When we forgot where we came from. Antwerp | ITSLIQUID

When we forgot where we came from. Antwerp

Art | February 28, 2021 |

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Gijs Frieling, Twee rode klaprozen, 2020, Acryl on canvas, 95 x 80

When we forgot where we came from
DMW Gallery, Antwerp
February 25, 2021 – April 03, 2021

DMW Gallery in Antwerp presents the exhibition When We Forgot Where We Came From from 25 February until 3 April. Dutch artist Femmy Otten invites her fellow countryman and painter Gijs Frieling to create a duo exhibition as a living organism, combining sweeping in situ murals with drawings, paintings and sculptures embedded in the space of DMW gallery, in which they are presented.

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Femmy Otten, Ontklede dagen II, Statuary marble, 114 x 26 x 7 cm

In the exhibition, Femmy Otten (b. 1981, Amsterdam) presents new paintings and sculptures, as well as selected pieces from her recent solo exhibition One Tear at A Time that took place earlier at Fons Welters in Amsterdam. Carefully crafted in wood, the artist’s contemporary fertility sculptures’ evoke themes of motherhood and womanhood. The plasticity of wood as a living material embodying time itself is reinforced by placing the sculptures in the walls of the artspace, emphasizing the negative or ‘residual space’ that arises around it. Otten’s paintings aim to convey a similar sense of physical connectivity between the works and the viewer through a self-proclaimed style of ‘studied nonchalance’, based on the practices developed by the Flemish Primitives. Oil paint is applied in transparent layers on a white painted background, reflecting the light in a way that creates an enormous depth. As such, her paintings make it seem as if the light shines from within, contributing to an intuitive, phenomenological viewing experience.

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Femmy Otten, Rainbow Woman 2020, oil on canvas, 147 x 104 cm

Gijs Frieling (b. 1966, Amsterdam) makes large-scale temporary murals and paintings. The work of Frieling can be seen as an attempt to present the development of painting as an entity in which the differences between fine art, folk art, religious painting, ‘high art’ and the avant-garde are merely contextual. For the artist, his wall-paintings originated as a way to make sweeping works on controversial, often religious, subjects, albeit on an impermanent basis. In recent years, the murals have evolved into statements about the direct relationship between the artist’s works and the space in which they are presented. They are ornamental paintings of plants, animals, columns and bows, which on the one hand confirm the existing architecture, while at the same time being able of changing the entire atmosphere of the (art)space.

more. www.dmwgallery.be

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Femmy Otten, One Tear at the Time, 2020, lime wood, electric motor, birch plywood pedestal, 147 x 91 x 80 cm
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Gijs Frieling, Twee witte lelie’s, 2020, Acryl on canvas, 80 x 135

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