Torsdagen den 24:e augusti välkomnar vi den fantastiska Therese Garbov till Galleri Scandinavia Stockholm för en riktigt häftig utställning med hennes tavlor.
James kommer ursprungligen från Liverpool, där han studerade på Liverpool College of Art innan han för alltid lämnade England. Sedan dess har han bott i många olika länder och de senaste 18 åren har han levt och verkat i Berlin.
Vi är oerhört glada att ställa ut James otroliga förhistoriskt moderna verk hos oss på Hornsgatan 29c!
"James Cummins composes pictures and objects into a comprehensive entirety into a “world” using the great fundaments of art: history, philosophy, religion, science and nature. He works with an intensive engagement,searching for the precise nature of mankinds essence.The results of this search are used in his work like a mirror, in which we can view the reflections of our own ambiguous history and uncertain future.
He experiments with diverse materials that he combines in his work as physical structures that lead the viewer deeper into the idea. The painting can be seen as a relief or as an object. Hieroglyphs, symbols, numbers and cultural ornaments are used as talismans for human dignity and mankinds possibility. His use of materials, however informal will not release us from its power of associations. Looking, our thoughts revolve around everything canvas is or could be: scroll, bandage, veil, sheet, flag, shroud, cover or curtain…as has already been intimated the screen that divides the senses has been opened wider by the art of Cummins."
Dr. Jörg Makarinos – Art historian and former curator of the Hamburger Bahnhof Museum in Berlin.
"The works of James Cummins presents the viewer with the physical presence of sculpture while remaining pictorial.These heavily textured paintings are quiet, they whisper rather than shout for attention.Yet the whispering is persistent, the purposeful handling of the paint, its color, texture and shape combine to touch us with the memory of a myth or some half forgotten ritual. He shares Jungs ideas about the collective unconscious and the traces of emotional, mystical ideas in his paintings seem to offer a decipherable code of meaning and hope in a world of materialism and crisis.
There is a stonewall poetry to his forms that enables this. They seem to hover in suspension and resistance, always in relation to something, potent and measured, astral and bewitching. He tends towards quadratic forms of hulking squares, or enigmatic apertures and shafts, suggestive of doors, windows and voids; sites of potential, in which the viewer is both inside and out.
The landscape of canvas is transformed with glacial forms and tectonic lines, evoking architecture and flesh, geography and geology. And for all that we recognise, there is much that we do not, and it is difficult to pinpoint their profundity, but something comes together in our minds, that is in itself inspiring and undeniably beautiful. And impossible to know, but undoubtable none the less, they work a kind of cerebral massage or magic on our unconscious. For neither totemic or abstraction, Cummins has a knack for creating a certain netherness that feels and works just right.
The use of various writing forms in some of Cummins’ work renders them less straightforwardly optical. The texts, regardless of whether we can translate them, lead us in, toward certain conceptual, conscious thought processes, which in turn then mix with more recondite feelings. Furthermore Cummins’ sgraffito mark making and writing, dissociates his work with the pretensions of formalist abstract expressionism, siding instead with the lyrical intuition of Art Informel, and older forms of art and abstraction.
Communication is only ever a gesture, and attempts at being definitive fail. Cummins’ indecipherable script speaks to us, in the language of painting, of earth’s history, and in so doing a latent knowledge and understanding are awakened, twilight embers rekindled.
Cummins many mindful processes, find form in an unfathomable communion, that we too may share, and are all the better for it."
Sam Skinner Art Historian and Artist November 2011
"Cummins uses visual systems that make it possible to change the viewers experience of seeing. What appear to be gestures of chance are parts of this “mandala” bringing the spectator closer to a state of contemplation of reality at a deeper level."
Anthony Roth – Art historian
The works of James Cummins presents the viewer with the physical presence of sculpture while remaining pictorial.These heavily textured paintings are quiet, they whisper rather than shout for attention.Yet the whispering is persistent, the purposeful handling of the paint, its color, texture and shape combine to touch us with the memory of a myth or some half forgotten ritual. He shares Jungs ideas about the collective unconscious and the traces of emotional, mystical ideas in his paintings seem to offer a decipherable code of meaning and hope in a world of materialism and crisis.