"The artist works on the act of the liberation in an abstract way. She carries out an act of the self-liberation, while she frees herself with the help of a sissle from long ropes fastened at the roof and to the hair. She cuts off a part of her hair and in this way dissociates herself from a piece of herself. This work can be seen as a vital discussion about the question on the sense of life, that is partly characterised by striving for freedom. Particularly, because hair can be considered as a symbol of life. The name of the Performance installation "Atropos" is related to the Greek myth of the moira, the goddnesses of fate. Atropos, who is one of them splits according to the myth the fate threads of the life with a sissle. The artist shows with the radical act of the hair-cut a way out. She takes fate into her own hands and frees herself, like Atropos did. At least the act of the cutting can be seen as an attempt of liberation in itself."
Konstantin Kofta created his own label, Kofta which combines seemingly contradictory elements outside the traditional canons of the fashion industry. His garments are sensual, effortlessly elegant, practical and wearable. Kofta uses rough skin, irregular shapes and unique scents to create a totally new vision of the attire as a whole. Designer Konstantin Kofta combines rural and urban perceptions, and embraces the unintentional and unexpected, which provide inspiration for current and future collections. Each collection appears as a form of art installation.
" I found a list of 10 psychopathic traits on the internet. Each trait corresponds to that individual's personality in some way. I found these interesting as they just seemed like normal aspects of everyone's personalities and also certain celebrities and figures of authority." - Thomas Fowler
Bertrand Flachot is a photographer and artist French, graduated from the Ecole Nationale des Arts Decorative. The latter moved there twenty years in the Seine-et-marnaise campaign, installing his workshop near a wooded lot. This small forest, the artist looks change with the seasons, became an inspiration vector and the main subject of his creations. The photographs of trees and landscapes become a drawing medium, the pencil accentuating the chaotic mesh plant for rendering paradoxically very delicate.
" The pictures forming in my head are ones of domination over nature, the struggle of animals in a changing world, and the effects of a changing world on the animals and humans. Women became the metaphor for mother nature as wild and sexual thing exploited and explored in my work, and animals became the subjects of examining abnormalities and evolution. Taking ideas that I had learned from ideas on feminism, I began to draw parallels in our ways of controlling and objectifying women to how we also think about the earth and it’s resources therein." - Hannah Faith Yata
Tigran Tsitoghdzyan was born in 1976 in Yerevan, Armenia. Since when he was very young he passed his days painting and drawing. He found his universe when he discovered the oil paints at the age of 5. Very soon he was noticed by Henrik Iguitian, an art critic, founder and director of Modern Art Museum and Children Art Museum in Yerevan. He organized Tigran's first personal exhibition with one hundred works when Tigran was ten years old. The exhibition started in Yerevan, and then continued in the cities of Spain and USA. In the following years Tigran had numerous exhibitions in Armenia, Russia, West Europe and United States.
Catherine Creaney's work is exhibited throughout Ireland and the UK. Her work encompasses both abstraction and portraiture. She has taken part in numerous exhibitions in Northern Ireland and has had work exhibited at the RUA Annual Exhibition on several occassions.
Zeren Badar is a self-taught photographer who lives currently in NYC. He is originally from Turkey. He is obsessed with art. He enjoys long walks all around Manhattan and take long breaks at art shows.
Eddi Prabandono is an artist who involves design, planning, and construction in creating his large-scale pieces. He did not work on his pieces alone. Just like in a project, Eddi Prabandono involved many workers: to create designs and even work plans. Often, he employed construction plans that need [careful] calculation. However, his pieces did not turn into structural things, because of the way he incorporated the evolution of languages of expressions in creating them. (viaPrimae Noctis and Indo Art Now)
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