Elizabeth Dimitroff’s slightly haunting, surreal works explore the attachment between object and memory, specifically the uncanny sensation that one might experience when they revisit a memory of great personal significance. Her paintings depict a multi-layered, multi-sensory version of time, exploring the manner in which memories are layered, often attached to the same object, sensation or sound as others.

This layered nature of memory is also explored in the work of Amelie Wang, who interrogates the concept of memory in relation to the individual and the other. By considering her own upbringing in  
Hangzhou, China she explores a specific interpretation of the relationship, nuance or sometimes the conflict, between the Macro and Micro. The works have a ghostly tension, where idyllic worlds are tangled in an abbreviation of thoughts and images - reflective of her layered identity as a first generation Chinese immigrant living in America.

Also rooted in his own highly personal experience, the work of Jason Shelby Schuler explores relationships between trauma, memory, and the interplay of the mind and body in their capacity to mend and adapt. These works are also incredibly layered, this time physically, as Shelby Schuler blurs the boundaries between painting, sculpture, collage and drawing - using a layered application  of material and debris that mirrors the body’s healing processes.

His vibrant, saturated colour palette is shared by Serolod, who explores colour theory - looking for balance between colours that are in constant conflict with each other. Like Wang, she is also interested in replicating the infinite connection between people and their surroundings, as a response to the unified nature of reality. Serolod considers both highly personal memories, as well as ones indicative of a wider cultural & social sphere. Rendered with a dust-like application of paint, these images merge both digital and physical imagery to commentate on our wider existence in a range of physical and conceptual environments.

Shuangyi Li operates with a similarly feathery hand - utilising fine, precise brushstrokes alongside more crude, dry ones to contemplate on family & relationships. These arresting works exude a sense of silence, as if something is on the verge of happening, or has just occurred. She avoids straightforward explanations and narratives, instead prioritising emotional and sensory precision.

Like Li, Jonathan Tignor also avoids deliberate description, instead preferring an unsettling ambiguity that manifests as both a painterly and narrative tension on the surface of the canvas. Tignor’s paint slips and slides across his ground, never quite settling - echoed in the fractured and clouded nature of his scenes that change with each reading. Prioritising a precarious, somewhat violent pictorial language, Tignor grips the viewer with a tantalising peculiarity that over time allows the audience to appreciate his painterly hand.

Flora Temnouche’s personal portals have an intimate feel that at times even verges on the voyeuristic. These glimpses into every day contemporary life are rendered with a lovely soft hand that meshes well with the works of Shuangyi Li & Serolod. Like the other artists, Temnouche considers both the highly personal notion of memory, as well as the collective one - as a small cog in the machine during a moment in time. Her figures always appear somewhat disconnected from their surroundings whether that be through sleep, music or engaging with the digital. Temnouche is interested in our isolation & disconnect, in particular the consequences of those for both the self and society as a whole.

Free

Opening hours

by appoitment only

Location:

1st Floor 125 New Bond Street
London, W1S 1DY

Text and pictures, copyright chilli art project and the artist