31 OCT until 23 NOV 2024

Seascapes brings together artists whose works are inspired from or related to bodies of water directly, referentially, or contingently. The artists delve into the shifting qualities of water—its fluidity, unpredictability, and depth—mirroring the nature of artistic creation itself. The exhibition showcases a diverse range of works that capture seascapes not just as physical spaces, but as entities that are by nature visceral and instinctive, which also characterizes the practice of the three artists working with constant experimentation within their mediums.

Kami Mierzvvinsk’s painting practice draws deeply from East Asian transcendental traditions, emphasizing the concept of anamnesis—the act of recalling innate, pre-bodily knowledge. The entity of water in their work manifests itself as a symbol of source, purification, and rebirth, Mierzvvinsk seeing water as the common element of all beings. Their art centers on the spirit’s fluid, genderless nature, visualized through subjects arising from the beyond-visible planes of the mind. Mierzvvinsk portrays a longing for disembodied times free from binary physicality, where viscous, gestural strokes continuously reveal new depths, inviting viewers into an ever-shifting exploration of scale and presence.

Irina Jasnowski Pascual is a visual and performance artist, with a deeply intuitive and experimental practice. The glass in her sculptures seem to be sheets of water seemingly cut away from a bubbling surface or piece of a stream in motion; the frozen fluidity of slumped glass countering with the “artificial’ staging of water in fountains, canals, and basins. Incorporating paint in selected works, she applies instinctive, fluid brushstrokes that blur the line between abstraction and figuration. Alongside her glassworks, in Jasnowski Pascual’s drawing Serenade […], intuition finds its way into figuration, her figures melting into each other as the viewer’s eye moves back and forth between the different elements.

Jessica Warboys works with performance, film, painting and sculpture, collaborating with the landscape for the making of many of her works. She works with and by the sea. In her Sea Paintings Warboys conspires with nature, lending it agency through exposing her canvases to its contingencies. Waves, wind, sand and rock animate pigment scattered onto the canvas — the completed paintings are full of marks and traces, partly from directed gestures, partly from the uncontrollable processes of nature. Forged from littoral zones, her Sea Paintings are in part derivations of geographical dynamics that shape the liminality of the sea and its shore. Emerging once again from Warboys’ deep connection with the landscape, the sculpture HOUR III was created as part of a series in conversation with Warboys’ River Paintings. Functioning as a fragment of a larger weaving, the sculpture resembles a window or a door, binding time and the fluidity of the material through its formality.