These Artists Will Blow Your Mind

''When painting images, I am fighting against amnesia'' - Nate Lowman

As a student, my first task for my journal was to write a reflection upon the visit I took in Shoreditch - London. The first gallery is called 'Gazelli Art House' and presents the English artist Derek Boshier. He works in various media including painting, drawing, collage, and sculpture. He shifted from painting to photography, film, video, assemblage, and installations, but he returned to painting by the end of the decade.

''The Night and Snow'' paintings introduce different subjects, such as fashion, religion, political and environmental events. The biggest interest is how these can impact the on people present.

The title of the new drawings, ''Fragments: Contemporary Still Life'' marks the aspects of duality, exploring the relationship of image to image and thus documenting common cultural imagery that confronts us daily. Even the artist Boshier once stated:

“Most important is life itself, my sources tend to be current events, personal events, social and political situations, and a sense of place & places.”

In my opinion, Derek tries to highlight the real events and feelings in our life suggesting us there it's not always rainbows and butterflies.

Derek Boshier

Night (Waiter Wader), 2018

Acrylic on Canvas

183 x 153 cm // 72 x 60 in

£ 35, 000

Derek Boshier

America, America 2019

Tapestry

244 x 290 cm

96 x 114 in

£ 40, 000

Derek Boshier

American Tragedy, 2019

Pencil on Paper

83 x 238 cm

£ 9, 000

Derek Boshier

Snow (Night & Snow) 2019

Acrylic on Canvas

183 x 153 cm

72 x 60 in

£ 35, 000

Other pictures from this gallery:

The second gallery is ''David Zwirner'' presenting new paintings by the American artist Nate Lowman - ''When painting images, I am fighting against amnesia''. Since the early 2000s, the artist pushed the boundaries of his multimedia - paintings, sculptures, and installations - into political, humorous and poetic themes culled from art history, the news, and popular media.

The exhibition, begun in 2018, based on crime scene photos of the mass shooting that took place on October 2017 in Las Vegas, where a gunman attacked civilians attending a country music festival, resulting in fifty-nine deaths. Lowman have decided to translate the images, one by one, into paintings - resulting the tensions between the everyday and the extreme, presence and absence, violence and representation.

Nate Lowman

Oil & alkyd on linen, 2019

221 x 335.3 cm

87 x 132 inches

Signed & dated verso

The third gallery - Galerie Thaddaeus Ropac is the first UK exhibition in over thirty years with an in-depth focus on the artist named James Rosenquist: Visualising the Sixties demonstrates the innovative & experimental techniques Rosenquist employed throughout the decade. The artist combined figurative painting techniques, collage and the use of found objects to push the boundaries of his medium in an era that redefined the field of painting. He was the most influential American artist to the centre of art-world attention.

Featuring important paintings on both canvas and plastics, Rosenquist's innovations highlight the earliest pioneers of experiential art. In 1960, James abandoned commercial painting and set up a studio in NY. The artist was starting to research for a new language that would differentiate him from others, so he decided to crop, fragment and re-color images from magazines.

''The Light that Won't Fail 1'' demonstrates his strong collage techniques in painting, layering and transforming his imagery through mysterious juxtapositions. It shows us a smoking femme fatale, drawn from an advertisement, appearing lit by the acid glow neon lights and overlaid with a pair of sock - clad feet while an out sized hair comb structures the upper edge of the canvas.

James Rosenquist

Source and Preparatory Sketch for The Light That Won't Fail I, 1961

Collage (cropped magazine advertisement, paper) and mixed media (marker, pencil, crayon)

31 x 35.2 cm (12.2 x 13.86 inches)

Frame: 39.4 x 43.8 x 3.8 cm

James Rosenquist

Source for Pushbutton, 1961

Collage (magazine advertisement cutouts) and mixed media (transparent tape, masking tape, colored paper, pencil) with adventitious marks, on paper

20.96 x 28 ,4 cm (8.25 x 11.18 inches)

James Rosenquist

Source and preparatory sketch for Early in The Morning, 1963

Collage (magazine advertisement cutout, cropped magazine illustration) and mixed media (charcoal, marker, pencil) on paper

35.4 x 35.4 cm ( 13.94 x 13.94 inches)

James Rosenquist

Source for I Love You with My Ford, 1961

Collage (cropped magazine advertisement) and ink on paper

18.4 x 24.9 cm (7.24 x 9.8 inches)

James Rosenquist

Morning Sun, 1963

Oil on canvas and plastic, with twine, bamboo, and metal fishhook

198.1 x 168 cm (78 x 66 in)

Fortunately, the 60's saw James experiment vibrant color palletes, the shaped canvas and introducing 3D objects into the picture plane.

Other pictures from this trip:

It was a real pleasure to take part at this exhibition and I've also learnt different aspects about what happened in different periods of this world. From past until now in present, the society and the people are into a continuous change and it's our duty to look at the world from other perspectives as well.

With respect,

Cezara:)