CURRENT AiR ARTISTS

Nazia Andaleeb Preema (Bangladesh)
March 2008

Mud Field, oil on canvas

Digital Art with Illumination vs. Traditional media

“I am a part of today’s technological revolution. I want people to see the light. Art is no more important. But light (illumination) is. Cause we can only see if there is light, if not, we don’t see at all.”

My project is about digitalized life and its effect. We are now in a world where everything is technology. And it seems that digits are everywhere. So digital painting is become a form of Art. My digital art with illumination only indicates how fast we are moving towards light. And when light appears nothing exits in front of it. Light means dream, hope, life, purity. In my work I project light, as if, it became the life of the art. The light along with the painting distract people and also it attracts people. By bold and straight use of illumination, it takes away anything but itself. We are going thought a technological revolution and I want to admit that I am also a part of it.

My current series of works are mainly in two media. Traditional and Digital. I want to see the possibilities. To me art is nothing but possibility and search, search and possibility. In traditional media (like water, and mostly oil) I usually work on a few paintings simultaneously. I start every painting day by looking at my unfinished paintings for a long time, and repeat this a few times a day. Often I'll look at a painting for months without touching it, considering what it still needs. This way it can take months or years from the inception of a painting till its completion. But when I do it with computer the whole process may be takes few hours. This is interesting!

My subject matter is always abstract. I believe that abstraction is the core of life and the universe. Abstraction is the ultimate of any creation. From beginning to end. I don’t want to be explaining rather challenging the explanation every time. So nothing stops. Everything keeps going and going. Thus life goes on.

About the artist
Born: 19th November 1974

Painter, Creative Consultant: Graphics, web and Electronic Art

Nazia Andaleeb Preema has done a number of workshops and residency programs all over the world in visual art.  

She has participated in over fifty prestigious group expositions round the world (India, Nepal, Thailand, Srilanka, Japan, Canada, USA, China) including five Asian Art Biennale and has nine successful solo exhibitions in home and abroad along with a virtual show (www.preema.net) in 2003. She is a regular participant in all National Exhibition for last 12 years in Bangladesh. She has gathered reviews and appreciation for her ideas and work from the art lovers and critics.  
 
She has been working as web and graphic consultant for last ten years. She is now doing her digital experimentation with illumination alone with the traditional techniques.

Nazia Andaleeb Preema has done her Graduation (BFA) and Masters (MFA) from (drawing and painting department), University of Dhaka. She got her seven years diploma course certificate in Tagore song.

She is now also the visiting faculty member of Architecture department at a private University, Dhaka, Bangladesh. She has become one of the featuring artists at “Manhattan Art Gallery”, USA for 2007. Her works has been showcased by the international galleries.

She is now the Director and Curator of the “Preema’s Atelier” (www.preemasatelier.com), a studio of Art and Design.

Her works have collected by the French Embassy, Korean Embassy, Alliance Francoise de Dacca, Danish Embassy, Bangladesh National Museum, Bangladesh Shilpakala Academy, Swedish Embassy, Australian Embassy, private galleries (home and abroad), 5 star hotels and a lot of art collectors and patrons all over the world including Bangladesh.

www.preema.net
www.preemasatelier.com

Christine Cheung (Canada)
March 2008

Untitled

Through the inclusion of accidental painterly marks , the progression of my work has moved from a naturalistic view of localized space to a decidedly messier view of the mind's anxious interior. Reflecting the rapid changes in my life in terms of career, geographic choices, relationships and lifestyle, the figurative elements are painted over, lost and remerge from the culmination of twisting marks, blind jabs, rhythmic dabs, incising and layering.  The resulting images always seem foreign to me, despite my attempts to control them.  Combining figuration and abstraction through the colorful amassing and layering of paint, the paintings function on an emotive level, crossing the line between painting and drawing, eastern and western sesensibilities. I want to retain a positive feeling of exploration and life despite the uneasiness it also conveys. Through these fictionalized spaces, I hope for a dense expression of the personal and poetic.

Jun’ichiro ISHII (Japan)
January - April 2008

WEDNESDAY PROJECT
Wednesday is a special day!

According to Thai belief having your hair cut on a Wednesday means asking for trouble.
Yet Wednesday stands out, being the only day to be divided into morning and evening, each with their own Buddha image. Wednesday morning Lord Buddha is standing with both hands holding an alms bowl. Wednesday evening Lord Buddha is receiving gifts of a honeycomb from a monkey and water from an elephant.

And now Wednesday is an art project. But your participation is needed. Please take a photo on Wednesday and send it to me.
Intrigued by people’s Wednesday activities, I would like to anonymously exhibit your photos @ Minimal Gallery, Nimmanhemin 13, Chiang Mai from 26 to 30 th of March 2008.

Your name & contact address are optional, but please mark when your Wednesday photo was taken, in the morning or evening.

The deadline is 26th of March.
Please send the picture to>>


wednesdayproject@gmail.com

Bamboo Pyramid

5 steps to mention the “Bamboo Pyramid”

1. Basic idea.
Recompose an artificial forest in the nature forest.

2. First point of view.
A simple question: what is most usual and what is most unusual thing here.

3. Development 01: Concept.
It seems that creation goes after the reason of necessity here. So I try to create something completely unnecessary. The concept of the work becomes a re-composition of the forest in the forest.

4. Development 02: Form.
The nature forest already has dynamic structure and super abstractness. To make a visual sensation here, I employed more artificial and more orderly form. But at the same time, I want to use very common material.

5. Development 03: Color.
I have visited Buddhism temple near the village. The temple was really spangling with sunshine. I have got inspiration from it.

Bamboo Pyramid (ongoing), 2008, ComPeung

ART as a Communication Tool For me, ‘ART’ signifies an individual attitude to society. ‘Society’ means a lot. When people gather together, the idea of ‘another’ appears. The notion of a relationship between the others will encourage the concept of ‘social’. Thus, my art activities are between you and me, and function as a communication tool.

Chai On The Balance, 2007, Turkey

About the artist
Jun'ichiro ISHII born in Fukuoka Japan 1975. He studied interior design and fine art at the beginning. He began his own artistic activities from 1997. In year 2000, abandons design and painting, he has moved into the site-specific art to pursue more contemporary possibility. In 2004 he was invited to have artist residency program in Seoul, South Korea. After two years artistic experience in Korea, since 2006, he is living in Paris. He had participated in exhibition in Japan, South Korea, Turkey and France. And his video work had been selected at over 10 different international video festivals such as 10th International Istanbul Biennale.
Jun'ichiro is extremely interested in observing cultural localities. To precisely grasp pure impression of the site, he doesn’t have formal methods. But adding a symbolic form to the peculiarity, he represents the cultural localities as site-specific artworks. For covering the temporariness of the site-specific art works, he also employs the video art. It is not only for archives but independently functioning as an artwork which features his site-specific project from another angle.

Silk Worm, 2005, Istanbul, Turkey

More info on Jun'ichiro ISHII please visit his website at www.reart.net

My Name Is Bravo!, 2005, Seoul, South Korea, Tokyo, Japan

PREVIOUS ARTISTS

Susu Shuling Shih (Taiwan) & Ruud Matthes (Holland)
The Gate
January 2008

Our idea is to make the support of the gate with thick poles of bamboo, to this we want to attach pieces which are woven from thin strips of bamboo ( we want to ask the Hilltribe people living on your land to do this for us ). To these woven structures and to the poles, other things can be attached by the participants, so the gate can become an object consisting of a rich variety of materials: grass, flowers, beer bottles, leaves, electric lighting, etc..

The Gate, 2008, ComPeung

More info on Ruud Matthes please visit his website at www.ruudmatthes.com

Drive Home:
Feeling(s) Transplant operation / In Case of Her Who "Having A Shower, Well"
December 2007 - February 2008

Untitled, 2007, ComPeung (part of project's research)

Naoto Okawada (Japan)
Hiroyuki Nogami (Japan)

This is the plan of facade about reforming the shower room, it is mimic to birds' nest-making about shape and how to make.
	In the age when people still run after the mammoth, it seems that people built such as structures which people gathered every useful things on the ground like a dead blunch, and they held these things over ground, further laid grasses and skins of wood. Such as little birds able to make.
Because, birds and other small animals nests has a roundly shape without exception, so that it's easy to make to build and to use if those are small. And there are some reasons.
Mimic to birds' nest-making is not come to change if it is miniature to the extent that a dimension of sense is smaller and fewer than those objects. In the case of our nest-making ^ even complicated things, it will come to see if its were limited for a part of lower dimension^ so we can understand how to make it, and then we think about gMatesish. It is said that people handover thing what already known anyone as a correct knowledge. As if people receive things already everyone into hand, from oneself. Using something of miscellaneous and incoherent things, managing with an assembly of tools and materials in that time. It would be a rule of this game. Because nothing in our hand, now
But we cannot yet begin this game because we don't have anything. Therefore we want to perform some workshops to obtain " tools and things limited by the moment ". It is touched off by all of the scene and all of people which we came across incidentally and we draw it in the diary. And like that, our nest-making advances. Untitled (sketch), 2007, ComPeung While we stay, we get things by a game and event such as the workshop. These are updated from C to D such as write down a diary when pile up. experimenting with a floating nest @ ComPeung, Dec 2007 About the artists Hiroyuki Nogami born in Hokkaido in 1980. In 2003, graduated at Hokkaido University of Education Sapporo art culture course arts and crafts course. Sculpture specialty. In around  2003, I went around Japan with work  of a physical performance "Tricycle Taxi". From 2006, I have act as [drive home]. In 2006, it is public production, the public establishment of a sculpture at Mexican Jalapa international sculpture symposium. I held a solo exhibition of a sculpture in "temporary space" in Sapporo in 2004 and 2006. Live in Onomichi, Hiroshima. Naoto Okawada born in Hokkaido in 1979. In around 2000, I studied under Hiroyuki Ohki (an movie artist) as an assistant director.And studied under Masami Tada (an artist) as an assistant in recent years. From 2006, I have act as [drive home]. Participated by the director's choice in CITY PROJECT related to "international art exhibition Dematel ". Solo exhibition of picture in "temporary space" of Sapporo in 2004, 2006. Live in Onomichi, Hiroshima.

ComPeung site, November 2006