ARTisSpectrum Vol.30, November 2013 - page 78-79

ARTisSpectrum | Volume 30 |
ARTisSpectrum | Volume 30 |
hokoufeh Malekkiani
’s elegantly composed
images expand the range of expression that is
usually found in war photography. In her pictures,
what we do not see is every bit as compelling as what
we do see. She depicts the objects used in combat
situations (boots, gas masks, helmets), which by their
very presence suggest the violence of the battlefield.
However, she does not show us the violence, nor
the soldiers. Instead, it is in the muted yet dramatic
response of the human subject, who reacts to those
artifacts of war, that the photographer finds the story
that she wishes to tell.
Limiting her palette to black, white and subtle earth
and flesh tones, Malekkiani creates a world that has
a simple, iconic power. Clothed in white, her human
figures merge with their backgrounds, turning them into symbols that go far beyond the individual. Printing her
photographs on canvas, the artist gives her compositions a soft glow and classical balance that both underlines their
connection to memory, and makes the emotions expressed universal. The pain of loss and the lingering sense of
absence are powerfully communicated. “I hope that my photographs demonstrate a great appreciation for the men
and women who have fought for our safety and freedom,” she says.
The Soul of War 17 Photography on Canvas 39.5” x 59”
Shokoufeh Malekkiani
nglish artist
Ann Manie
combines mixed media and
paper collage with acrylic paint to compose highly
expressive images with a strong emphasis on shape,
color, and tone. Each piece begins with an observational
drawing over which she applies a colored wash. Collage
elements are then added, and the entire composition is
pulled together with acrylic paint. Alternatively, she uses
a form of printmaking (
Etching) to achieve
a similar effect. Although the images are primarily
representational, they contain strongly abstract elements.
As Ann Manie explains, “In the spirit of Cezanne I aim to
produce work that ‘runs parallel to nature.’”
Inspired by early 20th century modernist painters, among
others, a strong focus of Ann Manie’s work is on the
interrelationships that exist between space and objects,
and the underlying geometry that comes to define this.
Central here is a focus on the “void,” those empty spaces
that are defined solely by that which surrounds them.
Here, she is able to strongly push the boundaries of
visual representation, revealing extraordinary details and
perspectives, inspiring the viewer to reconsider those seemingly ordinary things that surround us in our visual and tactile
Ann Manie firmly believes that every piece of art has a life and direction of its own, and that it’s up to the artist in part to let
go in the process of creation and allow the work to evolve as it will. What results are unique pieces filled with spontaneity
and wonder, works that are able to transform familiar forms into something quite magical. Above all, Ann Manie seeks
for her art to make viewers think differently about the world we all inhabit. As she explains, “Collage unleashes creative
possibilities that one never imagines at the outset.”
Ann Manie currently lives and works both in London and in Dubai.
Ann Manie
October at the Foreshore Chine Collé Etching 4” x 5”
Swimming Pool at Zanzebeel
Mixed Media - Paper Collage and Acrylic Paint on Conser-
vation Card 25.5” x 20.5”
Ann in her Studio
hewildly inventive sculptureof
pushes the boundaries of what three-dimensional art can
or should be able to do. McGhee works in a variety of media
– ceramics, wood, concrete, and wire – and exercises her
imagination in many modes. Her figurative pieces explore
a single part of the human body, such as a torso or face, in
an intimate and heartfelt way. Her collection of functional
flatware features cups and vases that mimic organic forms
while sporting bright, graphic color patterns. McGhee puts
classic elements into new and unexpected contexts to re-
examine what old aesthetic messages mean.
Nowhere is this more evident than in the artist’s unique series
of teapots, which resemble nothing so much as Surrealist
cartoon characters. McGhee separates the bell from the
spout entirely, attaches the two with spindly ribbons of
porcelain, and perches the entire thing on teetering legs
that bend and dip as if in complete defiance of gravity.
McGhee has described her goal with these pieces as raising
the curtain on what is possible.
McGhee was born in Wasilla, Alaska and today lives in
Michigan, where she has exhibited her work across the
country. She is also an accomplished two-dimensional artist, working in drawing, painting, and photography.
Delylah Porcelain 8” x 6” x 11”
Mikey McGhee
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