Art For Thought

Vitrine Gallery opened Cecilia Fiona’s solo last month in their Fitzrovia branch.

I had previously seen some pieces by Fiona, having followed her practice for a while, but with this show it was finally time to see the entirety of her craft in action. The show encompasses a wide range of medium, from an array of different-sized works on canvas, to sculpture, to a painted jute costume - which was then used in two performances at the beginning and at the end of the private view on the opening night. Usually, it’s Cecilia who wears her costumes, transforming herself into her own works - yet this time, she collaborated with a performer and a musician, who played tormented notes on the violin as the unsettling figure slowing moved through the gallery floor in movements almost recalling a tribal dance, transporting pieces of two sculptures placed at opposing ends of the gallery from one to the other.

Since first noticing Cecilia Fiona’s works last year, her ambiguous yet enchanting dream-like landscapes and characters have strongly intrigued me, reminding me of artists such as Chagall. It was also exciting to meet her and have her participate in my curated selection for this year’s International Women’s Day auction through Art on a Postcard (bidding 27th of February till 12 of March).

Having met Melania Toma earlier this year and shortly after going to visit her studio, it was incredibly exciting to see her participation at the Saatchi Gallery’s “Studio Response #4” (written about in AFT #9) and thereafter seeing her take part in the group show “Embodied Selfhood” at Pictorum Gallery, together with artists Arslan Eroglu, Maria Positano, H.E. Morris and Dennis Scholl.

Melania’s canvases, as previously described, play between a multitude of natural materials such as sand, wool, and pigments she typically sources from her travels. Her practice is result of her research that has to do with reality and the otherworldly, and the ‘languages’ that might tie these two together. Toma describes her own works as ‘ghost hybrid creatures whose powers cross the boundaries between individual and the collective.’ (Pictorum Gallery)

I was not sure if to attend this exhibition, as immersive shows have typically been a massive let down in the past, but this one was different. “Synchronicity” is actual art infused with scientific experimentation and ideologies rather than other immersive shows where work is simply projected on walls and floors.

Held at the 180 Studios, UVA (United Visual Artists) are showcasing eight different projects collaborating with Robert del Naja of Massive Attack, choreographer Dana Gingras and renowned bioacoustician Bernie Krause. Each experimental work deals with natural, unexplainable phenomena of elasticity of time, colour and sound, frequencies precision of celestial orbits, and chaos. “Under the direction of British artist Matt Clark, UVA’s multimedia practice investigates the nature of perception and cognition, reflecting the ways we attempt to understand and make sense of the world, and our place within it.” (180 Studios - UVA)

The exhibition has been extended until the 17th of March and I highly recommend seeing it. Please be aware that it features flashing lights and loud noise so it might not be suitable for everyone. More information and ticket booking here.