The Hand Refrains

08.09.2017 – 06.10.2017

thehandrefrains  
  • D17-09-08-Mauve-004
  • D17-09-08-Mauve-002
  • D17-09-08-Mauve-014
  • D17-09-08-Mauve-016
  • D17-09-08-Mauve-005
  • TheHandRefrains_MAUVE_06
  • D17-09-08-Mauve-020
  • D17-09-08-Mauve-007
  • D17-09-08-Mauve-010
  • D17-09-08-Mauve-012
  • D17-09-08-Mauve-017
  • D17-09-08-Mauve-018
  • D17-09-08-Mauve-035
  • D17-09-08-Mauve-034
  • D17-09-08-Mauve-033
  • D17-09-08-Mauve-026
  • D17-09-08-Mauve-025
  • TheHandRefrains_MAUVE_14_web
  • D17-09-08-Mauve-023
  • D17-09-08-Mauve-021
  • D17-09-08-Mauve-024
  • D17-09-08-Mauve-027
  • D17-09-08-Mauve-028
  • The Hand Refrains

    08.09.2017 – 06.10.2017

    The Hand Refrains assesses the relationship between artists, their work and the viewer.

    The group exhibition shows different approaches to artworks using figuration. In the pieces, figures are not only depicted, the artworks themselves actively become figures, by assuming the position of the artist’s avatar or that of a creature looking back at you.

    “The hand refrains” is also a quote from the 1922 William Morris poem about the legendary artist Pygmalion and his relationship to Galatea.

     

    Stefan Fuchs
    Erholungsraum Stadt 2017 I-III

    Acrylic, canvas, acrystal, wood / Acrystal, wood.

     

    Carl Mannov

    Untitled, 2017 I-IV

    Oil pastel and lacquer on cotton.

     

    Evelyn Plaschg

    The Species of Approachers (Figure 1), 2017 (bar)

    Watercolour on cotton.

    The Species of Approachers (Anja), 2017

    Watercolour on cotton.

     

    Laura Yuile

    Family Figure #2 2017

    Peppermint and eucalyptus soap,

    dust and dirt from “The Street”, Westfield Stratford,

    lint from my neighbour’s clothing, pumice powder, steel,

    chair from Lukas’ and Titania’s studio

    water, glass wax, small chrome shelving unit,

    small red sofa, small hi-fi system,

    small kitchen sink unit, small toilet.