Against a backdrop of the new digital ®evolution and approaching ninety years since the publication of Walter Benjamin’s seminal essay ‘The Work of Art in the Age of Mechanical Reproduction’ we present an exhibition tracing the legacy of Benjamin’s prophetic work, and reconsider it in the present moment.
Felicitas Aga’s work is rooted in the landscapes and traditions of her upbringing but speaks to broader, more elusive themes: ritual, light and the absurd.
Anatomia Humana is an exhibition that examines the body’s contradictions - its force and its fragility, inviting us to consider what it means to be human. Through diverse media - painting, drawing, collage, sculpture, photography - 23 contemporary artists contemplate flesh, bones and psyche, revealing the strange and often uncomfortable truths of life.
Together, Werring’s sculptures, paintings, and monoprints form a cohesive exploration of duality and transformation. His works invite viewers into a space where the familiar becomes unfamiliar, where boundaries between forms dissolve, and where meaning is discovered in spaces that often go unnoticed.
Against a backdrop of the new digital ®evolution and approaching ninety years since the publication of Walter Benjamin’s seminal essay ‘The Work of Art in the Age of Mechanical Reproduction’ we present an exhibition tracing the legacy of Benjamin’s prophetic work, and reconsider it in the present moment.
Anatomia Humana is an exhibition that examines the body’s contradictions - its force and its fragility, inviting us to consider what it means to be human. Through diverse media - painting, drawing, collage, sculpture, photography - 23 contemporary artists contemplate flesh, bones and psyche, revealing the strange and often uncomfortable truths of life.
Together, Werring’s sculptures, paintings, and monoprints form a cohesive exploration of duality and transformation. His works invite viewers into a space where the familiar becomes unfamiliar, where boundaries between forms dissolve, and where meaning is discovered in spaces that often go unnoticed.
This new body of paintings combines aerial landscapes and floating shapes - figuration, colour-fields, texture and abstraction. ‘Kites' are seen from above - painted with brush, roller and airbrush. They are textured and evidence process and changes in direction through overlapping layers. They show clean, machine-like fades and colour blocks that overwrite thoughts, mistakes and past potential futures.
When we talked about his current position relative to his painting, his reference to a previous Stuart Cumberland as the author of the work suggested that there might be rich parallels to be drawn between working with Cumberland’s painting, working with an artist’s estate and questions of authorship around painting and post-conceptual painting in particular.
