May Hands / Emanuel Röhss
21 Mar - 30 Jun 2014
May Hands / Emanuel Röhss, Installation at T293, Naples, March 21 – May 30 2014. Photo Maurizio Esposito
MAY HANDS / EMANUEL RÖHSS
21 March - 30 June 2014
The concept for the two persons show (May Hands *1990, Brighton, UK / Emanuel Röhss *1985, Gothenburg, Sweden) was born of the idea of putting together works that tell a story starting from objects whose identity is designated by their recognisability as consumer icons or by the way they belong to someone and are incorporated in their personal realm. The narratives embedded within the works are readable between the lines and each part points out relationships that may not at first be visible. The works are constructed through an engagement with a methodology of painting whose objective is emphasized adding literal space, as it happens with May Hands or through a layering of chromatic information related to specific people and mediated through a language of colour field as with Emanuel Röhss’ work.
Both artists respond to their environment exploring the evidence of consumption that includes a fetishisation of objects, and makes extractions of aesthetic elements, often superfluous, like ornaments, packagings, or objects created for decorative purposes alone. These decorative aspects reveal notions of subjective tastes as well as cultural influences. In Hands’ work the collection of packaging for luxury fashion products to everyday basic needs indicates a fascination with certain discordant features of the society. As a response to the social climate, cultural norms and history, each work by Röhss is based on a person, real or fictional.
21 March - 30 June 2014
The concept for the two persons show (May Hands *1990, Brighton, UK / Emanuel Röhss *1985, Gothenburg, Sweden) was born of the idea of putting together works that tell a story starting from objects whose identity is designated by their recognisability as consumer icons or by the way they belong to someone and are incorporated in their personal realm. The narratives embedded within the works are readable between the lines and each part points out relationships that may not at first be visible. The works are constructed through an engagement with a methodology of painting whose objective is emphasized adding literal space, as it happens with May Hands or through a layering of chromatic information related to specific people and mediated through a language of colour field as with Emanuel Röhss’ work.
Both artists respond to their environment exploring the evidence of consumption that includes a fetishisation of objects, and makes extractions of aesthetic elements, often superfluous, like ornaments, packagings, or objects created for decorative purposes alone. These decorative aspects reveal notions of subjective tastes as well as cultural influences. In Hands’ work the collection of packaging for luxury fashion products to everyday basic needs indicates a fascination with certain discordant features of the society. As a response to the social climate, cultural norms and history, each work by Röhss is based on a person, real or fictional.