ATOI

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Faig Ahmed

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Scott Anderson

Fabio Lattanzi Antinori

Michael Armitage

Luke Armitstead

Lello // Arnell

Francis Bacon

Cornelia Baltes

Simon Belleau

Joshua Bilton

Alison Blickle

Benjamin Brett

Andrew Brischler

Carla Busuttil

Scott Carter

Jonathan Chapline

James Clarkson

Mikey Cook

Kevin Cooley

Elizabeth Corkery

Daniel Crews-Chubb

Øystein Dahlstrøm

Blake Daniels

Fleur Van Dodewaard

Tomory Dodge

Antoine Donzeaud

Zavier Ellis

Amir Fattal

Madeline Von Forerster

Ruth Freeman

Robert Fry

Anthony Goicolea

Jonny Green

Pablo Griss

Eckart Hahn

Felicity Hammond

Byzantia Harlow

Neil Harrison

Clinton Hayden

Colleen Heslin

Oliver Hickmet

Aaron Holz

Edward Hopley

Gary Hume

Christoffer Joergensen

Tamara K.E

Olivier Kosta-Thefaine

Olaf Kuhnemann

Bruce LaBruce

Janneke Van Leeuwen

Tomáš Libertíny

Gijs Van Lith

Tom Lovelace

Kate Lyddon

Nigel Massey

Roberto & Renato Miaz

Holly Mills

Jenny Morgan

Ryan Mosley

Benjamin Murphy

Jose Carlos Naranjo

Regina Nieke

Sarah Pager

Selma Parlour

Yelena Popova

Martine Poppe

Tony Romano

Lou Ros

Maja Ruznic

Alan Sastre

Sebastian Schrader

Andrew Sendor

Dominic Shepherd

Pawel Sliwinski

Berndnaut Smilde

Evren Sungur

Shaan Syed

Struan Teague

Alexander Tinei

Kristian Touborg

Luke Turner

Alain Urrutia

Dan Voinea

Mathew Weir

Jack West

Jonathan Zawada

Leonardo Ulian

Inquire about this work

'Real Reality' November 2017 in situ solo at BEERS
'Technological Mandala 99 (Nithaiah)' (2017), Electronic components, copper wire, paper, wood frame, 111.5x117.5x4.7cm
'Technological Mandala (Chaos & Order)' (2017), Electronic components, copper wire, paper, wood frame, 104x104x4.7cm
'Technological Mandala 102 (Square Seal)' (2017), Electronic components, copper wire, paper, acrylic paint, wood frame, 84x84x4.7cm
'Technological Mandala 103 (Threshold Screen)' (2017), Electronic components, copper wire, paper, acrylic paint, wood frame, 84x84x4.7cm
'Technological Mandala 108 (Projection)' (2017), Electronic components, copper wire, paper, acrylic paint, wood frame, 84x84x4.7cm
'Technological Mandala 105 (Mountain Solstice)' (2017), Electronic components, copper wire, paper, acrylic paint, wood frame, 84x84x4.7cm
'Contrived Object 21 (Shape Shifting Reliquary)' (2017), Steel, Tennis racket, lead, tin, copper wire, electronic components, glass, sand, 174x30x30cm (Racket and stand dimensions)

The ideas and concepts behind Leonardo Ulian’s work stems from a profound interest in how systems can be applied in the process of making art, how something can survive within a scheme of convention, exploring the system itself in order to understand it, and perhaps, trying to find a condition of artistic autonomy within the framework created. Like Mondrian’s grids lifted from the constraints of their 2-dimensionality, the abstraction in his work appropriates ideas of reincarnation, and displaced communication, which is also a concept found within the 'mandala' form that has been appropriated from Buddhist and Hindu religions, hereby finding a newly formed meaning as much resulting from their new forms as they have from their apparent lack of defined structure. Ulian defines himself as a multimedia artist, and his art as playthings similar to childhood toys in that objects can be seen as a series of distorted mirrors of the everyday, a caricature of the real. This of course does not always have to be pleasant and/or easy to use but must possess – above all – a high degree of play value, which defines the capacity of a toy or artifact to stimulate and engage the viewer. In this instance, attention is moved away from the spectator to familiar places (usually from childhood) which have often been long forgotten but triggered and remembered as a result of the unconscious rational deep within. Ulian also works with sound installation and as co-founder of [The Apathy Band], he creates a noise environment using homemade toys while surreal stories are read along side these creations.



LEONARDO ULIAN (b. 1974, Gorizia, Italy) lives and works in London, England. Solo exhibitions include: ‘Devotion’, The Concept Space, Berlin (2016); ‘Technological Mandala 48 – Eye of Pula’, Singular Gallery, Pula (2015); and ‘Volta NY Art Fair’, Massimo Carasi Gallery, New York (2015). Group exhibitions include: ‘Impact’, Sharjah Art Museum (part of the Islamic Art Festival), Sharjah (2017); ‘Matter Matters’, Massimo Carasi, Milan (2017); and ‘Spirit Mandala’, The Scorching Sun Art Lab, Lhasa (2016). Ulian was awarded the Owne Rowley Award in 2009, as well as the Stamps of the XX Century, Italy. He has been collected by the fashion house Hermes of Paris International and Fidelity Worldwide Investments. Ulian’s group showings with BEERS London include ‘London Art Fair’, London (2013 and 2014). Solo exhibitions with BEERS London include ‘Sacred Space’, London (2013); and ‘Real Reality’, London (2017). 

 


The ideas and concepts behind Leonardo Ulian’s work stems from a profound interest in how systems can be applied in the process of making art, how something can survive within a scheme of convention, exploring the system itself in order to understand it, and perhaps, trying to find a condition of artistic autonomy within the framework created. Like Mondrian’s grids lifted from the constraints of their 2-dimensionality, the abstraction in his work appropriates ideas of reincarnation, and displaced communication, which is also a concept found within the 'mandala' form that has been appropriated from Buddhist and Hindu religions, hereby finding a newly formed meaning as much resulting from their new forms as they have from their apparent lack of defined structure. Ulian defines himself as a multimedia artist, and his art as playthings similar to childhood toys in that objects can be seen as a series of distorted mirrors of the everyday, a caricature of the real. This of course does not always have to be pleasant and/or easy to use but must possess – above all – a high degree of play value, which defines the capacity of a toy or artifact to stimulate and engage the viewer. In this instance, attention is moved away from the spectator to familiar places (usually from childhood) which have often been long forgotten but triggered and remembered as a result of the unconscious rational deep within. Ulian also works with sound installation and as co-founder of [The Apathy Band], he creates a noise environment using homemade toys while surreal stories are read along side these creations.



LEONARDO ULIAN (b. 1974, Gorizia, Italy) lives and works in London, England. Solo exhibitions include: ‘Devotion’, The Concept Space, Berlin (2016); ‘Technological Mandala 48 – Eye of Pula’, Singular Gallery, Pula (2015); and ‘Volta NY Art Fair’, Massimo Carasi Gallery, New York (2015). Group exhibitions include: ‘Impact’, Sharjah Art Museum (part of the Islamic Art Festival), Sharjah (2017); ‘Matter Matters’, Massimo Carasi, Milan (2017); and ‘Spirit Mandala’, The Scorching Sun Art Lab, Lhasa (2016). Ulian was awarded the Owne Rowley Award in 2009, as well as the Stamps of the XX Century, Italy. He has been collected by the fashion house Hermes of Paris International and Fidelity Worldwide Investments. Ulian’s group showings with BEERS London include ‘London Art Fair’, London (2013 and 2014). Solo exhibitions with BEERS London include ‘Sacred Space’, London (2013); and ‘Real Reality’, London (2017).