Kate Meissner, Peek-A-Boo, 2022, Gallery 1969

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Kate Meissner, Peek-A-Boo, 2022 (1)

Ahead of the launch of <a href="https://contemporaryartnow.com/en/">Contemporary Art Now</a>’s (CAN) inaugural art fair in Ibiza from July 13th to 17th, newcube is proud to announce our official media partnership with the fair. 
CAN will bring together an exciting group of galleries from around the world &#8211; a few of which newcube has had the pleasure of collaborating with in the past. Coming from New York, <a href="http://www.1969gallery.com/">1969</a> will show works by Kate Meissner and Andersen Woof; Brussels and Istanbul-based <a href="https://www.ballonrougecollective.com/">Ballon Rouge</a> will be showing Peter Simpson. From the UK, <a href="https://mooseyart.co.uk/">Moosey</a> will exhibit works by Imon Boy and Katia Lifshin. <a href="https://www.galeriedroste.de/">Galerie Droste’</a>s booth will feature works by Javier Ruiz and Raphael Brunk while Belgian gallery <a href="https://sofievandevelde.be/">Sofie Van de Velde</a> will present the intricate works of Charlotte Tyberghein. Many more galleries will be participating in the fair, including <a href="https://stemsgallery.com/">Stems</a>, <a href="https://www.woawgallery.com/">WOAW</a>, <a href="https://www.volerygallery.com/">Volery</a>, <a href="https://www.cobgallery.com/">COB</a>, <a href="https://www.l21gallery.com/">L21</a> and <a href="https://www.everydaygallery.art/">Everyday</a>. 
newcube’s Partnership Lead, Laura Day-Webb spoke to the fair’s founder, Sergio Sancho and curator extraordinaire, Sasha Bogojev about their vision for the future of the art world and how CAN plans to differentiate itself within the space.

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It is great to speak with you both. To start, can you tell us about yourselves and how you came to be in the art world?
Sergio Sancho: I am from Madrid and had a career in advertising before leaving it behind to devote myself to my passion, art. I am a cultural promoter and before launching CAN, I created UVNT Art Fair (Urvanity) six years ago, as a response to a lack of platforms in Spain for current contemporary art. The fair has become a must-attend event in February during Madrid’s Art Week and alongside it, I have worked as a cultural agitator with artistic projects for companies such as Caleido, Las Rozas Village, Iberia, Swatch, Mahou, and NYX Hotels&#8230; bringing art closer to the business world and the general public.
Sasha Bogojev: I live and work in the Netherlands and am originally from Croatia. Over the years, I have collaborated with various international publications and media including my long-term relationship with Juxtapoz magazine, where I have been contributing editor and European correspondent for many years. Since 2016, I have been curating exhibition across the globe including most recently “Lost In A Spectacle”, WOAW Gallery, Beijing (2022), “Domesticity”, Volery Gallery, Dubai, UAE (2021) and “Shape Of An Image”, WOAW Gallery, Hong Kong (2021).

Sasha Bogojev captured by Inneke Gebruers 

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Sasha Bogojev profile by Inneke Gebruers 1 (1)

Can you tell us about CAN’s mission and what inspired you to create a new fair?
Contemporary Art Now (CAN), reflects the obsession to update what is already contemporary.
At CAN we are convinced that there is only one thing more current than today &#8211; now.
Now is a rigorous declaration of intentions that forces us to focus solely and exclusively on the latest in Contemporary Art. In its first edition, the fair will bring together around thirty international contemporary art galleries from Europe, America, and Asia.

Peter Simpson, The clammy hands of apple pickers (where's my snickers?), 2020, Ballon Rouge Collective

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What prompted the decision to select Ibiza as the location for the fair?
CAN means ‘house of’ in Ibizan. We aspire to be the hosts of the avant-garde of the current scene. Hence our surname, “now.” The island is an inexhaustible source of inspiration in many artistic facets, we think it can also be in art as it is in music, gastronomy, fashion&#8230; or in hospitality.
We want to create connections, become a relaxed gathering. Ibiza has traditionally been a sanctuary for artists and creators. In the sixties, there was the ‘Ibiza 59 Group’ and there is a good supply of local galleries. Our goal is to strengthen the alliances of international galleries with national ones. That artists from here can enter the international circuit and that those from abroad become better known in our country.
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Katia Lifshin, Mystery Unravels, 2021, Moosey Art

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Can you share a bit more about the location and set up for this first edition?
The fair will be held at the island’s exhibition venue (FECOEV), on the outskirts of Dalt Vila, with a careful architectural design where spaciousness and natural light will play a leading role. This meeting, in the month of July, promises art and plenty of sunshine. The fair will be open only during the afternoons but also with unique experiences with programs of parallel events, private visits to institutions and collections or music nights until dawn.

Charline Tyberghein, Them’s fighting words, 2021, Gallery Sofie van De Velde

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Gallery Sofie van De Velde_Them_s fighting words - Charline Tyberghein

What sets CAN apart from other art fairs?
What makes CAN stand out is the curatorial work carried out by Sasha. In each edition, he will identify and invite a selection of galleries that, because of their trajectory and programming, are tracing the panorama of the current artistic scene. 
These are galleries that are situated at the forefront of the emerging world art scene. By focusing on emerging and mid-career creators, there is a strong affinity towards figuration among the works on display, which will give the whole fair a very focused and distinctive appeal. 
Thank you so much to both of you. We cannot wait to attend the fair and discover these wonderful exhibiting galleries, artworks and artists! 
The inaugural CAN art fair in Ibiza will run from July 13th to 17th at FECOEV exhibition venue.
For more information, visit <a href="https://contemporaryartnow.com/en/">https://contemporaryartnow.com/en/</a>

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KVT-CAN Ibiza 2022- 1-1

Ahead of the much anticipated opening of Contemporary Art Now’s (CAN) inaugural art fair in Ibiza this July, newcube is proud to announce our official media partnership with the fair. CAN will bring together an exciting group of galleries from around the world - a few of which newcube has had the pleasure of collaborating with in the past. 


Contemporary Art Now (CAN) to make its debut in Ibiza from July 13th to 17th

Ahead of the launch of Contemporary Art Now’s (CAN) inaugural art fair in Ibiza, newcube is proud to announce our official media partnership.

Contemporary Art Now (CAN) to make its debut in Ibiza from July 13th to 17th - newcube.

newcube.

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lwebb@newcube.art

Tatiana Seikaly, photo by Genesis Bonilla

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Tati Selects-7854

We had the pleasure of speaking to Tatiana, founder of Interior Design firm Studio Seikaly and international art collector. Tatiana lives in Miami, Florida and shared with us her early interest in art and design and how she incorporates this into her personal and professional life now. 
Tell us a little about yourself, where do you live?
I was born and raised in Miami. Since birth, I spent all my summers in Europe and the Middle East, which is how my love for art, design and architecture started to develop. Being exposed to so many exotic and historical regions at such a young age played an important role and helped me form a strong foundation that expanded the depth of my vision in art and design. 
You have founded Studio Seikaly, an Interior design firm that has been nominated as part of the next generation of Miami&#8217;s art innovators. Congrats! What first struck you about the world of interior design and why did you decide to pursue this particular career path?
I chose Interior Design because we spend 90% of our time indoors. Interiors greatly affect how we feel. I love that I’m creating spaces that improve my clients’ lives! It’s as important as ever to love where you live; the pandemic has shifted how people value the space in which they live.

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Alongside your love of design, you also have a passion for art. How does art play into your interior design practice? Do you draw inspiration from certain artists when designing and if so, who are some of your favorites?
Art and design have always gone hand in hand. Many artists are now venturing into design in different forms; for example, the <a href="http://www.thehaasbrothers.com/">Haas Brothers</a> channel their median in sculpture, objects, and furniture. They have also collaborated with<a href="https://uk.l-objet.com/collections/lobjet-haas-brothers"> L’Object</a> for a home goods collection. <a href="https://www.instagram.com/danielarsham/?hl=en-gb">Daniel Arsham</a>, a painter, and sculptor has also created “<a href="https://www.instagram.com/arshamliving/?hl=en-gb">Arsham Living,</a>” a wide range of functional furniture. I’ve always seen design as an art form, so the two worlds colliding really plays into my designs.
Do clients you work with ask for specific artworks? 
In my experience, most clients have a specific artist or a style in mind; then, it&#8217;s up to me to source the artwork that fits the vision. On the other hand, when clients are not sure about the artwork they want; I love introducing them to new and upcoming artists. I am fortunate to have worked with clients who understand art&#8217;s importance in a home.

Are there any artists you have come across of late that you would like to incorporate into a future design project and what makes them stand out?
There are many artists I’d love to incorporate into my designs. One of them is <a href="https://www.instagram.com/maryamturkey/?hl=en-gb">Maryam Turkey</a>, an Iraqi artist that I discovered at <a href="https://www.instagram.com/silverartprojects/?hl=en-gb">Silver Art Project</a>, the art residency in the World Trade Center. I would love to incorporate her Paper Pulp Light sculptures into my designs, these hand sculpted objects represent vacant buildings in Baghdad and the emptiness of Manhattan during the pandemic. Another artist is <a href="https://www.instagram.com/andiledyalvane/?hl=en-gb">Andile Dyalvane</a>, a South African ceramicist I discovered at the Nina Johnson “Vessels” exhibit. His large-scale clay sculptures represent the juxtaposition between city life and its relation to where he was born, a small village called Ngobozana in South Africa.

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Screenshot 2022-06-29 at 20.22.20

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Have you begun collecting works yourself and if so, what made you want to start collecting and what was the first and last artwork you acquired?
I’ve always been surrounded by art growing up and was excited to start a collection of my own. The first piece I purchased was by <a href="https://purvisyoung.com/">Purvis Young</a>, an artist from Miami who paints on scraps, plywood, and lumber found on the streets of Miami. My brother had a piece by Purvis in his bedroom, so when I came across one; I immediately recognized it and felt familiar with it. The last work I acquired was when recently visiting Saudi Arabia for Desert X. It’s an original poster of an Egyptian film from the 60’s that was banned in Saudi Arabia. The artist censored the faces of the women to make a social statement … “From the Poster Series” by <a href="https://www.instagram.com/daydban/?hl=en">Ayman Yossri Daydban</a>.
What advice would you give to someone looking to outfit their first space and is wondering where to start?
It’s essential to bring pieces into your home that have a personal meaning and can travel with you-to-your future home. Always think long-term and acquire works that can adapt to different spaces and hold value. Most people want their space finished as quickly as possible, but I believe in taking the time to find pieces of value and meaning. Whether you’re in an apartment or home, your items should be able to grow with you. Don’t just buy something to fill a space; wait until you find a hidden gem that will last forever. But if you’re having trouble finding that special piece, then my first recommendation would be to reach out to <a href="https://www.instagram.com/studio_seikaly/">@studioseikaly</a> 😉
And from newcube&#8217;s roster of artists, who are your favorite ones?
<a href="https://www.newcube.art/artist/jesse-aridoux">Jesse Aridoux</a>’s work immediately struck me; my favorite piece is titled <a href="https://www.newcube.art/artwork/elle">Elle (Fanm)</a>. I was immediately drawn to the hue and brush strokes; and after spending some time admiring 
the work, you feel the strength and confidence that the female figure evokes. 
I also love the organic shape that woven textiles by artist <a href="https://www.newcube.art/artist/molly-kent">Molly Kent</a> forms. At first glance, the artist’s message is clear, and I think many people can relate to the evoked feeling of uncertainty, particularly during the height of the pandemic.
<a href="https://www.newcube.art/artwork/sunset">Sunset</a> by <a href="https://www.newcube.art/artist/reihaneh-hosseini">Reihaneh Hosseini</a> is another piece I could easily relate to as we all struggle with endless distractions perusing our lives and toil with being present in any given moment.
And finally, <a href="https://www.newcube.art/artwork/was-pink">Was.Pink</a> by Elina Salminen<a href="https://www.newcube.art/artist/elina-salminen"></a> is such a beautiful and calming work. I love the shape&#8217;s innate simplicity, the intriguing technique behind her practice and its fading hues.
To learn more about Studio Seikaly, visit <a href="https://www.instagram.com/studio_seikaly/?hl=en">@studioseikaly</a>.

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Was. Pink_LIGHT

Our team chatted with Tatiana Seikaly, founder of Interior Design firm Studio Seikaly and an art collector living in Miami. She told us about how her travels as a child encouraged her appreciation of design, art and architecture and how she combines all of these into her life now.

Spotlight on Tatiana Seikaly

Meet Interior Designer and collector Tatiana Seikaly and learn how she combines art and design.

Spotlight on Tatiana Seikaly - newcube.

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Claire Tool

Reihaneh Hosseini in her studio, with her artwork Present in the Moment. 

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This Curatorial Statement was written by Mollie Barnes, after interviews with the artists.
Body Language, presented by newcube on the occasion of <a href="http://www.futurefairs.com">Future Fair</a> in New York (May 4-7), features new works from the visual storytellers and incredible talents of artists <a href="https://www.newcube.art/artist/reihaneh-hosseini">Reihaneh Hosseini </a>and<a href="https://www.newcube.art/artist/shantel-miller"> Shantel Miller</a>.
Figurative portraiture overarches this exhibition, critiquing notions of the every day while addressing shared themes of familial legacy, physicality, and community. Each artist, in their own way, explores an introspective journey, questioning radical norms and perceptions of the self. 
Important to Reihaneh Hosseini’s practice is an understanding of her conservative upbringing, and the place of this past in her seminal works. Hosseini’s works actively dispute the sacredness, shame, embarrassment and chastity often imposed on the female form. These works are a rejection of these conservative notions, instead exploring nature, the body, nudity and laughter in her works. Her works in Body Language align as concurrent snapshots and memories of the artist’s long awaited, cathartic trip to the Persian Gulf, a time spent to explore more liberal ideas of life and the female form. 
Infused with sarcasm and wit, the works are understood initially as humorous, complete with bulbous features, often exaggerated and distorted profiles and an incongruous palette. However, Hosseini’s works are rooted in serious, philosophical themes, reminiscent of an emotional sense of discovery. These are each intimate and revolutionary moments. 
Hosseini presents viewers with a segment of her artistic process in Present in the Moment as an initial coloured sketch, alongside the completed oil painting. The work completes the reflection and cycle of self-therapy, embracing self-identity, bodily expression and acceptance. Social-restriction is not present among the figures, and complete immersion in the environment is actively encouraged. Viewers are drawn to the front figure’s interactions with the fly on his cheek, and are encouraged to note the artist’s reflection in his pupil. The work must therefore be appreciated as a self portrait, and a welcome for viewers to join in, reflect and cherish the present moment.

Reihaneh Hosseini, Present in the Moment, 2022

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The second pencil work, Sunset, presents a figure in nature, though distracted by technology. The light reflected on the sea, acting as a halo to the figure, emanates from both sun and screen. The light sources illuminate the sitter&#8217;s face and draw her in, each fighting for attention. With an ever humorous and critical approach, Hosseini is reminding viewers to look past technology, and succumb to the beauty and importance of nature. 
Alongside these works, viewers are confronted with the relaxed and welcoming gaze of The Red Road. The work depicts the artist and her friend traveling together at a slow pace, sharing glances and memories. The red sand palette basking over the Tuk Tuk’s interior, surroundings and sitter’s skin, mimics feelings of immersion in nature felt on this trip. Once more, viewers are encouraged to join in the moment.

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Complimenting Hosseini’s confrontation of ideas of cultured norms, Shantel Miller sets close up and cropped images of the Black body against domestic backgrounds. These works display often unseen moments of intimacy and safety between family members in ideas of home. Her works shed light on representations of race, gender, and belief systems, while contemplating what it means to be human. The subjects presented partake in intimate whispering, and sharing of inner ideas. 
Placement, posture and subtle interactions are vital to Miller’s works. The artist explores &#8220;distance and proximity of relationships&#8221;, established with characters sharing space in the frame. 
While Hosseini’s works encourage you to join the moment, Miller’s exploration of identity and spirituality inspire the viewer to partake only as an onlooker to internal emotions. These ever present moments of intimate exchange thread throughout the works. Often taking the form of parent-child relationships, Miller’s depicted relationships draw metaphor to the artist’s relationship with her faith and fatherlike religious figure.

Shantel Miller, In Hidden Places, 2019-2022

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In Hidden Places is the &#8220;cornerstone&#8221; to Miller’s series of works. An early work produced in grad school and a departure point for this series of works, the piece is a clearly intimate moment in time between mother and son. They are enveloped together in gesture, showing only the back of the figures. The private moment is put in the public realm, as if to invite us and share with us the precious feeling of closeness. 
I Have Authority depicts a headless figure as if looking up from a child’s perspective, arms on hips to adress emotion and power balance. Similarly, Miller’s most recent work ‘Protection’ shares a moment between three: a mother and two sons. The triangular composition brings to mind a religious and spiritual triad.

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Shantel Miller, I Have Authority, 2020-2022

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Body Language presents an understanding of the human experience in the context of culture, environment, family and nature. Viewers travel between these worlds as participants and onlookers. Each artist explores intimate and shared moments in striking palettes, equally revealing, resisting and respecting ideas of the ordinary, and expected norms.
Body Language will be on view from May 4th-7th, 2022 at <a href="https://futurefairs.com/">Future Fair</a>, in New York. 
To receive a list of exhibited artworks, contact us at <a href="mailto:info@newcube.art">info@newcube.art</a>.
Visit Future Fair this week in New York
May 5-7, 2022 
Chelsea Industrial 
535 W 28th St. 
New York City
<h4>VIP PREVIEW</h4>
Wednesday, May 4th, 4-8PM
<h4>PUBLIC DAYS</h4>
Thursday, May 5, 2022, 12-7PM 
Friday, May 6, 2022, 12-7PM 
Saturday, May 7, 2022, 12-6PM 
Closed Sunday
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FF22 Banner (1)

Body Language, presented by newcube, features new works from the visual storytellers and incredible talents of artists Reihaneh Hosseini and Shantel Miller. Curatorial statement by curator and writer Mollie Barnes. 

Body Language, a duo exhibition with new works by Reihaneh Hosseini and Shantel Miller, on view at Future Fair this May

Body Language, presented by newcube at Future Fair this year, features new works from artists Reihaneh Hosseini and Shantel Miller.

Body Language, a duo exhibition with new works by Reihaneh Hosseini and Shantel Miller, on view at Future Fair this May - newcube.

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bzavieh@newcube.art

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TighteningGyreInSitu

The contemporary renaissance in textile art despite, or perhaps in spite of, technology, demonstrates a continued enthusiasm for tactile art. In twenty-first-century western society, where science is a form of religion, people are more physically and spiritually distanced from death than ever before. The days of Dutch vanitas paintings or Classical antiquity memento mori imagery are long gone. Yet, after bearing witness to Covid’s destructive path and being unable to ignore the fleeting nature of one’s life, the desire to collect art with integrity is an ever-present sentiment. Likewise, the necessity of primarily engaging with the world from behind a screen for almost two years has further contributed to today’s palpable appetite to experience the physicality of life and thus continue to embrace textile art.
While today tapestries are regarded as fine art and collected by institutions and museums alike, the medium’s colourful past adds to its story of redemption. Textiles are inextricably tied to trade and played a key role in the development of early civilisation. Through an art historical lens popularised by post-Renaissance theorists like Giorgio Vasari, a distinction emerged where art that can simultaneously offer a function is cited as decorative and relegated to a lesser status. However, the Nineteenth century Arts and Crafts movement led by artist William Morris and championed by intellectuals like Art Critic John Ruskin redefined Applied Arts as a form of “high art.” Textile art continued to gain traction, and a century later, the medium was officially recognised when the Tate Modern featured Anni Albers as their headline exhibition.
Interest in textile-based works continues to soar. 2021 saw a range of international exhibitions featuring woven pieces, with South African artist Billie Zangewa regarded as an unequivocal favourite. Utilising intricately hand-stitched raw silk from vibrant, found fabrics, Zangewa’s portraiture challenges historical stereotypes of the black female form and offers a critical reminder of the multidimensionality of humans. Other notable established and emerging artists who utilise textiles in their practice are Brent Wadden, Molly Kent, Ptolemy Mann, Nick Cave, Heather Cook, Ulla-Maija Vikman, Sheila Hicks, and Channing Hansen.
Textile art’s place in the canon of art history is all the richer, having endured a complicated past, for no other medium presents as authentic a narrative. In woven artworks, the artist’s hand is visible, enabling a rare intimacy and capturing a unique spirit. Drawing on thousands of years of tradition, tapestries exist as a tangible marker of the time in which they are woven. Unpretentious familiarity combines with challenging context, resulting in a supremely intellectual art form. For those who collect mainly paintings, drawings, or sculptures, acquiring textile piece brings another dimension to a collection. In this same vein, curators of institutions are often looking to woven works to expand the breadth of their displays. One can surmise those who continue to collect textile art, in these times of amusing technological advances will be seen in posterity as arbiters of history’s most enduring medium.
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Life Evokes Doubt In Situ

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Doubt Plagues Me In Situ

In this short review, Emie Diamond explores the contemporary renaissance in textile art and the continued enthusiasm for tactile art. 

Textile Art, the Enduring Medium

Emie Diamond explores the contemporary renaissance in textile art and the continued enthusiasm for tactile art.

Textile Art, the Enduring Medium - newcube.

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Daniel, it is great to speak with you. Can you tell us what Les Nouveaux Riches is all about? 
Well, since April of 2019, Les Nouveaux Riches, the association for contemporary art and culture, has made it our mission to offer young and emerging artists as well as already established artists, gallery owners, and creatives a platform on which they can present themselves and their current projects to a broad audience. We conduct interviews with artists from all over the world on an almost daily basis. We are continuously publishing online and, a few times a year, we have print issues of Les Nouveaux Riches Magazine. We also curate exhibitions in addition to the content we produce and we feel privileged to have a platform where we keep discovering super exciting artistic positions. We simply enjoy presenting the world of art and culture to people, and I think you can also clearly see this in the implementation of the projects we work on. There is also a creed: Everything should be very fresh, but also have a reference to old favorites.

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You recently incorporated a new offering into 2022 in the form of a limited-edition calendar. What inspired you to create the Art Wall Calendar?
With the Art Wall Calendar, we wanted to bring art even closer to the people and thus make a statement for contemporary art. Furthermore, we wanted to offer to the art scene, especially in the current situation, support, inspiration, and an additional stage. A wall calendar is actually an old product and has been around humanity for years and we thought, why not design these pages with different perspectives, apart from the monotony of constantly recurring calendars from companies and associations. What we did was reinterpret this form for ourselves, we wanted to create a large overall work of art. For us it was also important that the calendar reflect the artworks in the highest quality, which is why we opted for offset printing and a larger format. One can see the calendar as a large work of art. We titled the calendar This Time Tomorrow, as it amalgamates thoughts, deliberations, and anticipations of the twelve participating artists. We did not put any restrictions around the mediums we would accept so it is a mixture of photography, installation, and drawing, as well as a number of hybrid works that cannot be classified.

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What are some things you are particularly excited about coming up on the calendar, and why are they special?
In the calendar, you can see artworks of artists from 9 nations &#8211; living and working from Moscow to Paris, including also Vienna, where our association is based. This diversity and the idea of a borderless planet also reflect our thoughts.
 The list of the artists is long. For the Cover of This Time Tomorrow 5 artists have been working together – Jovan Glušica, Nikola Markovic, Anastasya Shpagina, Jessica Comis, Daniel Lichterwaldt. Then through the following order, one can see the selected artists – Neda Nikolić (JAN), Alberto Tadiello (FEB), Lukas Leonhard Troberg (MARCH), Petra Kodym (APRIL), Chalisée Naamani (MAY), Beáta Hechtová (JUNE), Nestor Kovachev (JULY), Kristina Deska Nikolić (AUG), Lavinia Lanner (SEPT), Marko Zink (OCT), Liza Bobkova (NOV), Ines Kaufmann (DEC). 
You can see the calendar here: <a href="https://www.les-nouveaux-riches.com/shop/">https://www.les-nouveaux-riches.com/shop/</a>
For us, it was important to reflect a diversity of art in the calendar, and we succeeded very well and are excited for others to experience it.

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Les Nouveaux-Riches discuss their new Art Wall calendar. 

Spotlight on Les Nouveaux-Riches 

Les Nouveaux Riches - newcube.

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Viewing Scottish artist Molly Kent’s charged textiles equates with delving into the depths of the human mind, from glimpses of existential doubt to the deafening silence in the eye of a hurricane. One envisages heavy clouds lingering on the edge of her consciousness and corners of her proverbial canvases, a foreboding ever-present shadow. Kent &#8220;gravitates towards extreme weather as a way of understanding mental health.&#8221; The scientific is always relevant, hardly surprising for an artist who was pursuing a degree in physics before falling in love with textiles.
Kent’s tapestries are simultaneously comforting and dark, highlighting difficult narratives in a soft, relatable medium. Further deepening the macabre tone, her textiles &#8220;came of a history,&#8221; most often children selling the yarn of a mother who passed away. The second-hand nature of Kent’s yarn enables her to experiment with new processes of textile art and various fibre content from nylon and plastic to recently acquired alpaca wool. The weaving process is a cathartic and therapeutic means of making, furthering her pursuit of a peaceful mind. Notably, the artist’s tapestries have continued to increase in size over the past several years. Kent’s large scale is akin to creating textiles that carry the weight of the overwhelming sensations she sets to record.

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Lies Evoke Doubt White

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Doubt Plagues Me White

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Kent’s oeuvre is a visual diary, often referencing the digital language dictating our technology-consumed, modern lives. She utilises recognisable symbols and motifs punctuated by bright colours which ‘accentuate the magical element’ of her visions. Her colourful work <a href="https://www.newcube.art/artwork/lies-evoke-doubt">Lies Evoke Doubt</a> (2020) spurs a timely discourse about the detrimental effects of social media. During the widespread Covid lockdowns, where every form of human interaction went online, Kent recognised how this world exacerbating her self-doubt and paranoia. She acknowledges how relentless comparison to others can trigger a dangerously self-conscious mindset where &#8220;a rational thought [can be] turned into something irrational.&#8221;
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Roaring flames recurrently appear throughout Kent’s work, as can be seen in Untitled (2021), Surrounded (2021), Surrounded II (2021), You Burn We Burn (2021), among others. She compares cognitive dysfunction to a burning fire that is nearly impossible to distinguish. Kent is intrigued by the duality of fire, as it brings people together for warmth and to nourish oneself, yet simultaneously can destroy lives and create chaos. Her talent is best seen through her piece Tightening Gyre (2020), where she touches on the paradoxical, eerily calm moment amid a breakdown. Deeply intuitive, Kent’s voice retains an unmistakable tinge of optimism that to conquer personal challenges, one needs &#8220;to recognise there is an issue before there is anything [they] can do to solve it.&#8221; Kent’s brilliance exists in this poignant place of conflict, where dreams can become nightmares, and skies turn dark, suggesting that the stability of mother nature, like mental health, are forever hanging in the balance.
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Art writer and curator Emie Diamond talks to artist Molly Kent about her tapestries and how they delve into the depths of the human mind. 

Molly Kent’s Woven Narratives of the Mind

Art writer and curator Emie Diamond talks to artist Molly Kent about her tapestries and how they delve into the depths of the human mind.

Molly Kent’s Woven Narratives of the Mind - newcube.

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Elina Salminen, (sun), in-situ installation

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(sun) en face

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Elina Salminen’s paintings are an amalgamation of poetic, evolving color. Born in Finland, Salminen’s practice pulls from a vast array of intellectual pursuits, including two master’s degrees from the Académie Royale des Beaux-arts de Bruxelles and Université Sorbonne Nouvelle. The artist’s extensive background studying Visual Arts and French Literature permeates her work through a lyrical romanticism and emphasis on observation. Her paintings project the vibrancy of a James Turrell skyspace installation along with the quiet serenity of an Agnes Martin canvas, and yet Salminen commands a genre that is her own. Her enthusiasm for the dense prose of Baudelaire, Rimbaud and Apollinaire fuels her brilliant interpretation of linguistic theory, etymology, and psychology. Salminen’s intentions are deliberate yet unbridled, enabling her subconscious to thrive. Citing texts of Cézanne and Rodin, her love for literature extends to multidisciplinary interests and more specifically ‘in the relationship between writers and artists.’ The Belgium-based artist’s interest in writing and analyzing text is akin to her fervent dedication to the study of color as another language of life.

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Salminen is drawn to color ‘because it is something problematic, it’s complex, you can see it, but you can’t touch it, it has many aspects, many definitions.’ As is true with linguistics, there is a relativity in our interpretation of color, propelled by ‘our perceptions, our psychology.’ French chemist Michel Eugène Chevreul was the first to discover the phenomenon where two colors side by side take on their adjacent hue, a theory later recalled as the rule of simultaneous contrast. The complexity of Salminen’s process is driven by the root of Chevreul’s theory, for she often pairs colors to coexist on the inside of her sculptural paintings, as seen in her work <a href="https://www.newcube.art/artwork/a-window">A Window</a> (2017). Whereas in other pieces, like <a href="https://www.newcube.art/artwork/aperture-2">Aperture 2</a> (2019), she paints one color on the reverse and then playfully includes the second hue on the front side. Salminen’s employment of color theory enables an illusion where light emerges from her painted frames, thus creating a further ‘dialogue between shadows, lights, colors.’

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A window_LIGHT

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Aperture 2_LIGHT

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Here lies the heart of Salminen’s work, for she aims to construct ‘different ways of seeing colors that we haven’t seen before.’ The colors in Salminen’s paintings are selected according to strength of reflection and degree of transparency, as well as after her analysis of how much light they have within. She is especially sensitive to the colors of the sky and often unintentionally references Finnish landscape. ‘The sky is infinite,’ says Salminen, a sentiment which ties throughout her work. 
Inspiration from the natural world is visible in her work <a href="https://www.newcube.art/artwork/blue-quadrilateral">Blue Quadrilateral</a> (2018), where the lightness of her blue embodies the wistful airiness of a Spring morning. Likewise, her painting available for commission, <a href="https://www.newcube.art/artwork/sun">(sun)</a>, is an organically drawn interpretation of the ultimate source of light, and thus color, in its vivid glowing glory. As a poet strings together the idyllic words to create a flowing, soothing prose, Salminen’s paintings affirm an intuitive, material harmony, breathing life into the coldest of rooms.
To watch Elina Salminen in her studio, click here.

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blue quad_crop

Writer and curator Emie Diamond takes us on a journey through Elina Salminen's poetic approach to color, by ways of literature and chemistry.  

Elina Salminen and her Poetic Study of Color

Writer and curator Emie Diamond takes us on a journey through Elina Salminen's poetic approach to color, by ways of literature and chemistry.

Elina Salminen and her Poetic Study of Color - newcube.

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