Small Works

Alessandro Roma
Byzantia Harlow
Delaine Le Bas
Gabriel Esteban Molina
Radouan Zeghidour
Ryohei Kan

About the exhibition

Despite its size, small scale works could be powerful in effect, revelatory of the artists' central concerns, or precursor for their future practice. Small size itself contributes to the relatable and intimate feel, and together with the playfulness that comes from the artists' willingness to experiment or take risks, small works often enjoy special connection with the viewers; something of an 'attachement' on a human scale.

Alessandro Roma is known for his unique world of inexplicable melange of colours and shapes, a sort of an abstract take of the natural world with enigmatic, but unmistakingly organic feel. His small scale paintings and bas-relief may add to the sense of proximity, enhancing the connection the viewers feel towards them.

Byzantia Harlow's small bronze as well as mixed media sculptures fascinate with their 'magical' air characteristic of the young artists' oeuvre. The blue of the bio-resin reminds the ocean or the outer space, that is infinite and absorbing. Even at a small scale, Harlow's potent works never fail to infer the larger world beyond, to which they undoubtedly belong to.

Delaine Le Bas's small painting on wooden board describe a fainted bride being held and taken away by a winged devil. Use of the primitive colours and the naive figures may catch eyes at first, but it is its mysterious quality that may draws in the viewers. Can it be read as a narrative of her own biography as is often the case with Le Bas's work? Or is it only telling a generic fairly tale or a fable?

Gabriel Esteban Molina's GIF may appear to be projecting an alternative universe, absorbing and hypnotic, far removed from our immediate environment. It is, however, created by an ingenious process of inter-feeding of analogue and digital images. What are we looking at then? Is it a haphazardly altered reality? But what is the reality?

Radouan Zeghidour's very small marble sculpture can be held in one hand, and small inscriptions of words and images can be examined very closely, as if an archeologist inspecting a newly found artefact freshly uncovered from the ground.

Ryohei Kan's small blue-print work visualises the concept of the endless space, the concept on which his video works are based on. A photo from the White Cube series shows a corner of an almost blank, non-eventful space which is artificially created, but which feels strangely familiar.