His images are often low-saturation, with a variety of brushstrokes frozen in the frame. He constantly uses brushstrokes to create space within the plane. The treatment of edges is often very detailed. He is careful to make seemingly unintentional marks.
Lorenzo Modica
Slade school of Art MA degree show
Cormorant Garamond is a classic font with a modern twist. Looking at her work was for me like reading some short, trivial poems. I could imagine the artist surrounded by objects from her life, constantly searching for and making some kind of unconventional connection. Sometimes these objects take on an anthropomorphic appearance, with human expressions and faces appearing on them. I am equal to these objects when confronted with them. easy to read on screens of every shape and size, and perfect for long blocks of text.
Lorenzo Modica
Slade school of Art MA degree show
The exhibition space for this work resembles a manufacturing room in an industrial plant. Upon entering the space, it was difficult to distinguish between the building and the artwork. As if squeezed from cardboard, the strange objects stood on the floor, on the table, and on top of the sink. It appears to be very precarious. Some irregular shapes were repeated in all the sculptures.
It wasn't until I walked in that I realized this was metal. This brought me a great sense of dismay.
Matthew Peers
RA degree show
This artist's work, the way it was exhibited, is one of the works I remember most from the Venice Biennale. I always remember entering a quiet and dark room, shrouded in mist. The light was blurred by multiple refractions. The sand was soft underfoot and it took a lot of effort to make a sound in this room. Raising my head was a strange sight floating in the air. It is as if a window has been opened. There are many things happening at once in the images, each one requiring a long silent gaze. The various images in the painting create for me a futuristic cityscape, with giant white water snakes floating around the edge of the city. The painter's visions unveil an anti-world of mysteries, curiosities, and miracles set in archetypal landscapes and timeless architecture.
I like the way he uses colour, the borders between the fagures are blurred and bright, giving a luminous and transparent effect to the edges of the images.
Jakše Marko
Biennale Arte 2022
Maring Dumas' paintings make me feel that she has a very large hand and can sketch the body with generalised brush strokes directly on the huge canvas. I was inspired by the traces and fluid strokes that were preserved in her paintings and felt the urge to paint immediately.
After painting thousands of figures， she still tries to keep a distance from the object. She doesn't want to know all of the secrets and mistery of them but just paints out the sense of the unfamiliar and strange.
In Her paintings， The eyes of figures are like black holes buried under the pale faces. An ebb and flow of time are suggested in the gestures and marks.
Marlene Dumas
Biennale Arte 2022
I like the way she depicts the flesh. The soft and full flesh is portrayed with very clear and hard borders. It's as if every muscle is being pushed. The low saturation of flesh colours gives the texture of a marble sculpture. The flowing flesh reminds me of the tension in Rubens' paintings. And the huge size gives the viewer a sense of oppression. All of this enhances the quality of the painting.
Louis Bonnet
Biennale Arte 2022