ABSOLUTEArt
Tristan prefers to work at a greater distance from his
subjects. We see fantastic and surreal islands comprised
of piles of smooth granitic forms; churning and gurning
oceans, and skies full of bruised clouds teeming with
interest. The artist’s compositions often allow the sky
full prominence. “The main difference” he says “between
painting the sky and the ocean is that the ocean is so fast
moving in fluid motion – whereas the sky seems to me to
be retreating in slow motion.”
Absolute were also struck by the powerful paintings of
Zsaklin Miklos, originally from Budapest but now happily
settled in the Seychelles, whose work also frequently
responds to the local environment. Her sharp and tight
technicolour interpretations can be labelled ‘stylised
realism’. They are sensual yet graphic – a hard synergy
to pull off – and there is tranquility and excitement,
harmony and conflict. Miklos transcends the reality she is
depicting, at times simplifying its forms and exaggerating
its natural palette.
“My intention is to open up my thoughts on the
complexity of how our environment affects the personal
development of those who interact with it. ”
Miklos also creates vivid (and accurate) portraits,
mostly of her Seychelles contemporaries. These are
Fauvist in essence, with non naturalistic colours deployed
with careful abandon. The subjects – all instantly and
effortlessly recognisable regardless of the liberties taken
with skin tones – are both with us and apart from us.
They appear alien, their faces comprised of intuitively
rendered building blocks of matt colour. The artist refers
to a quest to accentuate the effect of light on form, in this
case the human face, with the outcome presenting “the
consequence of an intensified subject.”
All three artists represent a fresh and open approach
to figurative painting in Seychelles; they push the
boundaries of representation, constantly working out
within a gymnasium of paint.This desire to move forwards and explore new forms
of expression is present throughout the contemporary
section of the book. Leon Radegonde’s work is at the
forefront of a redefinition of how and why art is made
in Seychelles. Radegonde, a co-exhibitor at the last two
Venice Biennales, creates archival fusions of found objects
and unconventional mark-making processes.“I age, sew,
tease, rust, tear, stain, burn, glue, mend and paste. I use
burnt engine oil, shoe polish, hot iron, charcoal and red
earth colouring as my essential working tools.”
Radegonde’s creations range from tiny assemblages on
board to huge swaying tapestries. The palette is invariably
sombre, with the artist having described too much colour
as ‘parasitic’.
Much is made of the so-called ‘tourist trap’, whereby
artists create compromised representational work (think
palm trees skirting a beach) in order to put food on the
family table. Back to the author:
“Secondary aims for this book include improving the
lot of our working artists. The book provides contact
details for each one of them so that a reader, having
identified work that he or she likes, can pick up the
‘phone and talk to the artist about purchasing art directly.
Additionally Arterial Network hopes to devote some of
the money generated through book sales to provide small
grants for artists; to say in effect – look, take three months
from your market-oriented work and make art from your
soul. We will take care of your expenses and at the end we
will stage an exhibition of the work you have made in the
Eden gallery.”
This symbiotic relationship between the book, the
gallery and related projects (a selling virtual gallery is
planned for later this year) is core to the work of Arterial
Network Seychelles.
“Everything that we do should be mutually
complementary” Kennedy concludes, “and should reflect
the fact that we exist to support the arts in Seychelles. We
are not and have never been simply a talking shop. We
make things happen. This publication is but one example.”IN SEYCHELLESCREATINGTHEN AND NOW
We see fantastic and surreal
islands comprised of piles of
smooth granitic forms; churning
and gurning oceans, and skies
full of bruised clouds teeming
with interest.“Everything that we do should be
mutually complementary” Kennedy
concludes, “and should reflect the
fact that we exist to support the arts
in Seychelles.”