Alexey Terenin luckily combines the architect’s training and painter’s practice in his work, which embraces the beautiful environment of modern man. 

Having got the education at the Moscow Architectural Institute in 1986-1993 Alexey Terenin started his career of exhibiting graphic artist and painter in 1992 with most prominent Moscow galleries Art Moderne and M’ARS.

Grown-up in Prague and living in Moscow he as an artist has become a digger for the layers of imagination that can never be identified historically but absorbed the heritage of many cultures of the West and East. The language of reminiscence and association chosen by the artist enabled him to build up a big city of dreams inhabited with the ghosts of the past and heroes of the present most peculiarly and unpredictably. In the depths of his fantasy, the artist was given a power to choose the time, the place and the rules of the game and then to set off on a journey with his personages.

Prague undoubtedly inspired Terenin’s “Gothic” expressiveness, while Moscow gave him the constant sense of interlacement of epochs, that history’s masquerade, which is naturally present in his paintings. The artist found his way of discovering the world. A mask, instead of concealing and hiding the meanings, became a sign, a symbol, and an image of reality, which otherwise in this way or another escapes our comprehension, and only the mask provides us the understanding of the theater of life.

Not accidentally Terenin worked for the theater, the Bolshoj Theater of Moscow. The scenery may serve the important world for his work, be it an interior mural, easel painting, or furniture design. There is no literature, no subject, but only a situation. The narration is left up to some unknown and independent playwright. The abovementioned pictorial journey endeavored by Terenin’s personages can be only possible if the artist and the viewer know nothing about the end of it. Also, the attaching of meanings and titles is in discord with the nature of the game. What we have for sure is the perfect architectonics of the newly discovered world that anyone could probably have seen in some other life. 

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What we have for sure is the perfect architectonics of the newly discovered world that anyone could probably have seen in some other life. 

ALEXEY TERENIN: A DIGGER FOR THE LAYERS OF IMAGINATION

The figures in Italian artist Guglielmo Castelli’s paintings seem to float, suspended between disappearing into and emerging from the muted colours that pool around them. The paintings have the appearance of being viewed from underwater. The vaguely discernable scenes hint at stages, café booths, public spaces in which solitary figures are on display but seem desperate to melt away. There’s a tension between spectacle and concealment, and an indeterminate sensuality. Working in a fluid and emotive style, Guglielmo’s ghostly characters are permeable, penetrable, dissolving and disintegrating. They are defined not by their physicality, but by their surrounds. The colours that feature most often are murky and mottled; water-logged. They cast a haunting, somber tone to the work. To peer beneath the surface though, one finds a richly textured world inspired by fashion and history. With delicate brushstrokes, Guglielmo paints intricately detailed patterns resembling textiles and luxurious drapery that envelop the figures (Klimt’s luscious paintings come to mind).

Guglielmo lives and works in Turin, Italy. He has had numerous solo exhibitions in Italy and Europe and been included in many national and international group shows. We spoke with Guglielmo ahead of his residency in California, USA, to find out more about what he’s working on and life in general.

"My story starts from afar, from illustration for children, through fashion, theatre and cinema. I have always found it extremely interesting to try to create spaces within the pictorial figuration, which could give the viewer the opportunity to imagine different stories, add elements, remove others. In such a difficult historical moment, which speaks of separations, walls, relationships and interactions too fast to understand the depth, painting gives a longer time, more meditative. I studied theatrical scenography, I read about great dramas, great loves and great falls, this helped me to have a new alphabet for my painting."

"I believe that this process of mapping bodies within these often claustrophobic spaces, too small to contain all those corporeal masses, is fundamental for crossing that fine boundary between figuration and abstraction. At the beginning of my painting I had monochrome backgrounds where I made my figures float, then something changed… When I injured my leg and had to give myself a medicine to dilute the blood, I asked myself: how can I use the same dilution procedure that I use on myself in my painting? And here we are."

My story starts from afar, from illustration for children, through fashion, theatre and cinema.

GUGLIELMO CASTELLI: WHAT A WONDERFUL THING TO FALL

Representational painter Ron Hicks’s figures and interiors seek to achieve a balance between revealing too much detail and revealing too little, reviving many of the artistic considerations of 19th-century French impressionism. Perhaps as an antidote to this tension, Hicks emphasizes the forms and light of a particular space and sitter. “I am a shape guy, he says. “By that I mean I see things more in terms of shape rather than the objects or people. Everything is about shape, medium shape vs. large shape, lighter shape vs. darker shape.” His paintings have an emotional and moody tone, which he achieves through his vigorous brushstrokes and his use of multiple shades of gray.

Ron Hicks was born in Columbus, Ohio but spent most of his childhood growing up in the modest and friendly neighborhood of Park Hill in Denver, Colorado. He shared a dream with a close childhood friend early on... "He just always knew he would go to college and become an artist", remembers Ron's friend.

Ron's family later relocated back to Ohio where, during his high school, he was awarded several awards and honors for various art shows and competitions. His talent became obvious and noted throughout his high school career and Ron was awarded a full scholarship to Columbus College of Art and Design in Columbus, OH. He later returned to Denver and subsequently earned a degree in Advertising Design. After college, Ron applied his degree and natural talent to working for Ad agencies, Magazines and as a Freelance Illustrator. He would soon realize his true passion, and Ron's natural talent and his eye for beauty encouraged a shift in the direction of his style of painting.

With a muted pallet, Hicks creates beautiful and timeless pieces with such fluidity and movement that it takes the viewer on an emotional journey where you feel like you can insert yourself into the subject matter of any of his paintings.

Often compared to the more prolific Masters of the early 19th century, Hicks is an accomplished Fine Artist whose talents have made him one of the most sought after Master Figure Artists throughout the US and abroad. Hicks' works are collected by celebrity jewelry designer DiGrisogono, Grammy Award Winning Artist John Legend, and TV Host Kathy Lee Gifford, just to name a few.

Often compared to the more prolific Masters of the early 19th century, Hicks is an accomplished Fine Artist whose talents have made him one of the most sought after Master Figure Artists throughout the US and abroad.

Barbara Kroll is a prizewinning painter from Germany whose works have been featured in solo and group exhibitions worldwide. Inspired by everyday life, Kroll mainly paints portraits and unusual objects in a semi-abstract style. Her paintings are full of raw emotion and demonstrate her attention to color and form. The theme depends on the situation. "I am especially interested in unusual combinations of objects, funny motifs, and interesting colors."

Final round or one of the long/shortlisted/finalist artists at the Palm Award (2013)

National Portrait Gallery: BP Portrait Award (2016)

Prize in Painting of the International Contemporary Art Competition Miami 2017

First Award for painting on paper, Osten Biennal of Drawing Skopje 2018, Macedonia

• Finalists exhibition, Derwent Art Prize 2016, Trowbridge Town Hall/Great Britain

• “My Sex, My Self” - Women Artists Exploring Sexuality and Sensuality Through Self Portraits, Hornsey Town Hall Arts Centre, London/Great Britain

• „About the faces of women“ ("Über die Gesichter der Frauen"), Remise Galerie, Hanau

• "Woman's view on femininity" ("Frauensicht auf Weiblichkeit"), 21. Hanauer Frauenwoche, Hanau

• „Uferzonen“, Kutschenwerkstatt, Gelsenkirchen/Germany

• 12. Internationale Künstlersymposium, Atelier an der Donau, Ybbs/Austria

• „Behind the sketch“ ( „Hinter der Skizze“), Galerie espace38, Biel/Switzerland

• „Safrin + Kroll“, Gutshaus Steglitz, Berlin/Germany

• „Short story“, Galleri Korinth, Faaborg/Denmark

• „Behind the sketch“ ( „Hinter der Skizze“), Historisches Rathaus Hochstadt, Maintal/Germany

• Multiply by Sharing IX, Werkplaats K, Kerkrede/Netherlands

• Barbara Kroll und Susumo Ohira, 10 dence gallery, Dordrecht/Netherlands

• Joint exhibition with Melanie Delgado, Richard Treater, Tom Romeo and Laurie Sheridan, Green Kill Gallery, Kingston/USA

• BBK Gallery, Frankfurt am Main/Germany

• “Place”, Gallery Morning, Kyoto/Japan

My pictures are rooted in the real world, but they are by no means illustrations or portraits in the traditional sense, but rather symbolic images.

BARBARA KROLL: MY PICTURES ARE ROOTED IN THE REAL WORLD

Russian artist Nickie Zimov employs unusual hues and simplified forms to disrupt his evocative paintings of everyday life. Haunting and hypnotic in equal measure, this work is part of Zimov’s Sexual Devotion series, which he describes as “a study of human sexuality in conditions of loneliness”. Though it was made in 2016, the mood is somehow very 2020.

Sexual Devotion Solo Exhibition Saint Petersburg, Russia - 18.08.17-25.09.17

Sexual Devotion Solo Exhibition Kazan, Russia - 23.11.17-17.01.18

Sexual Devotion Solo Exhibition Moscow, Russia - 04.01.19-30.01.19

Sexual Devotion Solo Exhibition Ufa, Russia - 09.03.19-16.03.19

Nickie Zimov employs unusual hues and simplified forms to disrupt his evocative paintings of everyday life.

Anthony Cudahy (born Florida, 1989) is an American painter. Cudahy's approach is both figurative and abstract and takes inspiration from a breadth of source material ranging from personal photographs, movie stills, queer archival images and ephemera, and art history. Cudahy lives and works in Brooklyn, New York.

Cudahy's paintings are often a hybrid of visual histories blending various figures from art history and queer photography into contemporary scenes such as portraiture, domestic spaces, or social sites. Cudahy explains this in an interview, "The transformation and degradation an image is subjected to through reproduction creates a language itself with codes and signifiers. This can be the pixelation of an image repeating itself online or a cast shadow of a photographic flash placed in a painting. When I appropriate an image and translate it into painting, it is both an iteration and an interpretation. The painting is another chain in this lineage. Another layer in an image's history. The translation is my brain working through the image; the painting is a record of thoughts."

anticipated 2020 MFA, Hunter College, NY, NY

2018 Night Paintings 1969 Gallery, NY, NY

2018 The Gathering, The Java Project, Brooklyn, NY

2016 NARSOLIPS, Cooler Gallery, Brooklyn, NY

2016 EatF_3, Mumbo's Outfit, within Geary Contemporary, NY, NY

2015 The Fourth Part of the Day, Farewell Books, Austin, TX

2015 Recent Work, Artha Project Space, L.I.C., NY

2014 Heaven Inside, Uprise Art Outpost, Chelsea, NY

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"The translation is my brain working through the image; the painting is a record of thoughts."

ANTHONY CUDAHY: THE PAINTING IS A RECORD OF THOUGHTS

French Artist Fanny Nushka Moreaux was born in Lille, France. She lives and paint in Paris and Southern France. She studied political science in Science Po and management in HEC Paris. She considers knowledge as a whole and beauty being part of it. Representation of the body is recurrent in the work of Nushka.

A predominantly female body she explores in all its forms: faces, busts, fragments of body... "The narrative is not essential for me. I enclose the body of my subjects in abstract structures, diagonals, verticals. I use perspective lines as if they were the backbone of my new models". Nushka The artist plays on contrasts: sensitive, sensual, timeless topics. And vivid, dynamic and contemporary brushstrokes.

I enclose the body of my subjects in abstract structures, diagonals, verticals.

FANNY NUSHKA MOREAUX: THE NARRATIVE IS NOT ESSENTIAL FOR ME

Michaël Borremans (born 1963) is a Belgian painter and filmmaker who lives and works in Ghent. His painting technique draws on 18th-century art as well as the works of Édouard Manet and Degas. The artist also cites the Spanish court painter Diego Velázquez as an important influence. In recent years, he has been using photographs he has made himself or made-to-order sculptures as the basis for his paintings.

Borremans studied at the Sint-Lucas Hogeschool voor Wetenschap en Kunst (College of Arts and Sciences St. Lucas) in Ghent, receiving his M.F.A. in 1996. Originally trained as a photographer, he turned his attention to drawing and painting in the mid-nineties. He uses old photographs of people and landscapes as inspiration for his work.

Until his break-through, he was a teacher at the Stedelijk Secundair Kunstinstituut Gent (Secondary Municipal Art Institute of Ghent). Another painter Jan Van Imschoot had seen and bought many pieces of his work when it was exhibited in his local pub in Kalken. He put him in touch with Jan Hoet, the founder of the S.M.A.K. (Stedelijk Museum voor Actuele Kunst) (City Museum for Contemporary Art) in Ghent, Belgium. This led to an introduction to Frank Demaegd, owner of Zeno X Gallery in Antwerp, where he had his first major exhibition.

In 2011, Borremans' work was the subject of a solo exhibition, titled Eating the Beard, which was first on view at Württembergischer Kunstverein Stuttgart in Germany and traveled to Műcsarnok Kunsthalle, Budapest, and Kunsthalle Helsinki in Finland. In 2010, he had a solo exhibition at the Kunstnernes Hus in Oslo, and in 2009, he had a solo show at the Kestnergesellschaft in Hanover, Germany In 2007, he had a solo show at gallery De Appel in Amsterdam, focusing on his cinematic works. In 2005, he had a one-person exhibition of paintings and drawings at the Stedelijk Museum voor Actuele Kunst (S.M.A.K.), Ghent. The paintings then traveled to Parasol unit foundation for contemporary art, London, and The Royal Hibernian Academy, Dublin, while the drawings traveled to the Cleveland Museum of Art in Ohio. Other solo exhibitions include La maison rouge, Paris (2006); Kunsthalle Bremerhaven, Bremerhaven, Germany; and the Museum für Gegenwartskunst, Basel, Switzerland (both 2004). In 2004, he participated in Manifesta 5, The European Biennial of Contemporary Art.

Most recently, Michaël Borremans: Fixture, was presented at the Centro de Arte Contemporáneo de Málaga in 2015–2016. A major museum survey, Michaël Borremans: As sweet as it gets, which included one hundred works from the past two decades, was on view at the Palais des Beaux-Arts in Brussels in 2014. The exhibition traveled later in the year to the Tel Aviv Museum of Art, followed by the Dallas Museum of Art in 2015. Michaël Borremans: The Advantage, the artist's first museum solo show in Japan, was also on view in 2014 at the Hara Museum of Contemporary Art, Tokyo.

‘It has to do with my character, I think, to be charming and irritating at the same time,’ quips Michaël Borremans.

THE MODERN MYSTERIES OF MICHAËL BORREMANS

Daniel Pitín (b. 1977, Prague, Czechoslovakia) is a leading figure among the generation of artists to have emerged since the fall of communism in Central and Eastern Europe. He received his education from the Academy of Fine Arts, Prague, Czech Republic in 2001, and continues to live and work in Prague. Recent exhibitions include A Race of Peeping Toms, Nicodim Gallery, Los Angeles (2020, solo); A Paper Tower, Galerie Rudolfinum, Prague (2019, solo); Formal Encounters, Galeria Nicodim, Bucharest (2018); Broken Windows, House of Art, České Budejovice (2018, solo); Grotto, Charim Gallery, Vienna (2018, solo); Crystal Gardens, GRIMM, Amsterdam (2017, solo); The Mechanical Flowers, Nicodim Gallery, Los Angeles (2017, solo). Pitín is collected by the Los Angeles County Museum of Art and the Knoxville Museum of Art, and his solo institutional exhibitions include Cover Story, Boulder Museum of Contemporary Art (2012); and After the Fall, Hudson Valley Center for Contemporary Art, Peekskill, NY and the Knoxville Museum of Art, Knoxville, TN (2011).

The materials and references densely layered in Daniel Pitin’s recent paintings at Mihai Nicodim are beyond excavation, and the work is all the richer for feeling just out of reach. Pitin, born and based in Prague, embeds printed matter — ads, scraps of books and newspaper — into his canvases and occasionally writes cryptic snippets across them.

He paints in inky dilutions and viscous crusts, cloudy grays, scorched blacks and seeping yellows. A recognizable subject anchors each painting — a beekeeper standing among his boxes, a woman sitting on the edge of a bed — but suggestion often overtakes description. Narratives elude definition. All the while, the surfaces feel viscerally immediate.

Pitin invokes the past, in part, through television and film stills that he incorporates into his paintings and sequences that he uses as raw material for his own videos.

Ruprecht von Kaufmann ( born 1974 in Munich, DE ) studied painting and illustration at the Art Center College of Design in Los Angeles. In addition to his work as a painter, von Kaufmann has taught at the Berlin University of Arts, the Hamburg University of Applied Sciences and the Academy of Fine Arts Leipzig. After stays in Los Angeles and New York, von Kaufmann has been living and working in Berlin since 2013.

The wide-ranging oeuvre of Ruprecht von Kaufmann includes painting, sculpture and works on paper. His focus is on painting, which reveals a preference for figuration and abstract elements. Ruprecht von Kaufmann's complex and mysterious pictorial worlds are located somewhere between reality and fiction, the possible and the impossible. In his works, the artist initiates a dialogue about modern men, their environment and human relationships. He subtly reflects our actions, thoughts and feelings in a society plagued by unrest. The results are scenes full of suggestive power, which emotionally involve the beholder. For several years now, von Kaufmann has been working with colored linoleum as a painting ground. In many of his paintings, he carves into the material with a linoleum knife. The process of destruction is thus an elementary component of his works. As a result, the different levels that come to the surface unfold an extraordinary three-dimensionality.

Ruprecht von Kaufmann’s works are represented in public and private collections, such as the Collection of Contemporary Art of the Federal Republic of Germany, the Art Collection of the Deutsche Bundesbank in Frankfurt, the Philara Collection in Düsseldorf, the AmC Collezione Coppola in Vicenza, the Ole Faarup Collection in Copenhagen and the Hildebrand Collection in Leipzig. Recent solo exhibitions include "Die Evakuierung des Himmels" at Kunsthalle Erfurt ( 2018 ), "Inside the Outside" at the UN Headquarter in New York ( 2019 ) and the Böttcherstrasse Museums in Bremen ( 2019 ) as well as "Die drei Prinzen von Serendip" at Kunstsammlung Neubrandenburg ( 2019 ). From November 2019 to September 2020, works by Ruprecht von Kaufmann can be seen in the group exhibition "Feelings" at the Pinakothek der Moderne in Munich. In 2019, a publication with the same name was published by Distanz Verlag on his series "Inside the Outside".

The wide-ranging oeuvre of Ruprecht von Kaufmann includes painting, sculpture and works on paper.

RUPRECHT VON KAUFMANN: INSIDE THE OUTSIDE

In the late nineties, Victor Man enrolled as a student at the Academia de Arte Plastice, Cluj, but left after two years in order to study under the tutelage of Israel Hershberg at the Jerusalem Studio School in Israel, between 2000 and 2004. While in Jerusalem, he lived for three years at the Monastère de Sainte Claire, and during this time mainly painted from nature inside of the monastery garden. After completing his studies with Hershberg, Man returned to Cluj in 2004 and finished his Bachelor of Fine Arts.

From 2005 onward his method of painting changed radically, from the previous observational ‘premier coup’ paintings, executed during his study years in Jerusalem, to more conceptually charged paintings, produced through a slow and methodical process.

Victor Man received the 2014 Deutsche Bank “Artist of the Year” award, followed by a solo exhibition at the Deutsche Bank KunstHalle, Berlin, which traveled further to Zachęta Museum of Art, Warsaw, and Haus der Kunst, Munich.

In 2007 he represented Romania at the Venice Biennale, together with the artists Cristi Pogacean, Mona Vatamanu and Florin Tudor.

In 2015 he contributed to the Venice Biennale a second time, when his work was featured in the main exhibition, “All The World's Futures,” curated by Okwui Enwezor in the Central Pavilion.

In 2016 Galerie Neu in Berlin hosted an exhibition of Man's work.

Man often has a preference for painting in dark colors, reminiscent of the work of 18th century landscape painters, who used black mirrors, also known as “Claude mirrors,” to turn colors into dark key tones. His works capture moods, offering the onlooker nothing but ambiguous, vague tracks, and leaving him or her in a haze. They also render a memory of images and objects made up of different layers of time, which appear to waver between disappearance and reminiscence. Victor Man’s highly personal poetics and the illustrative diversity of his output trace the outlines of an artistic world in which historical facts and subjective impressions coming from different worlds and periods are grounded. Man is said to be equally inspired by the ancient and the modern.

In his work he concentrates on the development of an autonomous iconography in which frequent literary references intermingle with his own biography. Literature and art history, collective memory and personal experience, are the elements woven together by the artist into a non-linear story where distinctions between present and past, fiction, imagination and reality are abolished. Uncertainty and oscillation between gender find an echo in other forms of transition: from human to animal, organic to artificial, face to mask. This overlapping of points of reference runs throughout all his works, where the fusion of occult, gender, androgyny, or, more generally, the uncertainty of physiognomy and appearance form a recurrent theme that strengthens the image of an identity in perpetual movement and suggests how rich and mysterious the essence of things can be beyond their appearance. The paintings never provide explanations, but hints and suggestions that leave the viewer with the feeling that a reversal of all meanings is always possible.

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Man often has a preference for painting in dark colors, reminiscent of the work of 18th century landscape painters, who used black mirrors, also known as “Claude mirrors,” to turn colors into dark key tones.

Alex Kanevsky (born 1963) is a painter currently based in Philadelphia, Pennsylvania. His works combine abstraction and figuration in multilayered portraits that capture movement and the constant flow of time, resisting adherence to a single moment. Kanevsky's work is rooted in the artistic traditions of Eastern Europe, where he grew up, and the United States, where he now lives.

Kanevsky's works are primarily concerned with the expression of time and movement. Taking the figure as his primary subject matter, the artist's abstracted versions of reality seek to convey his personal and particular worldview with “extreme clarity.” Exploring stillness and speed simultaneously, the artist displays a Futurist sensibility through his multilayered canvases. His compositions frequently juxtapose static, monumental objects with quick, expressive brushstrokes in order to suggest that people are defined by their motion and actions, rather than their physical place in the world.

Kanevsky's figures inhabit mysterious landscapes and ambiguous architecture that shift between the recognizable world and pure form and color. Nudes feature prominently in his oeuvre and are often depicted bathing, lying on beds or floors, or boldly facing the viewer. His paintings, despite having titles, do not usually have a linear narrative. Rather, the titles function as tools, “mostly to accomplish certain precise emotional climates [rather] than to tell a story.”

Kanevsky feels a deep connection to art history, especially to the masters of portraiture Rembrandt and Velázquez. His own artistic influences are wide-ranging, including objects, artists, writers, and thinkers. The influence of post-war figural painters such as Lucien Freud and Francis Bacon is evident in the artist's fleshy, abstracted figures. Meanwhile, the roots of Kanevsky's color can be found in the works of Vincent Van Gogh, Georges Seurat, and Richard Diebenkorn, among others. Aside from admiring the paintings of American and European masters, the artist draws inspiration from the work of literary greats, such as Leo Tolstoy, James Joyce, Wallace Stevens, and Ezra Pound.

Kanevsky describes himself as a slow painter who must operate quickly to maintain a fresh approach to his work. Generally, he paints directly on birch plywood or stretched linen with various types of oil paint – Guerra, Mussini, Holbein, Rembrandt, Classic (Triangle Coatings) – and uses Liquin as a medium. The merging of figuration and abstraction in his artworks is the result of the process of erasure that Kanevsky employs. This technique of painting, rubbing out, and painting over results in a series of layers through which past iterations and experimentations are visible to the viewer.

Kanevsky paints both from life and photographs, with a preference for working with live models due to the importance of movement in his subjects. He often works with the same models for years, developing over time a strong sense of their individual form and motion. Alternatively, photography enables the artist explore fleeting situations, unintended artifacts, and imperfections.

His paintings, despite having titles, do not usually have a linear narrative.

ALEX KANEVSKY'S EXPRESSION OF TIME AND MOVEMENT

Alexander Tinei, born in 1967 in Caushani, Moldova, is a visual artist residing and working in Budapest, Hungary. Tinei is primarily known for painting portraits and figures in a characteristic muted skin with colorful — most often blue — vein-like stigmatic signs on their bodies. 

Found photographic material functions as a starting point from which the image departs. The figures are depicted in a new context, examining the relationship between time and  (the existence of) the human body.  As a result, his works seem to have a significant metaphysical character, drenched in a melancholic atmosphere. The anonymity of the 'found' figures raise questions of identity, authenticity and feel as if universal, a depiction of a collective humanity, having a direct impact on the viewer. 

The Moldovan artist can be situated in a wider movement of Eastern European Painting as a part of New Figurative Painting, marked by a figurative visual language in a darker atmosphere. In Tinei's earlier work, from 2008 up to roughly 2013, his paintings were characterized by a dark, most often black, background. The skin of his figures, reminiscent to German mannerists such as Lucas Cranach (1472-1553), create a strong contrast in his paintings, as if the light is coming from his tormented figures. Motives such as birds, trees, absent faces and the characteristic blue veins, are a continuum throughout his oeuvre. 

Around 2013-2014, there is a visible transition in the esthetics of his works. Colour finds its way in to his images, as well as fractured paint on the surface of the canvas. The trees from his dark world in his earlier work seem to have transformed into branches, roots or sometimes even plants or flowers. The characteristic manner of image building remains, as do certain compositions, such as 'the kiss', 'boy with a stick', and so on (cf. infra; selected works — 2008-2020). However, his imagery becomes more complex and layered, as a collage in paint. Besides this development in his oeuvre, Tinei also creates collages, graphite works, installations, and recently, he has been repainting photographs.

The anonymity of the 'found' figures raise questions of identity, authenticity and feel as if universal, a depiction of a collective humanity, having a direct impact on the viewer. 

"Since 2007, my research in drawing and painting focuses on the issue of family ties that I hear as a metaphor for relations and power in today's society. To this end, I wholeheartedly support on mythological or biblical stories. Telescoped in today's world, they allow me to express what is a central concern in my work: the lack of significant difference between the mythological time and history, between documentary and fiction. Meanwhile, a question keeps coming up: why is it often that guilt is the consequence of punishment. This is this amazing reversal (punishment and then, crime) which I try to speak of."

2005 : Master degree of philosophy and esthetics in Paris I Sorbonne

Sciences Politiques at Galerie Marie Vitoux, November 10 / December 10 2016, Paris, France

Guest of Honor at Puls'art and Les musées du Mans, mai/June/July 2016, Le mans, France

We do not belong to us, Galleri Oxholm, December 2015, Copenhagen, Danemark

Open source, Solo show at Fred Lanzenberg Gallery - 2014, september/october - Brussels, Belgium

L'homme est un homme pour l'homme, Solo show at Galerie d'(A) - Mai 9th / June 14th 2014 - Lausanne, Switzerland

L'arche, Solo Show at Marie Vitoux Gallery, September 26th / October 15th 2013 - Paris

Chic Dessin Art fair, one man show, March 30/April 1, 2012, Paris, France

Memento Vivi, Galerie Marie Vitoux, solo Show, march 8/april 14, 2012, Paris, France

The Other Art Fair, One man show, London, UK, November 24th /november 27th, 2011

E quindi uscimmo a riveder le stelle, Framing Gallery, Brussels, April 27 /June 7, 2011

One Man Show in the contemporary art fair Art on Paper, Brussels, April 23 /April 26, 2010

Le syndrome de Stendhal, Galerie Marie Vitoux, Paris, February/March 2010

Galerie Marie Vitoux, Paris, December 18, 2008 – january 17, 2009

Monades - Galerie Itinerrance de Mehdi Ben Cheick, Paris, 2007

Monades - Prieuré St-Vincent, Chartres, 2006

Meanwhile, a question keeps coming up: why is it often that guilt is the consequence of punishment.

JULIEN SPIANTI: L'HOMME EST UN HOMME POUR L'HOMME

As you look at the colorful and at first glance apparently abstract paintings of New York based artist Kenichi Hoshine, the curtain suddenly rises and the shapes and colors morph into faintly recognisable forms – drapery here, a cluster of figures there, a tripod, a pool of light from an overhead spot, ropes and rigging – all the mechanisms and makings of a theatre stage. Kenichi has long been fascinated by the interplay between the make-believe scene that the audience sees and the world of tricks and illusions that goes on behind the curtain to make this façade visible. “Nothing is what it seems,” Kenichi explains, “and I love this sense of duplicity and deception.” This gives us the framework to approach his work and begin to understand how the layers of colors and forms enact this play between surface and depth.

Born in Tokyo, Kenichi lives and works in Brooklyn, NY. He teaches at Pratt Institute and is an avid fly-fisherman. At the beginning of the year he presented a new series of paintings in a solo show at pt.2 Gallery in Oakland, California. Titled Amawalk, Kenichi described the body of work as a sorting and sifting of references from daily life. “The paintings are like an editing room floor; a surface built upon failures and incidental mark making where a friable foundation forms.” In the interview below, we chat about the colors, stagecraft, blurry sweet spots, fly fishing and more.

Grounded in the experiences of his daily life, Hoshine combines personal fascinations with theatre, poster design, and the occult through abstract forms and gestures.

KENICHI HOSHINE: PERSONAL FASCINATIONS, THEATRE, AND THE OCCULT

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