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"The Corner of (Y)our Eye" : T-Mo Bauer and Anastasia Belous - Catalogue - Final
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Transcript of "The Corner of (Y)our Eye" : T-Mo Bauer and Anastasia Belous - Catalogue - Final
TBurnsArts | 15 Bishops Court, 54 Folgate Street, London E1 6UN | [email protected] | www.tburnsarts.com
© TBurnsArts
The Corner of (Y)our Eye An exhibition by T-Mo Bauer & Anastasia Belous
26th May - 12th June 2016
54 THE GALLERY
54 Shepherd Market
Mayfair
London
W1J 7QX
TBurnsArts | 15 Bishops Court, 54 Folgate Street, London E1 6UN | [email protected] | www.tburnsarts.com
© TBurnsArts
CONTENTS
“The Corner of (Y)our Eye” – An Introduction
T-Mo Bauer – Q&A
T-Mo Bauer – CV
Anastasia Belous – Q&A
Anastasia Belous – CV
Price list – T-Mo Bauer
Price list – Anastasia Belous
Contacts
TBurnsArts | 15 Bishops Court, 54 Folgate Street, London E1 6UN | [email protected] | www.tburnsarts.com
© TBurnsArts
The Corner of (Y)our Eye is a joint exhibition of recent work by multidisciplinary artist T-Mo
Bauer and painter Anastasia Belous at 54 The Gallery, Mayfair. Including both separate and
collaborative pieces, the show invites the viewer to explore the starkly opposed yet subtly
compatible way in which the artists observe their worlds. Through their chosen media, they
bring to life moments otherwise glimpsed fleetingly in the periphery.
While Belous’ work describes the physical world, T-Mo’s imagery immortalises both the
digital and ephemeral, Belous’ paintings lending a corporeal foil to T-Mo’s elusory flashes.
While T-Mo’s work often seems to conjure galaxies far away, Belous’ fleshly figures illustrate
the earthly plane. Ultimately, it is in their reflections on the theme of extra-bodily experience,
and mankind’s place in both the tangible and metaphysical worlds, that the artists truly
converge. Brought together, they present us with an alternate realm. A place best viewed out of
the corner of one’s eye.
Vienna-born artist T-Mo Bauer moved to London as a teenager, where he returned to make his
home and studio here after over a decade in NYC. His process is one of continuous material
experimentation, including digital photography, installation and abstract sculpture. An
experienced pyrotechnician and accomplished photographer, T-Mo marries the two practises
to create his own visual language. Although his works are highly technical, their presence is
often organic and visceral. Anastasia Belous is a self-taught visual artist from Kiev, Ukraine.
Following her studies of Art History at University College London, her practice as an artist is
highly traditional, using oils and sitting at her old-fashioned easel in a quest to bring together
the beautiful and the curious – successfully consolidating the two in her figurative paintings.
Similarly to T-Mo’s work, Belous’ paintings are enigmatic, lending themselves to abstraction
as well as straightforward representation.
Dive In, 2016 © T-Mo Bauer and Anastasia Belous
TBurnsArts | 15 Bishops Court, 54 Folgate Street, London E1 6UN | [email protected] | www.tburnsarts.com
© TBurnsArts
Q&A WITH T-MO BAUER
May 2016
Can you explain the concept behind the series in the show and some of the themes it
explores?
My purpose in these, as in most of my pictures, is to encourage people to stop, have another
look, and think about what it is that they are seeing. They are meant as a visual diversion, one
which appeals in its other-worldliness and lulls the viewer into a moment where they forget
that everything they see in the picture comes from within themselves, not from the ink on the
paper, or from me. It’s about introspection.
I know what each image symbolises to me but this series is not about what I feel. It is about the
different response and interpretation elicited from each individual. One of my criteria for
hanging a piece of art on my wall is that it needs to reflect back something different on different
occasions because of the time of day – or most importantly my mood. Some pictures are better
barometers than others.
L: Untitled, 2016 © T-Mo Bauer
R: Geheimniss der Liebe (German Secret of Love), 2016 © T-Mo Bauer
You mentioned that you had some pyrotechnic training while working with a gentleman
licensed to take down bridges, buildings or to blast tunnels through mountains, as well as
present fireworks. What was it in this that drove your inspiration – and, sometimes, to
obsession with detail?
The training in pyrotechnics was a result of the obsession with detail, not the other way around.
I had a pretty good idea about what I wanted to capture and thought that I could gain better
control over the images if I knew more about different effects, which metal powders produce
what colour and at what altitude a given set of rockets or mortars will explode. I was right in
that it helps a lot when you can calibrate to a reasonably expected set of outcomes.
TBurnsArts | 15 Bishops Court, 54 Folgate Street, London E1 6UN | [email protected] | www.tburnsarts.com
© TBurnsArts
In your still life works, too, although with very different effect, your desire to control
every element of the subject and final image – from its positioning to lighting to the
manipulations made after the shot is taken – is evident. How different is the experience of
the shooting process when working in a silent room from, say, at a fireworks display on
New Year’s Eve?
Once you accept that it is impossible to actually fully control the outcome of any action (except
to have no effect by not doing anything) you can focus on the controllable to achieve your
desired goal. Then it becomes a matter of degree. Of course the ranges narrow considerably
once you don’t have ephemeral split seconds events that you are trying to capture.
Without elaborating on the obvious differences, I did many floral still life works where I would
start with an idea of how I want it to look…and then choose the vase, buy and arrange the
flowers, wait for them to open or wilt to exactly where I want them. I have even added ink to
the water of tulips to get my colour and texture ‘right’.
In Vino Veritas, 2015 © T-Mo Bauer
Usually one has an appreciative (or not so appreciative) audience when setting pyrotechnics,
and once you start, you have to get your shots. It is much easier on the one hand to take photos
of someone else’s display than if I prepared the show, but it is much more difficult to know
what is coming. Surprisingly, there are many similarities in preparation for the shoot, especially
if I am the one with the finger on the remote trigger of the explosions. The biggest difference
is that once you set off a set of pyrotechnic events, there is no going for cup of tea to pick up
later!
TBurnsArts | 15 Bishops Court, 54 Folgate Street, London E1 6UN | [email protected] | www.tburnsarts.com
© TBurnsArts
Does this make a difference to your relationship with the image and subject when later
you are manipulating it?
The postproduction work on still life images, for me, is much more straightforward, because if
I can take my time and get everything set up right, and work in a light-controlled environment,
there really isn’t much manipulation or filtering to do afterwards.
Speaking of your abstract works, you mentioned just now that, more than anything, the
effect is one of introspection for the viewer – that ultimately the image they see comes
from within themselves, rather than being something imposed by you. With your still life
works, in which the subject is instantly recognisable for what it is – a bottle, a vase, a
flower… - is this also the case?
I tend to add or twist or highlight some aspect of each picture as a feature, not too obscure, to
get that second look and hopefully provoke a question or two.
Still Life with wild flowers #1 and #2, 2015 © T-Mo Bauer
What have been your other career paths and how have each influenced the artwork you
now create?
I ran a hedge fund in NYC for 8 years and have since done property investments with the same
investors. I became a single father four years ago when I won full custody of my two daughters,
and, having cut back my workload to minimum found myself with time and motivation to
pursue a path that I had always intended to walk down. I am entirely self-taught in digital
photography, although I was very much into analog photography when I was a student. I don’t
think that one activity has had much influence over the others, but I do think that my education
and personality have influenced my approach to my previous careers in a similar way that it
influences my images. I am drawn to the fringe of any system and attempt to make sense of it,
understand it, control it...until I do.
How long have you known Anastasia, and what appealed to you in her work that made
you want to collaborate in this exhibition? Tell us a bit more about the experience of
making the collaborative works.
TBurnsArts | 15 Bishops Court, 54 Folgate Street, London E1 6UN | [email protected] | www.tburnsarts.com
© TBurnsArts
We met socially 6years ago but only connected when I fell for her blue gorillas. I admire (and
slightly envy) Anastasia’s mastery of traditional fine art techniques and appreciated her ability
to create atmospheres of emotional complexity.
Her figure drawing is superb. It was when I saw her drawing of the diver that I immediately
knew what he demanded to evolve into.
Our collaborations are tempestuous when we actually try to work on something at the same
time, but harmonious if we hand a project back and forth. We have a few more in the pipeline
- the most recent one can be found on our show announcement.
How do you see your work developing further in the future?
I have the next few series mapped out but will try and find time for a sculpture commission that
I have been putting off. I am also collaborating with my partner, Michaela Frankova, to produce
some more textiles for couture fashion, and to put together a ready to wear collection for Spring
2017.
TBurnsArts | 15 Bishops Court, 54 Folgate Street, London E1 6UN | [email protected] | www.tburnsarts.com
© TBurnsArts
Q&A WITH ANASTASIA BELOUS
May 2016
Can you explain the concept behind the series in the show and some of the themes it
explores?
I’m a figurative painter and work a lot with human form. In the three nudes that are on show I
used live models – through a number of sketches and studies I end with a certain angle and
position that I want to portray, which is specific to the individual figure and which causes the
most emotional response in the viewer. To deliver and promote this further I deliberately distort
the proportions of my girls. For instance, one has incredibly large hips in comparison to her
head. I always give lesser dimensions and importance to the arms and hands, while the feet of
my models double in size as to ground them further in their animal side. They are hand drawn
and take many hours to execute, yet in this scrupulous work I find incredible joy, and freedom
for imagination.
L: Olga, 2014, Charcoal on paper, 120x90cm © Anastasia Belous
R: Svetlana, 2014, Charcoal on paper, 120x90cm © Anastasia Belous
The largest series of work to date is the Pond series. These picture a human – boy or a girl –
swimming or being in close proximity to water and to the fish. This theme has strong links with
my adolescent years back in Ukraine. As 12-14 year olds, a group of friends and I were
travelling outside of Kiev to the abandoned village called Buchak. Buchak was rich in natural
resources including fields of rye, windmills, abandoned small houses, forest, river, and a
beautiful lake with no people in the radius of few kilometres. As you were approaching the lake
from the hillside down, one could see how clear the water was, and that the lake had one
inhabitant – a very large catfish. We went swimming with the fish, creating a very unusual
bond. Essentially we the kids became visitors to his lake, and in it became equals. This equality,
peace, tranquillity that one finds with nature I attempt to portray in my late canvases. The desire
to create art works was to give beauty to people, with late series I attempt to create that spot on
the wall for the eye to rest, a memory of what is true, timeless and doesn’t require any further
proof. Many of my latest work carry sense of nostalgia for the childhood, peace and nature.
This perhaps could be considered in the context of the late geo-political events that are
happening in my native Ukraine. In the despair of the two brotherly nations fighting in the war
that is not theirs, one misses the days of peace and serenity.
TBurnsArts | 15 Bishops Court, 54 Folgate Street, London E1 6UN | [email protected] | www.tburnsarts.com
© TBurnsArts
Special Bond, 2015, oil on canvas, 85x60cm © Anastasia Belous
You have said: “In my work I attempt to give special place to the skill and beauty, and spend
many hours at the old fashioned easel striving for both.” How important do you think it is
for artists to retain a sense of the old fashioned skill of previous generations of painters?
Do you feel this is something lost in younger artists working now?
I don’t think it’s important. For an artist working now it is important to identify their audience.
I think that there is no Art World anymore but art worlds, and it’s the job of an artist to
acknowledge which one he/she belongs to. Within those preferences vary, some like traditional,
some like conceptual, some go with rebellious. It is GREAT to know the history of your trade
well...and then go against the stream if you wish so.
The skill in your work is clear to see. But some may not necessarily be subjects of beauty
(your gorillas, for example, or bruised faces). Is it in your role as an artist to find the
beauty within the subject, or it is in the inherent beauty of the paint and the painterly act
itself?
Thank you. If to put definition to it, Beauty is something that delivers most pleasure within the
shortest timeframe. From a beautiful woman to a sunset in Capri, the subject changes from
viewer to viewer. To me beautiful is the omnipotent spirit that is enclosed in our bodies. Hence
the icon with mirror in place of Christ’s face in which you can see your own reflection, hence
the striped down to the flesh and bones portrait (of Thomas) with the eye left to explore the
world. Hence the gorilla series – who share 98% DNA with us – who I portray with classical
attributes of the artist (brush, palette), as if the apes painted themselves – entering typically
human domain of art and self-portraiture.
TBurnsArts | 15 Bishops Court, 54 Folgate Street, London E1 6UN | [email protected] | www.tburnsarts.com
© TBurnsArts
L: Blue Gorilla, 90 x 70 cm, oil on canvas © Anastasia Belous
R: The Ukraine, 2015, oil on board © Anastasia Belous
The self-portrait with a bruised face you refer to is a girl with a ribbon with the national flag
colours in her hair, an allegory for The Ukraine at this moment of time. It directly references
the annexation of the Crimea peninsula by Russian Federation last year, and the conflict that is
still going on in the east parts of the country. These events are saddening to me, as although
being born in the USSR I find my identity in being Ukrainian. Even if one doesn’t immediately
recognises the allegorical figure through the Ukrainian flag colours, and sees perhaps the
portrayal of domestic violence, the girl is still looking straight at you. As in her gaze she states
her existence, power and negligence of violence as something inferior to her.
I do take particular pride and joy in the physical skill that I have taught myself to acquire, and
perfect further with each new piece. The physical is the key word. I like the fact that it’s my
hands that do the job, I take great pleasure in the tactile qualities of my painted surfaces. One
can touch them and feel another’s presence. I also like the utopian idea that should Kurt
Vonnegut’s Cat’s Cradle come to live and I am to survive, I will still be able to paint with a
little earth and oil :)
Tell us a bit more about your process. How, firstly, do you select your subjects?
Well if I work directly with models, the person dictates the result, as I like to get “beyond the
surface”, and to their soul. Painting for me is the way to express an idea, the feeling.
The process involves dreaming up, researching, sketching, painting, and then many more
changes to already existing work in search for that perfection. I think my greatest work so far
was done ‘on a single breath’, even if it took longer to execute. I think all the best work is done
‘on a single breath’. There is something ruthless about it that I really like. Even if I don’t like
the result. Like Basquiat, I don’t necessarily have a particular leaning towards his work – but I
love with how he worked
When did you come to London from Kiev, and what perceivable differences, if any, do
you notice in the creative scenes?
I left Kiev in my late teens and don't have much professional experience from that part of the
world to be able to compare to the scene in London. But London definitely offers many more
opportunities in terms of exposure, connections and collaborations with other creatives.
TBurnsArts | 15 Bishops Court, 54 Folgate Street, London E1 6UN | [email protected] | www.tburnsarts.com
© TBurnsArts
Moving on to this particular collaboration, how long have you known T-Mo?
We met around 8 years ago and became closer friends around 2 years ago, and later – art
collaborators. I am very happy to have found cross paths with him, as our work is so very
different. I learn from T-mo new ways, I feel he helps me – the dinosaur – to progress.
What appealed to you in his work, which made you want to collaborate in this exhibition?
Thomas has the ruthlessness that I mentioned above that I so admire. He just goes for it, and
his new ways I find fascinating. Although I will never go into digital domain, I think that magic
happens on the crossing of old and new, which I hope we will explore further than this exhibit.
Tell us a bit more about the experience of making the collaborative works?
We fight all the time - but it fascinates me that the occasional disagreements also add to great
results.
How do you see your work developing further in the future?
We have already discussed a few ideas not to be disclosed just yet. It is funny that several of
our visitors pointed towards the same direction. Maybe it’s a good idea. Maybe we will develop
it
TBurnsArts | 15 Bishops Court, 54 Folgate Street, London E1 6UN | [email protected] | www.tburnsarts.com
© TBurnsArts
CV – ANASTASIA BELOUS Born 1987, Kiev, Ukraine
Education
2009 – 2011 MA Art History, UCL, London
2006 – 2009 History of Art, Christies Education, London,
2003 – 2005 University of Architecture, Kiev
1993 – 2001 Art School for Youth No 2
Recent exhibitions
2015 – present Group exhibition, Hay Hill Gallery, London
2015 – 2016 PQR Financial Planning, London
2015 Secret Art Pop Up Group Exhibition at Library Club, London
Group Pop-up Exhibition “Art in the Attic”, London
2014 “Master Of Art International” competition, selected entries, Great
Yarmouth Race Course, Norfolk, England
2012 Group Show, Glasgow City Hall, Scotland
2001 New Art Youth Exhibition, Kiev’s Philharmonic, as part of the
graduation show of Arts School for Children and Youth no 2
Collections
Private collections in London, Milan, Paris, New York, Miami, Barcelona, Berlin, Hong
Kong and Moscow.
TBurnsArts | 15 Bishops Court, 54 Folgate Street, London E1 6UN | [email protected] | www.tburnsarts.com
© TBurnsArts
PRICE LIST – T-MO BAUER
IMAGE
TITLE MEDIA & DIMENSIONS
Dive In, 2016
(collaboration between Anastasia Belous
and T-Mo Bauer)
Crystal print mounted, framed
80cm x 80 cm
Edition of 8
Memento vivere, 2016 Fuji Crystal Print
84 x 59.4
Edition of 9
Omnia tempus haben, 2016 Fuji Crystal Print
84 x 59.4
Edition of 9
Tempus Ignis 2016 Fuji Crystal Print
84 x 59.4
Edition of 9
TBurnsArts | 15 Bishops Court, 54 Folgate Street, London E1 6UN | [email protected] | www.tburnsarts.com
© TBurnsArts
F major 2016 Fuji Crystal Print
84 x 59.4
Edition of 9
Untitled, 2016 Fuji Crystal Print
84 x 59.4
Edition of 9
Si vis pacem para bellum 2016 Fuji Crystal Print
84 x 59.4
Edition of 9
Viribus unitis 2016 Fuji Crystal Print
84 x 59.4
Edition of 9
TBurnsArts | 15 Bishops Court, 54 Folgate Street, London E1 6UN | [email protected] | www.tburnsarts.com
© TBurnsArts
Guilt Conscience 2016 Lightjet High Gloss print
72cmx128cm (+2cm border)
Edition of 9
Tempest Fug it
Crystal print
60 x 40 cm
edition of 11
V.I.T.R.I.O.L. Crystal print
60 x 40 cm
Still Life with wild flowers #1, 2015 C-type Metallic Print
50x50cm
Edition of 9 + AP
Still Life with wild flowers #3, 2015 C-type Metallic Print
50x50cm
Edition of 9 + AP
TBurnsArts | 15 Bishops Court, 54 Folgate Street, London E1 6UN | [email protected] | www.tburnsarts.com
© TBurnsArts
Still Life with wild flowers #2, 2015 C-type Metallic Print
50x50cm
Edition of 9 + AP
Burning question C-Type on fuji flex, mounted on
di-bond
72 x 72 cm
Edition of 9
Almamia Fine Art Print
98 x 78 cm
Edition of 9
Geheimniss der Liebe (German Secret of
Love), 2016
Fine Art Print.
90 x 63cm
Edition of 9
TBurnsArts | 15 Bishops Court, 54 Folgate Street, London E1 6UN | [email protected] | www.tburnsarts.com
© TBurnsArts
Insectoid 3, 2016 fine art print, framed under UV
glass
42 x 59 cm
In Vino Veritas, 2015 C-Type print on Metallic paper,
mounted
63.5x63.5 cm
Edition of 9 + AP
Insectoid 5, 2016 fine art print, framed under UV
glass
42 x 59 cm
colours surface, 2014 Fuji Crystal Print
109 x 72
Edition of 9
TBurnsArts | 15 Bishops Court, 54 Folgate Street, London E1 6UN | [email protected] | www.tburnsarts.com
© TBurnsArts
It tolls for thee, 2014 Fuji Crystal Print
84 x 59.4 with vintage
magnifying glass
Edition of 5
delivery subject to availability of
glass
subconscious subjective inkjet on rear lit film mounted on
vintage x-ray viewer
Guilt Tulip, 2014 inkjet on brushed aluminium
63 x 63 cm
Gilt consciencee reprise (2014-2016) fine art print in vintage gilded
frame
50 x 60 cm
edition of 5
size will vary depending on
matched frame
Security device for Banknote 7, 2015 fine art print mounted framed
29 x 42 cm
TBurnsArts | 15 Bishops Court, 54 Folgate Street, London E1 6UN | [email protected] | www.tburnsarts.com
© TBurnsArts
Mardi Gras 2016 Fine Art Print
60 x 40 cm
C - is for cat part of children’s alphabet book,
Work in progress
Bespoke cocktail dress Lace and digital print on silk
Collaboration with Michaela
Frankova
Bespoke cocktail dress “copper tulip” Lace and digital print on silk
Collaboration with Michaela
Frankova
TBurnsArts | 15 Bishops Court, 54 Folgate Street, London E1 6UN | [email protected] | www.tburnsarts.com
© TBurnsArts
PRICE LIST – ANASTASIA BELOUS
IMAGE
TITLE MEDIA & DIMENSIONS
Dive In, 2016
(collaboration between
Anastasia Belous and T-Mo
Bauer)
Epoxy print
50x50cm
Edition of 8
Olga, 2014 Charcoal on paper
120x90cm
Svetlana, 2014 Charcoal on paper
120x90cm
Alina,
2014
Charcoal on paper
80x60cm
TBurnsArts | 15 Bishops Court, 54 Folgate Street, London E1 6UN | [email protected] | www.tburnsarts.com
© TBurnsArts
Oleg,
2014
Charcoal on paper
80x60cm
Tentacle Dialogue, 2016 Oil on board
80x60cm
Margarita and Margarita,
2016
Oil on board
80x60cm
War and Peace, 2016 Oil on canvas
120x90cm
Special Bond, 2015 Oil on canvas
85x60cm
TBurnsArts | 15 Bishops Court, 54 Folgate Street, London E1 6UN | [email protected] | www.tburnsarts.com
© TBurnsArts
Koi Diver, 2015 Oil on canvas
120x90cm
Big Rower, 2015 Oil on canvas, epoxy
150x120cm
Lake of Serenity, 2016 Oil on canvas
150x120cm
Frog Prince, 2016 Oil on canvas
70x70cm
Fish Rider, 2016 Graphite and watercolour on
paper
59x84cm
TBurnsArts | 15 Bishops Court, 54 Folgate Street, London E1 6UN | [email protected] | www.tburnsarts.com
© TBurnsArts
Arizona Dream, 2016 Graphite and watercolour on
paper
59x84cm
The Ukraine, 2015 Oil on canvas
Schnobel from Chernobyl,
2015
Oil on canvas
The Inner Self, 2015 Oil on board
TBurnsArts | 15 Bishops Court, 54 Folgate Street, London E1 6UN | [email protected] | www.tburnsarts.com
© TBurnsArts
ENQUIRIES
For sales enquiries or further information, interviews or images please contact Tani Burns:
T: +44 (0)207 377 5665
M: +44 (0)7888 731 419
W: www.tburnsarts.com
FB: TBurnsArts on Facebook
TW: @tburnsarts
LISTINGS INFORMATION
Exhibition: The Corner of (Y)our Eye
Venue: 54 The Gallery
Address: 54 Shepherd Market, London W1J 7QX, United Kingdom
Dates: 26th May – 12th June 2016
Times: Monday – Saturday 10:00 – 18:00 or by appointment
Website: http://www.54thegallery.co.uk/