Guest artists

Liliane TOMASKO, CH

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Liliane Tomasko, CH – artist in residence October 2019
“In my body of work I have always explored, in one way or another, the domestic sphere, our immediate surroundings and in particular the bed, where we spend a large part of our lives. If our home is the interior to which we return everyday for respite from the outside world, sleeping and the dream realm are where we go to even deeper levels of ourselves. It is a kind of journey to our most intimate space, a descent into the storehouse of our memories, our hopes, fears and desires, and the accumulation of our ideas and beliefs.” 

Pam GLICK, US

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Pam Glick, USA – artist in residence 2019
Formal play typifies Pam Glick’s practice. Hallmarked by her interest in the universal language of abstraction, Glick describes her painting process “as a playground that I set up.” Calligraphic pencil marks disrupt the paint, undermining the grid structure of the canvas; the layers of mark-making adding a cartographical aspect to the work. In The New York Times, Roberta Smith described the paintings as ‘beautiful castoffs, relics of better times, which adds gravity to their improvisational flair.’
Represented by
Stephen Friedman Gallery , London
 

Max FRINTROP, DE

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Max Frintrop, DE – artist in residence 2019
Frintrop has said that he seeks to find a balance between “precision and looseness” in his work, which often takes the form of a surprisingly graphic piece of abstract art. Early on, he was interested in combining the emotive, gestural quality of  and the relative rigidity of , a genre of painting influenced by the hard lines and careful placement of industrial-age machines. One might imagine Frintrop’s interest in the latter was influenced by his youth spent around large-scale manufacturing.
Represented by
Berthold Pott Gallery, Cologne
A+B Gallery, Brescia
Madison Gallery, Los Angeles

John CHIARA, US

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John Chiara, USA – artist in residence 2017 and 2019
John Chiara is an experimental photographer who makes unique works by directly manipulating photosensitive paper. Chiara always believed that too much was lost in the final photograph because of the enlargement processes in the darkroom. In 1995, he was working primarily with making contact prints with large-format negatives, but in subsequent years he developed equipment and processes that allowed him to make large-scale, color, positive photographic images without the use of film. The largest of his devices is a field camera that is large enough for Chiara to enter; he attaches the paper to this camera’s back wall and uses his hands and body to burn and dodge the image instinctively. Chiara’s developing process often leaves anomalies in the resulting images, which he embraces.
 
Represented by 
Rose Gallery, Santa Monica, CA
Haines Gallery, San Francisco, CA

Christiane FESER, DE

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Christiane Feser DE, artist in residence 2019

Christiane Feser is known for her ongoing series of photoobjects—three-dimensional, photographic sculptures that behave like representational and optical experiments; simultaneously exploring the perceptions of a camera and a person. Her constructions begin as assemblages of simple materials—clay spheres, paper shapes or sewing pins—that are lit and photographed. The image is printed and then cut-open, folded, punctured or otherwise added to; transforming the flat print back into a dimensional object with its own sense of time and space, shattering the basic tenet that a photograph reproduces a scene existing elsewhere.

Represented by Galerie Anita Beckers, Frankfurt am Main, 
 

Christopher ORR, UK

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Christopher Orr, UK
There lies a marked contrast between the intimacy of Christopher Orr’s compact oil paintings and the vastness of the scenes they depict: deep oceans, expansive skies, and formidable forests. Executed in broad-yet-precise brushstrokes, Orr’s works evoke the sublime worlds of J.M.W. Turner and Caspar David Friedrich. Moreover, the diminutive figures, based on magazine shoots from the 1950s and ’60s who populate these sweeping landscapes, seem out of place, as do the oversized shrubbery or animals that often appear. Through Orr’s earthy palette and technique of juxtaposing areas of dry, scraped-back pigment “with richer, fresher looking passages conjures a dramatic lost world,” as described by critic Michael Wilson, his romantic renderings are decidedly “post-modern” in their approach of deconstructing and merging various art historical styles into surrealistic compositions.
 
Represented by HDM Gallery, Beijing/London