Exhibition: 11 August – 4 September
Joël Bigaignon | Gori Mora | Krzysztof Strzelecki | Nour Jaouda | Gwil Hughes
BEERS London’s annual Summer Marathon opens for its third year on 11 August, which is designed to give emerging artists a two-week solo exhibition. This year, the 5 exhibiting artists were selected by a jury of industry professionals including New York-based gallerist Yossi Milo and California-based gallerist Lorna York, and London collector Eugenio Re Rebaudengo, amongst others. We are so excited that this year our selection of artists presents come from a diverse range of backgrounds and education and include video-installation, textile-based pieces, ceramics, and other art forms.
ROUND 1: (11 August – 21 August, 2021)
Joël Bigaignon: Fluctuation of Momentary Memories
Joël’s paintings are a playful blend of paper collage on wood panel reflective of life growing up on the island of Mauritius. Later in life and further into his artistic career, Joël began making work based on his memories of the annual cyclones that destroyed his family home. So deep rooted in his DNA were these events – destruction and subsequent rebuilding of his home – Joël uses materials available such as old newspapers and wallpaper, gluing new on to old, layering images of politicians and policemen on top of both old and recent news stories. Collage fuelled Joël’s imagination in such a way that led to an obsession with the process as a means of exploring the topics of memory and unfolding stories.
Gori Mora & Krzysztof Strzelecki: Mapping Desire
Poland and London based artist Krzysztof Strzelecki and Glasgow based artist Gori Mora are two artists with independent artistic practices; the gallery has paired them for this joint exhibition, titled Mapping Desire. Both artists subvert the concept of ‘Queer Art’, presenting works that appear both domestic and/or traditional, but challenge and radicalize more normative forms with a marginalized voice.
Krzysztof’s early education formed a passion for classic mythology, and an appreciation of the male form, all set against the backdrop of a somewhat strictly religious country. Playing with themes of eroticism and fantasy, Krzystof’s ceramic pieces explore LGBT+ issues of freedom and acceptance in society. His collection of vases playfully presents the gay man in a natural environment, in pieces reminiscent of Hieronymus Bosch’s The Garden of Earthly Delights.
Painter Gori Mora’s work focuses on the way in which technology contributes to our social interactions and how we perceive ourselves. Gori conceptualises this subject through the creation of hypothetical Queer situations in the virtual space, hence the artists’ regular use of oil on Perspex. Gori’s work features the recurring themes of how interpersonal relationships are created through gay dating apps and the way men choose to present themselves on these platforms.
ROUND TWO: (25 August – 4 September)
Nour Jaouda: Wind is the Compass of the Stranger’s North
Libyan artist Nour Jaouda works with painting, textile design and installation art to explore issues of cultural mobility and migration. Through the process of constructing and deconstructing cultural motifs, her works challenge traditional notions of identity and themes of time, place, and belonging. The physicality of Nour’s work, and how it relates to the space around itself lends itself to the artist’s themes of displacement and a personal experience. Nour’s installations are largely architectural, inviting the viewer into a newly created space-within-a-space, where the artist’s large-scale constructions seem to defy what may be societally dictated as ‘traditionally feminine’ – using steel, concrete, and hand-dyed materials – heavy, burdensome, and constructed materials that speak to personal displacement, culture, religious process, and migration.
Gwil Hughes: It was like Swimming in Flaked Silver
Video installation artist Gwil Hughes’ work deals with loss, desire and miscommunication all within the context of the digital subject. The audience hears fragmented voices interjected with collaged, found and recorded sound to play with our emotional expectation and how we are accustomed to receiving the semiological construction of images and narrative. The works seem both sincere and somewhat cliché – voices reading intimate segments of text while imagery that may or may not be related hide and reveal telling moments. As viewers we get the sense that Gwil is toying with our emotional expectations through such a familiar media: we all go home and watch TV, blissful in our anonymity of the narratives unfolding before us. With the influx of zoom and our personal ‘online space’ there seems, however, to be a sort of personal and poetic space being infiltrated and supervised. While we may feel as if we are stumbling across an overheard conversation or a waking-dream, we are simultaneously disquieted by the sensation that our innermost feelings and private moments are also being scrutinised.