Daniel Göttin lives and works in Basel (Switzerland). Göttin’s works are site-related installations and all-over drawings made of industrial materials. The real space with its own qualities has a strong influence on his artistic concept and practice; it becomes an integral part of the installation. Artwork and real space appear as transformed entities, both exist simultaneously in time and size. Each new spatial situation provides a new experience of perception. The creative manipulation of simple functional material can translate the act of looking into the art of seeing, transforming the place itself into an experience of perception.
His installations playfully respond to the specific characteristics of an architectural site and activate the viewer’s relationship to it.
Another talent from Basel is Gerda Maise. For over 3 decades, Maise has been transitioning existing objects into new and fascinating visual entities. Her works refreshes the space it situates, revitalizing its atmosphere and meaning. The manipulation of textile demonstrated in her works mediates the dimensions and challenged the audience’s perspectives. Through her linear constructions, Maise aims to invoke the question of what art is and how art should appear.
In this show, Sydney is represented by the artists Amanda Ryan and Salvatore Panatteri. Ryan specializes in an exquisite style of geometric textile abstractions.
On a fundamental level,her independent vibrant structures explore the concepts of color, shape, texture and composition. In many ways, Ryan’s works are embodiments of chance and possibility through her utilization of purchased and recycled materials alongside techniques of quilting and appliqué. She folds, overlaps and fastens colored fabrics in a simplistic and playful manner, allowing her works to unintentionally manifest into abstract geometric compositions. Through Ryan’s unique visual language, she courageously ventures into the realm of art, craft and design in hopes to delineate the fine distinctions between them.
In cinema, chroma- and digital-key technologies are an integral part of illusionism. Their function is to generate negative spaces that await the transposition and transformation of images.
Panatteri affirms these processes in their own right, drawing attention to chroma-key’s vividness and luminosity and to the nature of the monochrome as a protean art. No longer masked by the image and restricted by film’s finite time-line, infinitudes that exist beyond the screen, beyond the representational world of cinema, are proposed. For him, the openness of abstraction, its sense of otherness, offers ways in which to evoke complex temporality and concepts of infinitudes – those things that we know we don’t know.