THE MINE AT CODE ART FAIR 2017
The Mine, is pleased to present, a group show at the second edition of Code Art Fair in Copenhagen, with the participation of Johnny Abrahams (b. 1979, US), Yasuaki Onishi (b. 1979, Japan), Farnaz Rabieijah (b. 1981, Iran) and Nastaran Safaei (b. 1984, Iran). The artists, have used various mediums such as one's body, pressed into fabric, plants hard-pressed into paper, glue pressured onto the wood for the creation of different series of prints, along with a series of experimental painting.
Abrahams, Onishi, Rabieijah and Safaei, in this show manage to translate their own selves. The artists found themselves standing at similar junctures artistically, and what emerges, unfurling luxuriously onto paper, canvas or wood, like a long-dormant shoot, is a feminized interiority and a sense of connection, both to nature and to the outside world.
In her Body Impressions series, Safaei uses her own body to make marks on textiles. Unlike the full-body prints of Jasper Johns or David Hammons, the body is not depicted but only intimated, with smears and swooshes that might be a shoulder or perhaps a knee; this remains unclear. Spidery skeins of dots, connecting body parts to each other, sometimes trailing off over the page with a tentativeness that directly contrasts with the assertive intensity of these body prints. At the same time, in Rabieijah’s Spinning Plate series, plants are pressed into paper to leave beautiful deboss-like indentations. Unlike pressed and preserved plants, the botanic matter is then removed and discarded, leaving only the void behind, like a trail of perfume after someone has forever walked away. Onishi, in his series Plate of Pressures, used the same dark glue that was chosen for an earlier monumental and three-dimensional installation, that was applied with a glue gun on wood panels, leaving in the work different layers of traces. Traces as phenomena inscribed into reality, and illustrating the material transformations of the world, and the transition from phenomena to concreteness. Abrahams, in his series Haptic Trajectories, experiments with the idea and the technique of prints, with his edge to edge, patterned lines, drawing a progressively finer language of elements. Using the waviness of watered silks and the render errors that you might get when taking a photo of a screen, Abrahams pictures a series of processing failures that result from the limitations of hardware—camera sensors, that trick the eye into perceiving afterimages of colour where there is none, creating the curious sensation of getting screen-burn from acrylics on canvas.