... Alma Charry, a 23 years old visual artist from Paris. She mainly working with collage and drawing, although she tend to always look for ways of mixing mediums. Her work is populated by a range of recurring shapes and sensations, floating from organic textures to stellar symbols ...
Louise Mertens is a Belgium based Art Director and Designer. Being the daughter of 2 architects she has naturally been attracted to design & drawings at a young age. Starting within fashion, Louise has been able to travel and experience new cultures. At the age of 17 she was living in Japan, where she was inspired by the creativity in Japanese art. In 2013 she obtained her Academic Masters in Art/Graphic Design.
After graduating, Louise opened her own studio named ‘ Louise Mertens’. Her work is defined by a mixture of manual and digital techniques into one. This method creates a truly stunning image. Louise has worked on 3 global campaigns for huge names in fashion & media. One being Kendall and Kylie who asked her to design the cover of their book called; ‘Time of the Twins’. At the current time she has just finished her personal series named ‘Akane’ which will be exhibited at the beginning of next year.
British sculptor Sir Antony Gormley, born on the 30th of August 1950, is best known for his works Angel of the North, which is a public sculpture in Gateshead, Another Place located on Crosby Beach near Liverpool, and Event Horizon: a multi-part site installation which premiered in London in 2007 and later in New York City, São Paulo and Hong Kong. The White Cube gallery in Bermondsey presented Gormley’s latest major exhibition, Fit, this autumn. The artist came back strong with 24 mostly new works comprising close to 550 sculptures as this was his first time back at the White Cube since his 2012 staging of Model.
This time, the gallery space was configured into 15 chambers to create a series of intense physiological encounters in the form of a labyrinth. Many of the sculptures had some sort of a human form – in fact, all of them were based in one way or another on the dimensions of Gormley’s own body. “But they’re not me, are they? --- They are just examples of a human form in space that is of a particular person but it could be anyone. I don’t recognise them as me. I think that’s not the point” he had said in an interview with a website The Quietus, continuing: “The show is really about what it means to inhabit a body, but also what it means for a body to inhabit a space.”
The materials used to create the sculptures were heavy - concrete, steel and iron – and the figures resembled Minecraft characters, the stone giants from The Hobbit and classic Lego blocks. At the heart of the show was so called ‘Sleeping Field’, an installation of about 600 small block figures, which collectively looked like a modern cityscape seen from above. My personal favourite was Passage, a 12-metre-long steel tunnel cut to a cross-section of Gormley’s own frame. It represents light and dark, happiness and sorrow, emptiness and fullness all at the same time.
The exhibition made reference to both the citizens of a modern, never-sleeping city like London and the helpless migrants seeking refuge. The figures made the gallery-goer reflect ‘who am I and where do I belong – do I fit it?’. Fit was a very thought-provoking exhibition which I would love to see held again in the near future.