This vibrant, large-scale abstract artwork features a dynamic interplay of bold colors and energetic brushstrokes. The composition is a riot of vibrant hues, including yellows, oranges, reds, greens, and blues, layered and interwoven in a chaotic yet harmonious manner. The overall effect is one of spontaneity and movement, with the artist employing a variety of techniques such as dripping, splattering, and gestural mark-making. While the subject matter is not immediately recognizable, the work evokes a sense of organic growth and natural forms. The artist's intention seems to be creating a visually arresting and emotionally resonant abstract expression. ...
Tell Somebody It Happened, the God of the Sea is a Sexual Harasser (Originally from "The Faerie Queene", Book III, Part VII, illustrated by Walter Crane, ), 1895
Aaron Garber-Maikovska works in large-scale abstract paintings, performance and video. He places the bright white boards on the floor and fills them with clusters of colour in oil, pastels, wax and raw pigments made by the artist himself. The huge scribbles, only seemingly random, propose complex and cryptic narratives that contemplate on the notions of identity, fatherhood, memory and communication. The intimate tangibility of the personal and his body runs across his practice: his performance works, which serve as a source material for his paintings, incorporate the kinetic elements of dance, rhythmic movement and spoken utterances. Garber-Maikovska places his performances in late-capitalist and neo-libreal settings of shopping centres, chain restaurants, parking lots, and repetitive suburban areas. The video documentation of his works echoes the performative turn of the 1960s and 1970s when conceptual art’s happenings were animating the art discourse. Garber-Maikovska’s “guerilla” performances are inspired by an intuitive process of intervention and narrative-constructing around the mysteries of reality. In both his performance and paintings, Garber-Maikovska explores the dimensions of what it means to be human, proclaiming, to put it in the artist’s words, “we are here, and we don’t know why.”
Written by Goldsmiths CCA ...
High Art was born in 2013 from an interest in bringing together distinct perspectives in advanced practices that are significant to current paradigms in contemporary art. Since its inception, High Art has functioned to provide an economic and logistic framework for artists by reexamining established modes of art commerce and production while attempting to account for an expanding field of art. The gallery has fostered not only the emergence of artists (Olga Balema, Max Hooper Schneider, Julien Creuzet, Matt Copson, Lucy Bull, Hun Kyu Kim, Mélanie Matranga) but also the emergence of new networks and economies (Paris Internationale, Shanaynay). In May of 2017, High Art inaugurated a new space in the heart of the 9th arrondissement of Paris. The space, which is located on the ground floor of an 19th century Haussmannian building, is notable for housing Georges Bizet while he wrote the opera “Carmen”. In December of 2020, High Art opened a second location in a 12th century chapel in the heart of Arles, France. ...
