Art Exhibition: Feasting the Female Form
Artist: U Lun Gywe, Burma
Dates: 18 June – 16 July, 2011
Venue: Thavibu Gallery
Open: Monday – Saturday: 11:00 – 19:00
Thavibu Gallery is pleased to present the art exhibition Feasting the Female Form with oil paintings by the Burmese artist U Lun Gywe.
U Lun Gywe who is highly regarded for his Impressionist style of paintings is one of Southeast Asia’s most respected senior painters. U Lun Gywe through his articulate and sweeping brushwork and vibrant palette is particularly regarded for his rendering of the inherent beauty of Burmese women – a subject that he often blends with Burma’s rich physical, cultural and spiritual landscape. His paintings of dancers and village women are not only reminders of Burma’s rich cultural heritage but importantly it is a reflection of a society that lives with dignity and grace despite their adverse social environment.
U Lun Gywe is 80 years old and considered the living master of Burmese painting. He has been a mentor of generations of younger artists.
Commemorating the more than fifty year artistic career of 80 year old U Lun Gywe – Thavibu Gallery is launching a limited edition coffee table book “Feasting the Female Form” in conjunction with a specially curated exhibition of recent figurative works by the artist.
Seven Forms of Ambiguity for the Urban Animist
Artist: Martin Collins, UK
Dates: 25 June – 13 August, 2011
Venue: inter@thavibu, Thavibu Gallery suite 309
Open: Monday – Saturday: 11:00 – 19:00
Martin Collins is a British artist, 47 years old, with an international trajectory as a painter and mixed media artist – with solo shows in England Spain, New York and Thailand. He is based in Bangkok for a decade and draws on Thai imagery and events to present powerfully charged large-scale ‘photo-paintings’ – archival photo-prints up to two meters in height in limited editions.
Collins’ deeply layered and sumptuously colored prints have real physical presence or visual weight - the results of the long process in their making, which in the case of key works may be modified over months or even years. He begins working by combining selections from his ‘beauty collection’- the thousands of still photos taken on regular walks exploring the neighborhoods near his Bangkok home, fishing for beauty: His ‘catches’ are then carefully edited and printed as photo ‘singles’ and are beautiful artworks in their own right. He sees the city as any animist would: it is a prescient entity expressing itself in lovely ‘moments’ or brief, efflorescence. Yet that is not the end of the process... Gradually he starts to associate or contrast certain works in his mind, then ‘physically’ in Photoshop, and, slowly they gather more layers and personality. Then he starts a period of printing and tonal and color correction. He uses No ‘computer generation’ or ‘painting’ from the paintbrush, spray or pencil tools. He is not a ‘digital’ artist, but a painter using photographic tools resulting in solid-state artworks.
The Seven Forms of Ambiguity of the show title refers to William Empson’s seminal work on poetic imagery in 1930 – yet until now a careful study of visual power, or repeatable ‘language’ is still lacking in the visual arts. Ambiguity is the key to ‘projection’, as in the state of visual doubt we are sucked in by curiosity, and our brains, create a solution: a creative leap! Collins says: “These catalysts, or dynamos we call ambiguities are vital for both the artist to lose himself in the making of the work, and as a portal for viewers to enter and explore within the artwork with eyes and senses and for them to flood the artwork with their emotions. I aim for an art like Shakespeare’s: accessible, flexible, yet which can shake a mass audience ‘warmly by the throat‘ by sheer beauty, and is able to delight both mind and senses, to surprise, amaze or state truths in equal measure.”