An idiosyncratic specimen of globalization, I was born in Almaty, Kazakhstan, my father being North Korean and my mother being Russian. Having caught a glimpse of the ex-USSR, I have a nostalgic, conflicting perception of political and cultural systems. The image of Korea evokes for me a tantalizing, fragile and beautifully moving atmosphere. How come? Perhaps, because my father, who was born Pyongyang, writes essays and existential about the Korean diaspora in former CIS countries. Devoid of a homeland, I focus my art on the themes of ethnical atomization, emptiness and nostalgia. Unable to fully assimilate into any one culture, I find myself as an outsider with an eclectic artistic taste. Art represents the act of seeking, assembling and immortalizing beauty. Through my artistic practice, I recreate the state of inspiration and emancipation, experienced during my childhood. My works strive to capture the ephemeral impressions. The concepts, which I explore in my work, include the globalization, surveillance, nostalgia, utopia and eroticism.
Recently, I was involved in initiatives with the Royal Watercolor Society, Art Below, Art Wars in London, Red Dot Miami and Los Angeles. This year, I am having shows at 508 Kings Road in London as well as Untitled Space, the New York Art Expo, Theresa Byrnes Gallery and Salon Anise in New York. Currently, I am curating an emerging artist in Hackney, London and welcoming artists to apply for our next open call on the theme of “Spacetime” (deadline February 1st, all details here): https://www.instagram.com/p/B7G-ahnJcUg/
Having Graduated in Surface Pattern Design in 1983, Julie Thompson has worked as a textile designer and also held many fine Art exhibitions since then. Now her work is evolving from her textile and fine art to become more abstract, taking influence from colour, texture and form to create new artwork.
Julie now aims to work with and upon reclaimed and recycled materials, such as sweet wrappers and cardboard, taking her inspiration from yoga, dance, verse and nature, merging together her loves to become new forms of artwork and expression.
Julie dances regularly and has taught dance from around the world for adult education and special needs in the past. She utilised her time at Nes to explore some create dance ideas, choreography and improvisation, being able to explore her love of dance and yoga and create and perform at open studio a strong piece of dance improvisation about a journey to self called “Emergence “with support and help from Kerryn. Contact: email@example.com
“I am a painter and my name is Sanneke Griepink. I live and work in Amsterdam in the Netherlands. My own work is very much connected to Iceland. When I went to art school, Iceland became my internship project. The Icelandic nature told me about our origins, about surviving in a climate of wind, rain, ice and fire, glaciers and waterfalls.
Iceland changed my way of looking forever. The landscape merely abstract, for the first time I could make realistic works but still with an abstract quality to it. This taught me about space, mass, substance and structure. In the abstracted landscapes of Iceland I could tell about the roughness and necessity of nature, our origin where we are different away from since we as human beings , settled down and started to experience nature as a threat. The Icelandic landscape is bare and rugged and mirrors all emotions possible.
The beauty of a landscape , the contact with nature, this is what I want to depict, I also urge for the need of nature and the pure experience, away from screens and asphalt, to find oneself again in a distressing surrounding. It is by painting it, I get to understand the meaning of a landscape. The seasons and different kind of weather are important to me, and I like them to reflect in the landscapes I make.”
Adriene Jenik is an artist and educator who resides in desert. Her computer and media art spans 3 decades, including pioneering work in interactive cinema and live telematic performance. Her mediated performance projects have been written about in The New York Times, published in The Drama Review, and recognized by the Rockefeller Foundation.
Jenik’s current creative research projects include “data humanization” performances, immersive learning experiments and street performances reading “climate futures” with her ECOtarot deck. At Arizona State University, she serves as Professor of Intermedia in the School of Art, affiliate faculty in the School for the Future of Innovation in Society and a sustainability scientist at the Global Institute of Sustainability.
Karen Jiang is a visual artist whose research interest is centered on apparel design, the materiality of garments, and the physicality of sound. Her approach seeks to delve into the invisible tensions that exist between time, space, people, and Earth.
Her practice is deeply rooted in the geological impermanent transformations of temporal ephemerality, flow, and movement in Nature: the extent to which everything on Earth exists in delicate equipoise. “I will be taking inspiration directing from the Skagastrond landscape, the pure vast arctic ocean that expands before me and the mountains that sharply define this landscape.” Do take a stroll around her website karenjiang.com
Sarah Thibault is an artist and writer based in San Francisco. She has been traveling since the summer of 2018, living as a nomad and attending artist residencies. Her paintings and creative non-fiction essays are inspired by her travels and the people she meets on the road.
Her paintings and drawings investigates the feminine inconography through self-portraiture, portraits of other female artists and representations of the female in historical painting traditions. Her work can be found on her website: sarahthibault.com and her Instagram at @sarah_thibault.
Richard Read is an Emeritus Professor and Senior Honorary Research Fellow at the University of Western Australia where he has taught art history for 30 years. He has published in major journals on the relationship between literature and the visual arts, the history of art theory, nineteenth and twentieth-century European and Australian art history, American and Australian landscape painting, contemporary film, and complex images in global contexts. He wrote the first book on the art critic Adrian Stokes and his latest book is an anthology of essays on intimations of the Anthropocene in nineteenth-century Australian and North American landscape painting. A long-term book project is The Reversed Painting in Western Art. At NES he is drafting a short book on the interpretative energy that travelling between countries brings to their respective art works in an era of tension between ‘home’ and ‘away’ in nationalist politics.
Jaq Grantford is an award-winning Australian artist, specialising in fine art and portraiture who plans to spend her month in Skagaströnd working on projects for upcoming exhibitions. You can find out more about Jaq at http://www.jaqgrantford.com/
“I’m thrilled to be at Skagaströnd and to learn more about your beautiful town. I will be painting a few pieces that are part of an exhibition that I’m developing with musician, Andrew Batterham. And in addition I’m hoping to do one or two small portraits of some local people. I look forward to meeting you at some stage during my stay in November!”
Alan Olejniczak is an artist who knows there are many ways to tell compelling stories. Alan writes for theatre, opera, audio dramas, and collaborate with photographers on visual narratives. His hope is to create work that invite questions, rather than answers, and to create art that opens dialogue, resists cynicism, and is a catalyst for positive change. His work can be found at www.alanolejniczak.com and https://www.instagram.com/olejniczak.alan/
While at NES, I’ll be working on a collection of poetry and photographic images that address the shifting dynamics in the female body when hormonal fluctuations begin to alter a once known entity–one’s own self–into something unrecognizable. Transformations in the natural world that happen on a daily basis in extreme climates and geographies like Iceland, and transformations happening because of what we’re doing to our beautiful planet, mirror what I’m experiencing in my own aging process: a transmutation of the body and a cataclysm of heat creating a violent expulsion of a former self. It feels like devastation.