This group exhibition showcases an array of works by artists that have exhibited within the gallery’s programme since it’s London debut in 2010. Marking a new stage this fall some artists on display include: Aziz + Cucher, Aaron Koblin & Ben Tricklebank, John Wynne, Giovanni Ozzola, Stanley Casselman, Shan Hur and Walter & Zoniel among others.
Referencing the audience’s approach to the gallery’s curatorial themes over the years, the exhibition encompasses both its affiliation with the New Age, and the Traditional. The audience is introduced to the core of Gazelli Art House - the raw, emotionally-charged works, as well as to the digital and innovative.
The never seen before monumental tapestry by artist duo Aziz + Cucher Some People* depicts over 30 figures entwined in a perplexing but emotionally charged ritual in the midst of a landscape of rubble, from which a futuristic city is emerging, echoing both Bosch and Delacroix, and evoking the senselessness and futility of these on-going struggles and the anxiety of the historical moment we all inhabit.
First concieved during a three month residency in London’s East End, Walter & Zoniel’s Iconostatus celebrates local community by bringing together neighbourhood personalities in a collection of personal and meticulously hand painted, gild portraits. Starting as impromptu photographs shot using a giant hand-built camera, the artists freeze frame single moments in time as their subject crosses the street. The result is an impressive portrait–wall which echoes religious iconography, celebrates street culture and re-defines an often misunderstood sector of society.
While through the use of projected imagery and RGB lasers, visualisation artists Aaron Koblin and director Ben Tricklebank’s long exposure photography series, Light Echoes, questions notions of time and space to poetically capture light trails over rail roads and landscapes in and around Los Angeles.* (an installation of the project is also currently on display at The Curve, Barbican)
Bridging both universes, John Wynne’s site-specific installation explores high and low frequencies, and reflects the artist’s on going interest in the playful use of redundant or discarded technology, by creating a complex multi-channel sound environment using a 35-year old computer with no hard drive and only 1MB of memory.
The hidden lost treasure-like objects within Shan Hur’s wall sculptures*, the neutral palette and the use of materials in Saad Qureshi’s And Then Came The Prophecy, and Giovanni Ozzola’s White Mountain, return to the natural, conveying their ideologies through both pure and raw materials and traditional techniques.
Drawing emphasis on continuity and the inherent mission of the gallery to question and provide an independent
platform for discussions, the approach reinstates the underlying concepts that intertwine into the gallery’s vision.
