a long time I had been interested in the human body and how diverse our experiences of having one are. I had been photographing it for a while, trying to abstract it through different techniques, none of which I was very happy with. It was when I took a shot where no arms, legs or head were visible, only a cubic torso, that I felt I was really connecting with something.
Read MoreHutchison’s Metamorphosis (oil on aluminium) fits perfectly in this context. Two different moments are frozen in a round composition called a Tondo concretise the meaning of metamorphosis that the artist want to suggest. A feminine figure seems to be compressed by the circular form of the painting, but four disembodied hands move freely in the circle and seem to have their own mood.
Read MoreSalman Khoshroo’s diverse oeuvre encompasses many styles of painting, and, more recently, sculpture. ‘Head Jig’ (2017) and Entwire Series (2017-) use brightly coloured electrical wires wrapped around a wire frame to form the shape of a ‘human’ or ‘post-human’ head. In fact, Khoshroo’s evolution from painting the human to sculpting the post-human reflects the philosophical thought of the visionary futurist, FM-2030, as well as that of Gilles Deleuze and Félix Guattari. ‘Head Jig’ and Entwire Series’ ‘HEADMA01’ and ‘HEADFB01’ thus offer a clever commentary on aesthetic and philosophical concerns of the last forty years.
Read MoreDenis Sarazhin’s Pantomime Series (2016-) forecloses ‘language’ in returning to the painterly and figural. He focusses our attention on the body by cleverly frustrating the viewer’s instinctive glance toward the subject’s face. In this way, the artist challenges us to reconsider the communicative potential of the body. Compellingly painted; they reward contemplation. Sarazhin’s ‘return to the body’ without reference to the ‘face’ is an important contribution to the post-language debates that reverberate inside and outside the gallery
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