Salon Contemporary is offering emerging, innovative and passionate artists out there a chance to display their work in the creative hub of Notting Hill!‘Artist of the Week’ is a new and exciting competition, with the opportunity for one selected artist each week to have their work featured on our website in the run up to our AoW Christmas Exhibition. The winning candidate will then be offered a residency in London’s West End! We’re calling on artists from all fields including the visual arts, performance, dance, film, theatre, animation and music!
Wednesday, 22 December 2010
Monday, 20 December 2010
Untitled (Still Life With Fruits)
In the project, the artist focuses on the power of brand to represent the commodity fetishism - an illusion arising from the product to overrate itself, enchanting people to buy it. In our everyday life, we can find a bike from Hermes cost £2300, and a tennis-racket from CHANEL cost £450. What is the uniqueness about those products from famous designer brands? Fruits, as a natural product, without artificiality, are ridiculously labeled with Louis Vuitton, GUCCI…etc. Without any other difference, do people believe
that ‘The Fruit’ is better than others?
In ‘Invisibility’, Ting-Ting Cheng’s photographs of found objects celebrate the banality of everyday
life. She collected a number of insignificant objects that were discarded on the streets and placed
them on sculpture plinths.
Cheng is working in a long artistic tradition that stretches back to Surrealism. She is more directly
inspired by contemporary artists such as Martin Creed and Fischli and Weiss, whose absurdist
treatment of the everyday raises fundamental questions as to the nature and materiality of art.
At the same time the images raise environmental issues concerning the huge amounts of waste
generated by our society much of which appears to be invisible to consumers.
Things We May Never Know
In ‘Things We May Never Know’, Cheng combines texts with objects that belong to
international students from Asia to explore the isolation of being an outsider in a foreign land. The
displacement of these objects indicates the cultural barriers that these students are facing by
themselves, without the reassurance of family or a familiar setting. The texts, written in the native
language of the each owner, describe the relationship between the object and the person. It is
untranslated to force the owner’s position upon the viewer: their words are one of the many things
that, due to enormous cultural differences, we may never know.
Wednesday, 15 December 2010
Monday, 13 December 2010
Steven has recently graduated with an MA in Communication Art & Design at the Royal College of Art.
Steven enjoys creating work that 'congratulates its own stupidity and dwells upon its consideration and its own perceived importance. Within this work labour and meditation are often perversely married to one another in the process of capturing everything and nothing.'
'I engage with art itself as a subject matter to attempt to
understand the physical and philosophical ingredients of contemporary
art. I often think of art as an autopoietic machine that self-creates and
continually perpetuates. The artist being the protagonist and operator of this
machine, taking things apart and putting them back together again in a new way,
re-mediating reality and re-configuring it to sustain itself.'
|'Stand up Protest'|
To view more of Steven's work, follow his website on
Tuesday, 7 December 2010
2. Which is the best exhibition you have ever been to and why?
- Candice Breitz, 'Inner + Outer Space' at Temporäre Kunsthalle, Berlin. I found it totally hypnotic.
3. What did you enjoy about your degree the most?
- My Erasmus exchange to Rotterdam in the 2nd year, I wouldn't be where I am today without that experience. I had my first exhibition there at Het Platfond.
4. If you could describe yourself in one work what would it be?
-Ooo! That’s tough, I've no idea. But my friend suggested 'determined' or 'witty'.
5. What is your favorite thing to eat over Christmas?
-Extra crispy roast potatoes
6. If you were stuck in a deserted island and you could have three things from home, what would they be?
-Mac book pro
(I'm assuming there's a power source on the island)
7. Where is your local hang out?
8. What is your favorite film and why?
-I've never had a favorite film; it always depends on my mood. But the most influential film I've seen was Renzo Martens, Episode 3. I've seen this film about 4 times now, and each time is a different experience, however it never fails to shock me and leave me wondering about the nature of mankind. It was influential because it lead to me explore my obsession with the documentary, the promise of knowledge, the idea that knowledge could expand my world. Thus leading me to consider how knowledge can gives us freedom but also constrain and limit our possibilities.
9. If you were not an artist, what do you think you would have chosen as a career path?
- I was studying to be a doctor, however Science is incredibly boring and so I switched to Fine Art. So probably a doctor, or possibly a vet.
10. What was highlight of 2010 for you?
- Career wise would be being selected for the UK Young Artist Biennial. Personally it would be the city break to Budapest in the summer.
Monday, 6 December 2010
|Jennifer Ross' video still|
Wednesday, 1 December 2010
2) In your work, you use a lot of different mediums. If you had to chose only one, which would it be and why?
It's very hard to answer this as the way the different mediums relate to each other and to the space they are in are the issues my current practice explores- if I had to choose one based on aesthetic values, at present it would be the etchings into slate.
3) If you could be in any place right now, where would it be?
4) What one item couldn't you live without?
My Canon SLR camera
5) Name one piece of art work you've seen recently that’s had a powerful affect on you. Why did you like it/dislike it and who was it by?
Turning The Place Over- Richard Wilson at Liverpool Biennial- His use of deconstruction, re-assembly and movement to create new questions and dialogues around a previously disused and derelict building in order to provoke a hightened contextual awareness within the city.
6) What is your favorite word?
I'm not sure I have one favorite word! There are too many to choose from!
7) Do you have a memorable quote/philosophy on life?
Antonin Artaud - 'it is not opium which makes me work but its absence, and in order for me to feel its absence it must from time to time be present'
8) What and where would your ideal gallery location be to display your artwork?
An urban, contemporary gallery, London, Newcastle, Glasgow
9) Is the glass half-full or half-empty?
10) What has been the biggest turning point for you as an artist?
Being in the final year of my degree, it is now when everything begins to come together and this is really exciting. I think the Degree Show in June 2011 will be a great experience for the whole year to work together in creating a successful Exhibition which will hopefully bring new opportunities!
Tuesday, 30 November 2010
Final year BA Fine Art student from Loughborough School of the Arts.
Practice-based influences are vast; Gedi Sibony's work which evokes aesthetics of Arte Povera has been very significant - the considered arrangement of the objects used in relation to their environment challenges the relationships with surrounding contexts. Further reference points include Martin Boyce, Peter Fischli & David Weiss and Felix Gonzalez-Torres amongst many.
Friday, 26 November 2010
Tuesday, 23 November 2010
If you could use one word to describe yourself, what would it be?
Your house is burning down - you have to save THREE things. What are they?
Depending if I was outside, I'd leave it all, but if inside, my tent,
laptop and coffee machine.
What was your number one highlight of your residency in Armenia?
In this case (I would say for me), it was the starting point on our
new project and the subjective conclusions towards the end, everything
through our dialogue, it changed in different environments. When you
different disciplines, this becomes the real test, it brought about
our last kinetic work that self-destructed. When people came to our
show (Yerevan), over a period of our Kinetic installation slowly
destroyed, the work was intended to be ephemeral, but during the show
some people started running up to it, trying to save and reattach the
grade) students to deconstruct it, recycling the materials and to
reconstruct it into something new.
Name one thing you learnt about yourself whilst at your residency in
During my residence, I discovered the Dutch art/artist scene and
I've been look-out in London for a place to start...
What is your favourite colour?
For now, Blue
What do you like to read?
Without wanting to be too vague and difficult, books, (when at work)
I like to look on the edge of things. But ask me again in 5 years time.
painting/drawing with acid and pioneer of auto-destruction, but
without giving away too much you should check out his current stuff.
But choosing ‘one’ is difficult because I recently saw a couple of
artists that really made me say… WOW!, when it comes to viewing their
work I take on a Neanderthal manner by simply just wanting to
experience the aesthetics, walking around there works. Later, I
usually question there technique, like Alan Vegas' combination of
Music and Punk, Jean Tinguely MetaMatic machines, a series of
sculptures that play on the notion of physics, I questioned his use of
medium and motion, his works are in a way, playfully kitsch and
nostalgic. And Anish Kapoors temporary works in the Hyde park, while
as if not even trying, they seem to beam energy, they move like live
paintings…just stand in front of one. All three are very are
different, but all artists have played a major role in the
experimentation of my current work.
What is currently on your playlist?
Which project of yours has been the biggest challenge...why?
You favourite quote/motto that sums you up.
professor and before that theatre and lawyer (and now mentor to me)
Danilo Duenas, he recently shared this quote by a Brazilian poet
before I set off for my artist-in-residence to (ex-soviet state)
Your number ONE gallery/location to display your work at.
it was to be my future residence (squat) but recently when I returned,
it had just begun demolishment (so if I find another place similar, a
large warehouse with no limits).
Monday, 22 November 2010
|'Cyclus of Reinvention Installation view of Eduring love' 2010|
|Untitled Performance, 2010|
|A decisive measure for infinite possibilities, 2010|