‘Last Light’ by Kim Dorland, on display at BEERS London as part of her solo exhibition ‘Terror Management Theory’, which runs until October 6th. “The show is my imagined extrapolation of that theme – obvious portentous signs that are a bit more dramatic – but not that far off,’ he says, ‘an imagined “how far do things have to go before we notice or act?” It’s not meant to be an overtly political or “statement” show, but it’s definitely what’s on my mind these days. I don’t think there’s any way to avoid it.” - Kim Dorland
“Certainly, Dorland's trademark subject matter is once again at play: solitary figures in nighttime forests, owls gazing ominously back at the viewer, self-portraits laced with visceral 'blobs' of impasto paint. But there is also a playfulness in both his approach and his titling: Plein Air Painter replaces that ominously shadowy figure in the woods with another tradition in painting: the open air painter, an approach favoured by the Modernists as they watched the changing of the daylight and seasons. In Self Portrait at 44, the artist wryly mentions his age as another subtle, albeit humorous, reminder of one's own mortality. Have a Nice Day is perhaps the most outwardly tongue-in-cheek, referencing the currently topical 'plastic-crisis', the fragility of life, and the entrapments of life in a single, rather banal image. There are (not so) subtle allusions to zombification, biohazards, teenage posses, a vampire (or two), as well as a few other horror-movie clichés thrown in (haunting sunset, long-haired girl), and of course, a couple of traditional Memento Mori scenes: a skull bursting with flowers, one bright blue, and one starkly black. These two stand in as metonym for all of Dorland's practice: at once haunting, simultaneously overabundant expressions of some sort of mania, be it gleeful or haunting, situated between extremes: the sheer rapture of artistic expression...life, and - of course - death.” - Beers London
‘Social Chameleon (Homage to Ellsworth Kelly)’ by Oli Epp, on display at Morley Gallery in London as part of his joint exhibition with Livi Mills ‘Out of Place’, which runs until September 29th.
“My time at Morley College on the Zsuzzi Roboz Scholarship has come at an incredible time in my career. In my first year out of art school I have been very fortunate and I know that this Scholarship has been instrumental in advancing my career and practice. My first solo exhibition, ‘Epiphanies’ at Semiose Galerie in Paris was a great success and brilliant experience. I couldn’t have done it without the support I received through the Scholarship.
Steve Wright was my personal mentor during this time. His critical insights were extremely beneficial and he helped my paintings and ideas to mature and come together. I’ve also had the opportunity for individual studio tutorials with Ansel krut and Erika Winstone.
The Fine Art Mentoring Course, led by Erika, was the highlight for me but I can’t underestimate the impact of the diverse experiences I have gained. I took my first classes in sculpture and video editing, while learning screen-printing with David Holah was significant in preparing me for my print run at Semiose and Jealous Print Studios. Most of all, the Scholarship has expanded my network and given me the chance to work with fantastic, wise and nurturing people and for that I will always be enormously grateful” - Oli Epp