We are excited to announce the upcoming exhibition Slow Motion featuring works by Pius Fox, Lizzie Munn and Amaya Suberviola.
Private view: 25 September, 6-9 pm
Exhibition dates: 26 September - 2 November 2024
Slow Motion will bring together new works by three international artists: Pius Fox, Lizzie Munn, and Amaya Suberviola. Each artist reconfigures visual imagery—often rapidly changing in our digital age—into multilayered paintings and installations, while employing different techniques and approaches. The exhibition highlights the deliberate, time-intensive processes behind artistic practice, where gestures, movements, and decision-making unfold at a slower, more intentional pace.
Drawing on the cinematic metaphor of "slow motion," a title borrowed from a work by Pius Fox, the exhibition explores the relationship between time and motion, as well as the shift from digital to manual practices. Slow Motion invites deeper reflection on how varying perceptions of time shape both the creation and experience of art.
Pius Fox’s (b. 1983, Germany) practice explores the abstraction of physical surroundings, often drawing inspiration from everyday objects and photographs. His mostly small-scale works reveal great freedom, intentionally shifting between abstraction and figuration, as well as monochrome and colour. Fox’s paintings and drawings are created through a multi-layered process that involves applying paint, partially removing it, and then adding more until the right balance is achieved. He often structures his compositions with horizontal, vertical, and diagonal lines and shapes, inviting viewers to navigate his work as if moving through a three-dimensional space, revealing details that cannot be fully perceived at first glance. Ranging from minimalistic to more complex, his works are further charged with poetic titles like the title-giving work on display – Zeitlupe - translating as Slow Motion. The piece depicts abstract figurations and traces of their possible movements seemingly suspended in time and space.
Lizzie Munn’s (b. 1995, UK) practice spans painting, printmaking, and installation. In creating her compositions, which are shaped by their environment, Munn combines and overlays hand-printed monochrome paper sheets of varying textures and thicknesses. The analogue monotype process of transferring unique colours onto paper is central to her work, allowing her to distance herself from the manual, direct act of painting and instead focus on the physical gesture of creation. The data and information Munn absorbs from the constantly changing world are embodied in the meditative movements of rolling and pressing required by her chosen technique. Her abstract approach allows relationships to form through colour, surface and volume.
The installation for the exhibition, Ice Cream Castles in the Air, will comprise sheets of heavyweight paper, individually hand-printed with etching ink. Munn constructed the installation by combining plain elements with others partly composed with dense shades of crimson, allowing the artist to play with negative space while adding an additional layer of depth to the artwork.
Amaya Suberviola (b. 1993, Spain) draws inspiration from everyday life imagery she collects, ranging from photos taken during her daily walks to screenshots captured while watching movies. The subject matter or authorship of these images is irrelevant; Suberviola archives them in digital folders and uses them as raw material to construct her abstract compositions, which resemble layered computer screens with multiple windows and tabs open simultaneously. In her large-scale painting ST24036, fragmented imagery is obscured by thick layers of paint, with only selected sections revealed in the interstitial spaces between compositional elements.
Rather than focusing on the context of the images she sources, Suberviola is drawn to their visual qualities and seeks to convey the fleeting sensation of seeing something for the first time. She dissects this rapidly vanishing feeling of unfamiliarity and transfers it onto the canvas. The fast-paced world of digital images that she absorbs is translated and fixed onto a permanent surface—a process that, unlike her transient sources, can take weeks or even months, as if freezing these moments in time.