About the guest Artists:
The paintings of Ralf Kokke (1989, Rotterdam)depict fragments of western culture he is amused by. These pictures are related to the history of European painting and its use of it’s craft as a trademark. In his paintings he likes to capture contemporary fantasy-like creatures mixed with classical compositions. With a mixture of happiness and a certain sadness he creates an imaginative world of care-free moments the viewer might like to go to. His intuitive style, in which he zooms in on older works and brings together old themes with new themes, shows how he keeps on developing the subject of Western art history and how it changes together with todays culture.
Cécyle Bay, born in 1979 and living in Paris, studied in BTS visual communication, Emile Cohl school of image. She works in comics, illustration and the video game industry since 2002.
Her figurative pen and pencil works, which are a mix between academic drawings, cartoonism and outsider art, blur the line between the body normativity and monstruosity, and focus especially on gender issues.
She’s come to Kaus Australis to experiment in a different context. In a Geographical, social and artistical sense, she has been looking for new ways to tell stories by creating installations with several drawings interacting with eachother.
Mar del Plata, Argentina 1982.
“The mind is like a richly woven tapestry in which the colors are distilled from experiences of the senses, and the design drawn from the convolutions of the intellect.’ (Carson McCullers, American writer, 1917-1967.)
McCullers’s famous line, uncannily, is near perfect in describing Diana’s most recent paintings and, we surmise, the way in which they arrive. Sinuous, linear arabesques of paint trails weave to and fro from multiple centers –there is not a central one– of concentrated zones, as if vine branches were interconnecting different flowers and a palette of Hibiscus blue, Hydrangea pink, Orchid yellows, etc. These are abstract paintings, but it is very difficult to avoid their organic correspondences: roots, vines, branches, stamen, in sum forms always ‘growing’, dying down and growing up again. To return to McCullers, here natural growth corresponds to thought, memory, recollection and reminiscence, Diana’s own of course, but freely offered to others to compare. Join in and it is a rich exchange, all you could ask for and more.
Unsurprisingly, these paintings grew up during an extended stay back in Argentina, and matured back home in Holland, perhaps rooted in both, as is Diana.
It is a firm declaration of her overall ambitions from the start.
Diana Roig will close her six months residency showing some of her natural pigment paintings alongside her oil paintings and a collaborative piece with fellow resident Cecyle Bay.
The residency of Diana Roig was made possible by the CBK Rotterdam.
Freiburg im Breisgau, 1985
Rebekka Löffler grew up in the Black Forest region near Freiburg im Breisgau (Germany). She received her master’s degree at the Staatliche Akademie der Bildenden Künste Karlsruhe in 2012, and was a resident at the HISK (Higher Institute for Fine Arts) in Ghent (Belgium) in 2016-2017.
Rebekka Löffler’s paintings and sculptures explore the interface between the explainable and intangible aspects of being. They demonstrate her reflection and response to the conditions and occurrences of life. Painful or rousing, subtle or sublime moments of life evoke the urgency to be shaped in all their states of matter and to be coloured in all shades in order to grasp and frame a cleared and decipherable image of life—an image that wants to question the representation of reality, and depict a multifaceted and fluid perception of life.
They explore themes that are connected to personal experiences such as language and identity, moments of realization or moments of change and breakout, the role of women and the entanglement of relationships. ln the painting ‘Entanglements’, 2017, for instance, there is a complex constellation of lines and shapes—round, organic, and angular—that collide, interact, and interlace. The subject of the painterly investigation of ‘Entanglements’, 2017 is the interpersonal; the invisible web of sentiments spun between humans that catch up with us over and over again—one way or the other.