

REVIEW OF AESTHETICS AND FINE ART
Chelsea College of arts
16 John Islip Street, SW1P 4JU London
EXHIBITION

Hector Wai-Kit Chan
Du 7 au 13 Septembre 2018
MA Summer show 2018
Curated by Monika Tobel art
University of the arts of London
C

JAbi Moffat Huile sur toile sans titre
Aesthetic experiments and
sociological critiques
Chelsea College of Arts presents from 7 to 13 September 2018 the works of Ziyin Guan, Jijie Zheng, Karen Tronel Hector Wai-Chan Kit, Mariana Peltonen, Xuelin Zhang, James Sirell, Wang Jiayu, Xueyu Liu, Daniel Ancel, Nell Lyhne and their acolytes. Their works question as much the consumer society as the pictorial process or the practice of more academic genres such as animal representation.
The references to the pictorial aesthetics that gave birth to our modernity are clearly legible, be they surrealist painters, post-war New York abstract art movements or later pop art.
Corey White, a sculptor and recent recipient of The Ingram Collection's "Young Purchase Talent Prize", talks about his artistic motives. He is an observer of modern consumer behavior by looking at the traditional celebrations that punctuate our religious calendar: what do Christmas, Easter, Halloween mean? He questions our memories evoking the anxiety and hysteria that seem to reign during the symbolic holidays of our calendar. His sociological conception is expressed through sculptural works elaborated with resin: "I apply materials that have a limited control time and then challenge them by pushing them even further, in my polyurethane foam that I use as well as some inflatable products, the material becomes uncontrollable, it is for me an interesting process of creation


Jijie Zheng installation murale

Corey Whyte sculpture
Ziyin Guan peinture technique mixte


Marianna Peltonen
installation
Karen Tronel
Cabinet de curiosités


James Sirrell Toile murale
Corey Whyte sculpture
On the grounds of the prestigious Chelsea College of Arts, painter Nell Lyhne revisits the 17th century representation of animals. His painting gives us to see dead animals illustrating the relationship between men and dead flesh. Its purpose is not to represent ugliness but to take up a topos of figuration in Rembrandt's time and propose a new reading today. in a subsequent showroom, Hector Wai Chet Chan is more interested in the physico-philosophical laws of painting which according to his own conception would be "an action that responds to the desire to see". The dynamics of the gesture thus extend the vision and soften it. He considers the act of painting as a process that could be able to capture the fluidity, the speed of the images he apprehends according to their dynamic function.
