In: print

Delphian-Gallery-Art-Prints

Delphian Gallery in London is starting a new initiative #LockdownEditions to support contemporary artists in the time of coronavirus pandemic. Launching on Monday, April 20th, Delphian Gallery will be releasing limited-edition art prints on a weekly basis.

The gallery will act as a platform to distribute the works without taking any commission on sales. All profits will go directly to artists. Among first art prints available for sale on Monday, you can find the following contemporary artists:

Below you can see the works on sale. You can find out more on Delphian Gallery website.

“I see life as a passageway,
with no fixed beginning or destination”
– Do Ho Suh

Humanity is often focused upon the destination of life rather than the journeys travelled. These journeys are the ones that result in a life worth living, instead of a life in which the centre of attention revolves around the end result. To be obsessed with the end result of an endeavour, as opposed to living in the present, is the very premise that the artist Do Ho Suh (b.1962, Seoul, Korea) challenges in his new exhibition, ‘Passage/s’.

Currently on display at the Victoria Miro Gallery, London, Suh’s body of work questions the boundaries of identity as well as the global connection between individuals and groups. After growing up in South Korea, the artist has moved and lived in many different countries, immersing himself in the culture of each one of them. In his work he aims to create a global connection between his identity, his previous destination, and his current journey. He establishes that his own understanding of ‘home’ is both a physical structure and a lived emotional experience. In this sense, the physical structure of a ‘home’ can only be described as the building or property in which one has lived, whereas the home as an emotional experience is documented in the adventures and memories of life. I

Do Ho Suh. Left: Staircase, Ground Floor, 348 West 22nd Street, New York, NY 10011, USA, 2016. Right: Main Entrance, 348 West 22nd Street, New York, NY 10011, USA, 2016. Installation view, Passage/s, 2017, Victoria Miro Gallery II, London. Courtesy the artist, STPI – Creative Workshop & Gallery, Singapore, and Victoria Miro, London. Photograph: Thierry Bal. © Do Ho Suh.

Beginning upstairs on the First Floor, the visitor is immediately transported into the many ‘homes’ of the artist. Each independent aspect of a home, whether it is a simple light bulb or a complicated fuse box, has been carefully replicated by Suh’s meticulous hand. Polyester, which is both a fluid and a translucent medium, is the main choice of material for Do Ho Suh. He uses to replicate everyday objects, and its translucency amplifies the importance of concentrating upon the ‘passageways’ of life: you must be able to travel through each destination in order to continue growing and developing.

Do Ho Suh, Passage/s: The Pram Project, 2014-2016. Installation view, Do Ho Suh: Passage/s, Victoria Miro Gallery I, London. Courtesy the artist, Lehmann Maupin, New York and Hong Kong, and Victoria Miro. Photograph: Thierry Bal. © Do Ho Suh.

This concept is heightened in ‘Passage’s: The Pram Project’, a video installation recorded from the perspective of three different cameras. Taped from the comfort of his daughters pram, the video removes the viewer from the controlled environment of the gallery, and places them into the charming streets of Islington and Seoul. Surrounded by the child’s adoring laughter and babbling, we are reminded of the innocence of humanity and the importance of ‘home’ as an emotional connection, something which provides stability and safety.

Continuing on the Lower Floor, Do Ho Suh displays large threaded drawings replicating doorways and stairwells. Each entrance has been accurately copied from the multiple buildings in which Suh has lived, exaggerating how the outside exterior of a ‘home’ does not necessarily reflect the individual immersed within it. For example, not everyone who lives in a London home is British – the immersion of cultures is the most important aspect to create a global identity.

Do Ho Suh. Left: Staircase, Ground Floor, 348 West 22nd Street, New York, NY 10011, USA, 2016. Right: Main Entrance, 348 West 22nd Street, New York, NY 10011, USA, 2016. Installation view, Passage/s, 2017, Victoria Miro Gallery II, London. Courtesy the artist, STPI – Creative Workshop & Gallery, Singapore, and Victoria Miro, London. Photograph: Thierry Bal. © Do Ho Suh.

The exhibition arguably concludes with the most impressive component of Do Ho Suh’s work. His series ‘Hubs’ occupies the entirety of the Upper Gallery, where nine reproductions of the apartments in which Suh has called ‘home’ are on display. The transient polyester spaces are connected by threaded doorways and moving doors, enticing the viewer to walk through and experience each room. Although interactive, ‘Hubs’ removes the practical function of a home: door hinges and handles remain motionless while electrical outputs and pipes are frozen without power. By referring back to Suh’s original premise of the home as a physical entity, as well as an emotional experience, we are placed in this complex structure as both ‘private’ and ‘public’ viewers. In one way the elongated home visualises the ‘private’ life of an individual, while the ‘public’ global identity seeps into the design through the fragile material.

Do Ho Suh: Hub, 260-10 Sungbook-dong, Sungbook-ku, Seoul, Korea, 2016; polyester fabric on stainless steel pipes; 296.1 x 294.7 x 131.2 cm; 116 5/8 x 116 1/8 x 51 5/8 in; © Do Ho Suh; Courtesy of the artist, Lehmann Maupin, New York and Hong Kong, and Victoria Miro, London.

I encourage you not just to see the exhibition first-hand, but to interact and engage with the artwork. The unfortunate irony of this brilliant collection of work is the influence of present day technology, and our infatuation and dependence upon our mobile phones. The majority of people visiting exhibitions today try to capture every moment and work of art into a single photograph. This degrades the original intentions of Do Ho Suh and his exploration of life as a journey, as a photograph destroys the steps travelled in order to take it. Life is about the experiences seized by your eyes, not the artificial screen of a phone or lens of a camera; rather than living through your phone, live through reality.

Do Ho Suh‘s ‘Passage/s’ is on display at the Victoria Miro Gallery, London until 18th March, 2017.

Louise Bourgeois: No Exit is currently on view at the National Gallery of Art in Washington DC. Bourgeois (1911-2010) is best known for her large-scale sculptures, one of which is located in the museum’s sculpture garden. However, with twenty-one works, including drawings, prints, and sculptures, the exhibit provides an intimate look into the mind of a truly remarkable artist as she contemplated themes of life, death, domesticity, and womanhood.

The French-American artist was born to a prosperous Parisian family in 1911. Her family owned a gallery in Aubusson, the tapestry producing region of central France and home to Bourgeois’s mother’s family. The artist spent part of her childhood working in the gallery where her family sold and restored antique tapestries, helping repair them by filling in worn areas, using lines to indicate where stitches should be made. These experiences made a lasting impression, as displayed in Bourgeois’s early works on view in the National Gallery’s exhibition. The images recall the cascading rivers and mountain peaks of Aubusson, while simultaneously recalling the interweavings of textiles.

Louise Bourgeois, La tapisserie de mon enfance–Mountains in Aubusson (The Tapestry of My Childhood), 1947. Brush and black ink and gouache on cream paper: 19 x 12 in. (48.3 x 30.5 cm)Corcoran Collection (Gift of William H. G. FitzGerald, Desmond FitzGerald, and B. Francis Saul II) © The Easton Foundation/Licensed by VAGA, NY

Louise Bourgeois, La tapisserie de mon enfance–Mountains in Aubusson (The Tapestry of My Childhood), 1947. Brush and black ink and gouache on cream paper: 19 x 12 in. (48.3 x 30.5 cm) © The Easton Foundation/Licensed by VAGA, NY

She began her long and prolific career as an artist in the early 1930s after being introduced to the Surrealists, whose ideology centered on the creative potential of the unconscious mind. After marrying the American art historian Robert Goldwater and moving to New York in 1938, she became reacquainted with the European Surrealists who were exiled during the war. Yet, the artist herself denied the label of a Surrealist. “At the mention of surrealism, I cringe. I am not a surrealist.” Still, it is difficult to separate the whimsicality and bizarre juxtapositions of her work from that of the Surrealists, or even their predecessors, the Dadaists. The works in the show bring to mind Francis Picabia’s mechanical portraits, Max Ernst’s collages, or Joan Miró’s landscapes.

Louise Bourgeois, He Disappeared into Complete Silence, Plate 7, 1947. Engraving in black on wove paper. Plate: 17.78 x 13.65 cm (7 x 5 3/8 in.) Sheet: 25.4 x 17.78 cm (10 x 7 in.) National Gallery of Art, Washington, Purchased as the Gift of Dian Woodner © The Easton Foundation/Licensed by VAGA, NY

Louise Bourgeois, He Disappeared into Complete Silence, Plate 7, 1947. Engraving in black on wove paper. Plate: 17.78 x 13.65 cm (7 x 5 3/8 in.) Sheet: 25.4 x 17.78 cm (10 x 7 in.) National Gallery of Art, Washington, Purchased as the Gift of Dian Woodner © The Easton Foundation/Licensed by VAGA, NY

Instead Bourgeois preferred the label of existentialist, admiring the works of Simone de Beauvoir, Albert Camus, and, of course, Jean-Paul Sartre. Sartre’s 1944 play, No Exit, from which the exhibition takes its name, is the story of three recently departed souls on their way to hell, anticipating the physical torment they are about to endure. As it turns out, the pain they experience in hell is not physical, but psychological. Their hell is being trapped in a room from which there is no escape for all eternity with the people they despise the most, each other just imagine going to a dinner party with all the people you’ve ever blocked on Facebook, and then multiply that feeling by infinity. As Sartre famously says, “Hell is other people.”

Louise Bourgeois, Untitled, 1952. Painted wood and plaster, overall: 161.9 cm (63 3/4 in.) National Gallery of Art, Washington, Gift of the Collectors Committee © The Easton Foundation/Licensed by VAGA, NY

Louise Bourgeois, Untitled, 1952. Painted wood and plaster, overall: 161.9 cm (63 3/4 in.) National Gallery of Art, Washington, Gift of the Collectors Committee © The Easton Foundation/Licensed by VAGA, NY

While Bourgeois draws her inspiration from Sartre, her personal hell seems to be the absence of other people. The nine engravings and enigmatic parables that volume He Disappeared into Complete Silence (1947) show Bourgeois at her most Surreal. The subjects, ranging from a little girl who buried her coveted candy in the ground, only to find that it has been ruined by the damp soil, to a man who cuts up his wife and serves her at a dinner party, represent what the artist referred to as “tiny tragedies of human frustration.” The characters of her story show indifference, or even cruelty towards one another, conveying the deep sense of isolation that often embodies Bourgeois’s work. We are left with a sense of ambivalence towards them, they commit acts that signal both internal and external conflict. One plate tells the story of a loving but overbearing mother, and a son “of a quiet nature and rather intelligent,” but who is indifferent to his mother’s love. The prodigal son leaves, and later the mother dies without his knowledge. Three haunting, elongated figures occupy the space, prompting us to wonder who the third figure could be. The feeling we are left with is one of remorse and sympathy for the mother, but also for the son. The print could be semi-autobiographical, Bourgeois lost her mother at 21 years old, around the time she was beginning her career. This loss had a profound effect on her artwork, seen especially in her series Maman, and again in what could be seen as a companion piece, M is for Mother (1998). The latter, on view in the exhibit, is a drawing of an imposing letter M that conveys both maternal comfort and control. With such a conflict, Bourgeois forces us to question our relationships with those around us.

Louise Bourgeois, He Disappeared into Complete Silence, Plate 9, 1947. Engraving in black on wove paper. Plate: 22.54 x 10 cm (8 7/8 x 3 15/16 in.) Sheet: 25.4 x 17.78 cm (10 x 7 in.) National Gallery of Art, Washington, Purchased as the Gift of Dian Woodner © The Easton Foundation/Licensed by VAGA, NY

Louise Bourgeois, He Disappeared into Complete Silence, Plate 9, 1947. Engraving in black on wove paper. Plate: 22.54 x 10 cm (8 7/8 x 3 15/16 in.) Sheet: 25.4 x 17.78 cm (10 x 7 in.) National Gallery of Art, Washington, Purchased as the Gift of Dian Woodner © The Easton Foundation/Licensed by VAGA, NY

Like Sartre, she believed that free will was the essence of existentialist thought, but unlike Sartre, she also believed that our pasts inform our future. Deeply fixed memories inspired her oeuvre over the course of a remarkably long career. This reluctance to let go meant that she rarely considered a work finished, generally leaving open the possibility of a future iteration. One of her later books, the puritan (1990), deals precisely with this theme. This bound volume of eight hand-colored engravings on handmade paper takes place in New York, and is a story of lost love. “With the puritan,” Bourgeois explained, “I analyzed an episode forty years after it happened. I could see things from a distance…I put it on a grid…I considered the situation objectively, scientifically, not emotionally. I was interested not in anxiety, but in perspective, in seeing things from different points of view.”

Louise Bourgeois, the puritan (4), 1990. Engraving in black with additions in gouache on Twinrocker handmade paper with Japan gampi chine collé. Plate: 42.55 x 27.31 cm (16 3/4 x 10 3/4 in.) Sheet: 65.72 x 50.17 cm (25 7/8 x 19 3/4 in.) © The Easton Foundation/Licensed by VAGA, NY

Louise Bourgeois, the puritan (4), 1990. Engraving in black with additions in gouache on Twinrocker handmade paper with Japan gampi chine collé. Plate: 42.55 x 27.31 cm (16 3/4 x 10 3/4 in.) Sheet: 65.72 x 50.17 cm (25 7/8 x 19 3/4 in.) © The Easton Foundation/Licensed by VAGA, NY

A number of sculptures are included in the exhibit as well, ranging from her small but recognizable cast Germinal (1967), to the life-sized sculptures the artist referred to as “Personages.” These sculptures, Bourgeois said, were made to be exhibited at ground level so that they could be interacted with “like people.” While they exist in our space, they also stand isolated and detached. Made from modest, often discarded materials and employing simple methods of construction, these totemic figures reflect a wartime sensibility of salvage and reuse in a damaged environment.

Louise Bourgeois, Mortise, 1950. Painted wood, overall: 152.4 x 45.7 x 38.1 cm (60 x 18 x 15 in.) National Gallery of Art, Washington, Gift of the Collectors Committee © The Easton Foundation/Licensed by VAGA, NY

Louise Bourgeois, Mortise, 1950. Painted wood, overall: 152.4 x 45.7 x 38.1 cm (60 x 18 x 15 in.) National Gallery of Art, Washington, Gift of the Collectors Committee © The Easton Foundation/Licensed by VAGA, NY

Bourgeois’s work asks a timeless and essential question: in periods of conflict, uncertainty, or hostility, can we live meaningful lives? It seems to me that Bourgeois would say that it is in these moments that we are at our most authentic, and that the greatest struggle we have to overcome is not external, but internal. This is, however, a question Bourgeois would want us to answer for ourselves.

Louise Bourgeois: No Exit is on view until May 15, 2016.