Artist Statement: The process of allowing a work to ‘Come Into Being’ is to let the gestures on the canvas unfold without demanding a result. It’s like engaging with the work for the first time on each approach, to let the work arrive in its truest form. To be able to do this is to accept that the act of painting is an endless conflict between desire and outcome. It’s a struggle, often terribly frustrating and sometimes disappointing. I try to be aware of that, and resist the urge to run away from the discomfort.

Korean artist Mikyung Kim crafts tranquil paintings with painstaking care. Each canvas is composed of multiple layers of acrylic paint that are sanded by hand, softening the tone, texture and brush strokes to create a subtle, vibrating surface.

When Fernando Casasempere moved from Chile to London, in 2007, the first exhibition he saw was Sensation, the famous (and infamous) showcase for the Young British Artists at the Royal Academy. “It made me feel prehistoric,” he says. And little wonder. He’d come from an artistic culture still rooted in modernism, and had an personal aesthetic orientation toward Mesoamerican culture. After studying sculpture in Barcelona and then returning to Santiago, he’d found immediate success, securing major museum exhibitions despite his youth. He felt at once confirmed and confined; it was almost too easy. Casasempere knew that to grow as an artist, he would need to seek out new challenges – and so it was that he came to London, and found himself face-to-face with a shark floating in formaldehyde.

JAMESPLUMB’s Stained Moons, Tender Pray VII, Indigo Bench and For Better For Worse III form part of 'Moments are Monuments', a new exhibition at BY ART MATTERS in Hangzhou, China. The exhibition showcases more than eighty works by twenty-nine artists, including pieces by Anthony Caro, Edmund de Waal, Rachel Whiteread and JAMESPLUMB. The exhibition aims to highlight the importance of small, individual moments within the relentless flow of life as well as how ordinary objects can be imbued with significance and transferred into ‘monuments’. Consisting of eight ‘chapters’ corresponding to a different theme; each room of the exhibition offers audiences a different starting point for reflection.

Artist Statement: Contemplating our external environment is integral to my practice, but the results are not mimetic. Rather, my work strives to create an artistic language that transcends a singular context, place or time, speaking instead to the shared, universal essence of everything that surrounds us.

Through the implementation of repeated lines and forms, these works draw a parallel between nature’s capacity to generate myriad variations of the same object — like raindrops or leaves on a tree — and our fabricated setting, characterised by duplicate grids, structures, and intersections. This exploration extends to material and spatial considerations, where fullness is interspersed with the void; where the interval is as essential as the structures that define it.

Ekun Richard has created a playlist to accompany his solo show, at the end of the hill we climb, at Francis Gallery.

We are delighted to invite you to our LA gallery for a conversation with Aram Saroyan and Michael Ned Holte, as part of our current exhibition, Writing with Colors.

As part of Aram Saroyan’s solo exhibition, Writing with Colors, we're hosting a drawing workshop with the artist & Woset at our LA gallery. 

Artist Statement: For me, painting is a language that evolves. I allow myself to be as free as possible and avoid committing to any single path.

A new public commission by Mari-Ruth Oda in Shenzhen, China.