Domino
In Domino, five international artists gather in the Lisbon light to start a dialogue through intuition and inquiry. Olivia Bax, James Collins, Daiga Grantina, Monique Mouton and Francis Offman approach material with a sense of instinct and momentum. They respond perceptively to the architectural qualities offered by this building. Like the careful placement of dominoes before the fall, this exhibition invites viewers to trace a line between the works, not necessarily linear, but as a continuation of echoes and reverberations.
The title implies a relational logic, particularly the way one work leans gently into another, suggesting a reaction of gestures, textures, and tones. Though varied in media and intent, each artist shares a sensibility for simple materials and forms. From dense deposits of paint and paper pulp to assemblages of everyday materials and gestural mark making in watercolour/pastel, there is an attempt to decode and make beauty of daily debris鈥攚hether through the construction of painted surface, the tension in sculptural form, or the layering of narrative within abstraction.
Olivia Bax鈥檚 vibrant, contoured sculpture and drawings anchor the physicality of the exhibition, their hand-wrought surfaces reveal an intimate choreography of labour and balance. Her practice is characterised by familiar elements such as hooks, handles or vessels incorporated into sculptures in unfamiliar ways. Bax generates her own paper pulp to cover and form over linear armatures. James Collins slows down the process of painting to mine moments of arrival and disappearance. His malleable use of paint is applied to appear both solid and fluid, impressing itself onto the support and spreading through built-up floodplains, depositing a rich sediment of references. Daiga Grantina鈥檚 sculptures are amorphous in form. Her works are reactive to their exhibited environment and invite natural light to be a protagonist that navigates volume and form at the point where perception and physicality intersect. Monique Mouton鈥檚 paintings are studies in nuance and balance, where edges dissolve and colour fields drift beyond their boundaries. Her use of colour can shift and spill from being ethereal and diluted to bold and dense. Francis Offman recycles gifted and collected materials including canvas, coffee grounds and pigment to contribute a tactile and historical density to the exhibition, incorporating materials that speak to migration, memory, and identity.
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In Domino, five international artists gather in the Lisbon light to start a dialogue through intuition and inquiry. Olivia Bax, James Collins, Daiga Grantina, Monique Mouton and Francis Offman approach material with a sense of instinct and momentum. They respond perceptively to the architectural qualities offered by this building. Like the careful placement of dominoes before the fall, this exhibition invites viewers to trace a line between the works, not necessarily linear, but as a continuation of echoes and reverberations.
The title implies a relational logic, particularly the way one work leans gently into another, suggesting a reaction of gestures, textures, and tones. Though varied in media and intent, each artist shares a sensibility for simple materials and forms. From dense deposits of paint and paper pulp to assemblages of everyday materials and gestural mark making in watercolour/pastel, there is an attempt to decode and make beauty of daily debris鈥攚hether through the construction of painted surface, the tension in sculptural form, or the layering of narrative within abstraction.
Olivia Bax鈥檚 vibrant, contoured sculpture and drawings anchor the physicality of the exhibition, their hand-wrought surfaces reveal an intimate choreography of labour and balance. Her practice is characterised by familiar elements such as hooks, handles or vessels incorporated into sculptures in unfamiliar ways. Bax generates her own paper pulp to cover and form over linear armatures. James Collins slows down the process of painting to mine moments of arrival and disappearance. His malleable use of paint is applied to appear both solid and fluid, impressing itself onto the support and spreading through built-up floodplains, depositing a rich sediment of references. Daiga Grantina鈥檚 sculptures are amorphous in form. Her works are reactive to their exhibited environment and invite natural light to be a protagonist that navigates volume and form at the point where perception and physicality intersect. Monique Mouton鈥檚 paintings are studies in nuance and balance, where edges dissolve and colour fields drift beyond their boundaries. Her use of colour can shift and spill from being ethereal and diluted to bold and dense. Francis Offman recycles gifted and collected materials including canvas, coffee grounds and pigment to contribute a tactile and historical density to the exhibition, incorporating materials that speak to migration, memory, and identity.
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