October 10th 2018
GALERIE ISABELLE LESMEISTER at ART TORONTO 2018
GALERIE ISABELLE LESMEISTER is excited to return to Art Toronto for the third time in a row.
The gallery was founded in late 2010 as a gallery for contemporary art by the art historian Dr. Isabelle Lesmeister in Regensburg, Germany. The intention is to promote young non-established artists, who were born after 1970 and have graduated from an art academy. In the context of traditional gallery work, GALERIE ISABELLE LESMEISTER supports the artists to become successively established in the national and international art market. The fact that the gallery owner likes travelling and getting to know new people and cultures proves the gallery's international character through selected art fairs and collaborations with artists from all over the world, as well as partner galleries and a variety of institutions. Besides presenting artists at several art fairs throughout Europe, the US and Canada, the gallery organizes approximately five to six temporary exhibitions with works in the fields of painting, graphic, object, sculpture and photography each year, giving a special emphasis to innovative imagery and extraordinary technique.
A deliberate relation to the various art historic genres and motives, and the witting use of old-established, traditional techniques for creating contemporary artworks result in those unique creations by the artists represented by GALERIE ISABELLE LESMEISTER.
The following artists will be featured at ART TORONTO 2018:
Giulia Dall´Olio ( 1983) ITA
Jeremy Holmes ( 1984) USA
Camille Hannah ( 1977), AUS
Jenny Forster ( 1979), GER
Maria Agureeva (* 1985), RUS
Landscapes are the focus of Giulia Dall'Olios ' current work. She does not, however, paint landscapes that actually exist even though she does make extensive nature studies; rather she concentrates on the inside, on spaces of the soul, on metaphysical vistas. The painter tries to get to the essence of nature by means of gazing at it with eyes both human and humane. This making visible in the very act of reading the invisible, unseizable and intangible, in other words: the visionary, has a long tradition in art history. If one looks for the roots and role models of Giulia Dall'Olios ' art, one quickly finds them in romanticism. In her graphic works the artist Dall'Olio adds another turn of the screw to her isolating and observing of nature. She almost zooms up to the minute details after choosing blossoms and leaves as her motives only to then combine them with geometric structures. These might be grids, graticules or linear constructs that help to double, elaborate the botanic pattern or else interpret them in a new way. What the artist focuses on is the relationship between organic, hence natural structures on the one hand and human, hence synthetical structures on the other hand.
The abstract wooden sculptures of Jeremy Holmes epitomize three dimensional line drawings in space to establish a connection between the beholder, the room and his works. He is using traditional woodworking techniques to generate a unique way of twisting, filling and creating space, he soaks the thin wooden panels in water before utilizing a free form bending method to mould the sprawled boards into abstract shapes. After the wood has dried, he paints the segments and compounds them into various configurations, thereby fabricating sculptures ranging from small and handy to a space-consuming length over 1000 feet. The installations, which can be freestanding, wall or ceiling mounted, cooperate with the architecture surrounding them to construct a novel and unexpected space, while emphasizing their materiality. Holmes deals with the perception of space and its transformation through his work by filling interiorly voids that otherwise stay note less and call the viewers attention to the volume of a room as they are observing his sculptures twisting and twirling through the air space.
Camille Hannah’s paintings predicate a model of painting born from within the frame of technology; they are embedded in twenty-first century gestural abstraction while conceptually vested in digital and screen technologies. Harnessing the contemporary aesthetic of mediated appearance, whilst acknowledging that painting is equally indebted to art history, her work draws from the influence of the screen paradigm through notions related to fluidity, painting as object/surface and the perception of interactivity. Traversing the paradox between the prohibition of touch in relation to digital technology and art and the erotics of painting interactivity relates to seduction: a correlation that seeks to engage the viewer immediately in a tactile participation, close and yet distancing at the threshold of vision and touch, while simultaneously providing the viewer with a variable experience of scale.
Contact: Dr. Isabelle Lesmeister
Email: firstname.lastname@example.org Cell: 0049 163 6988682 www.galerie-lesmeister.de