Art Basel Hong Kong 2018

Hall 1C Booth 10

27–31 March 2018

Zhou Li, Blue – No.2, 2018, mixed media on canvas, 200 x 200 cm / 78.7 x 78.7 in  

Dorothy Cross, Shark-Heart Submarine, 2011, mixed media, dimensions variable

Additional Views

Merlin James, Moon, undated, acrylic on canvas, 112 x 60 cm / 44.1 x 23.6 in  

Liam Gillick, Reached Horizon, 2017, powder-coated aluminium, 30 elements, 185 x 400 x 5 cm / 72.8 x 157.5 x 2 in 

Additional Views

Callum Innes, Untitled No.13 Lamp Black, 2017, gouache and oil on linen, 162 x 160 cm / 63.8 x 63 in  

Additional Views

Liliane Tomasko, rupture, 2017, oil, acrylic and acrylic spray on linen, 172.7 x 157.5 cm / 68 x 62 in  

Kerlin Gallery is delighted to announce its participation in Art Basel Hong Kong 2018.

In Hall 1C Booth 10, it will present a selection of work by:

Dorothy Cross (IE)

Liam Gillick (GB)

Callum Innes (GB) 

Merlin James (GB)

Liliane Tomasko (CH)

Zhou Li (CN)

 

Media Contact: Rosa Abbott, rosa@kerlin.ie | +3531 670 9093

 

With support from Culture Ireland.

 

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Dorothy Cross  (b. 1956, Cork, Ireland) examines the relationship between living beings and the natural world. A sense of place pervades her practice. Living in Connemara, a rural area on Ireland’s wild west coast, the artist sees the body and nature as sites of constant change, creation and destruction, new and old. Many of Cross’ works incorporate items found on the shore, including boats and animal skins, while others reflect on the environment. Works at Art Basel Hong Kong 2018 include sculptures, watercolours and photographic prints, many of which depict or use parts from sharks, a major motif in her work.

 

Liam Gillick (b. 1964 Aylesbury, England) is one of the most prominent and important figures to have emerged in international contemporary art since the mid-1990s. The diverse forms of his art—ranging across sculpture, installation, film-making, writing and other, widely varied, collaborative projects—often allude to pivotal moments in the history of modern and postmodern art. At Art Basel Hong Kong 2018, Kerlin Gallery presents a new powder-coated aluminium wall-piece by Gillick, using sleek horizontal forms, each colour-coded using the RAL system.

 

Callum Innes (b. 1962, Edinburgh, Scotland) is among the most significant abstract painters of his generation. His paintings are highly disciplined but also uncertain spaces, combining the controlled authority of monochrome geometric forms with ever-present traces of fluidity and an always-apparent tendency towards formal dissolution. For Art Basel Hong Kong 2018, Kerlin Gallery presents a bilaterally divided painting combining oil and gouache on linen, Untitled No.13 Lamp Black.

 

Merlin James (b. 1960, Cardiff, Wales) intensively works his canvases ¬– generally small in scale and encompassing a wide variety of subject matter including empty interiors, rural landscapes and architecture. Often distressed, pierced, cropped or heavily overpainted, these works refine and renew many of painting's most time-honoured concerns – genre and narrative, pictorial space and expressive gesture, the emotive resonance of colour and texture.

 

Liliane Tomasko (b. 1967, Zurich, Switzerland) presents two new paintings, both using oil, acrylic and acrylic spray on linen on large, slightly off-square canvases. These are some of the most virile works Tomasko has created to date, and reflect the artist’s progression from soft, ambient abstractions, for which she first won acclaim, to something freer and more assertive. Rendered in a bombastic palette of headstrong reds, deep jade and indigo, they build upon the legacy of abstract oil painting while seeing her capture the dynamism of a new material, acrylic spray.

 

Zhou Li (b. 1969, Hunan, China) creates paintings, sculptures, installations and public art using mixed media, including oil paint, washes of ink, charcoal and cotton cloth. Her lyrical abstract paintings capture her acute sensory observations of the world: lightness and shadow, solidity and dissolution, the sense of being. Building upon the history of European painting and the central tenets of traditional Chinese art (Qiyun, or atmosphere; brush stroke; colour and structural arrangement), Zhou Li harnesses both traditions to develop a distinct painterly language.

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