Panacea, a new series of paintings by Brian Cheung, is an exploration of the artist’s relationship to his own work, as well as the drastic ways in which the pandemic has forced a shift and reevaluation of his practice and approach. Rather than studies and surveys of the unfamiliar, Cheung has looked inward, finding solace in his own imagination.
Using repetitive and reflected motifs and imagery, optical illusions and hidden layers, Cheung has used his work as a place to hide—creating portals to more orderly, idyllic places he’d rather be.
In 'Of Anima and Animus', Georgie Seccull uses sculpture to dive into the mystical; exploring the essential nature of gender through a series of otherworldly, yet tantalizingly familiar beings.
Seccull’s aim to dismantle the binary constructs of the mind stems from her recognition of our inherently androgynous nature, regardless of one’s gender. The elements of masculine and feminine dancing within each of us may appear as opposites yet are ultimately expressions of a single united force. Thus, her sculptures explore what it is to hold both the yin and the yang.
Don’t Go Back to Sleep is an exhibition of new paintings by Jana Brike continuing her previous work and themes, which are wide ranging but essentially distill to this: every single second of life can offer an inner epiphany.
The show takes its title from a poem by the beloved mystic Rumi. Brike has a deep love and admiration of medieval Persian poetry for the way it approaches life and art: it has a wonderful simplicity in expressing the beauty of human connection, love and nature in lyrical ways, but it also attaches profound significance to every detail, exploring spiritual revelations and blissful connection (and painful loss of those) to the higher consciousness. This resonates with Brike as a goal in her work.