DegreeArt.com proudly announces The Signature Art Prize 2012, Peoples’ Choice Award.

VOTE FOR MY ARTWORK: "FRIEND OF DOROTHY' BY GONNY VAN HULST AKA GONNYGLASS

VOTE HERE

Killing in the name of....?

This artwork is about the hypocrisy of religion with its involvement in war and discreetly promoting non-peaceful attitudes, and the hypocrisy of the Law (or basically, human instituted forms of protecting morality). It refers to the concept of acting as some representative for God or the Law (or really Morality) and abusing that power...but nothing ever changes and we just shrug our shoulders and think; Oh well don't feel bad about it, Shit Happens!

O.M.G.!

KGB-PROJECTS PRESENTS:

‘RELIGIONIS VIOLENTA’

“Those who believe in absurdities end up committing atrocities” [Voltaire, 1694-1778]

London - KGB-Projects presents Religionis Violenta, a sensational group show with some of the most prevalent artists from the UK and Malta at the prestigious London West Bank Gallery in West London’s Notting Hill. The exhibition opens with a Private View and Launch Party on 6 September, 7pm with an Award Ceremony for Best-in-Show and Runner-up voted on by guests and announced on the evening.

Religionis Violenta is taken from the Latin meaning for violent religion. The concept of the show initially emerged as a spontaneous reaction to the popular catchphrase ‘Where’s your GOD now?’ and the many conflicts that occur in the name of religion in a historical context and focuses mainly towards the Catholic faith. However outrageous the theme may be, we do not simply rely on shock tactics to bring the show to life, but also believe that the quality of the artwork showcased is paramount.

Expect a tantalizing experience of contemporary art that stimulates the senses not only through vision but also through sound, smell and touch! Religionis Violenta will be showcasing artworks by 31 artists, focusing on dark humour, irony and obscenity, revealing the artists’ taste for a bittersweet use of blasphemy, a snigger at and caustic provocation, including: paintings, drawings, limited edition prints, artistic photography, inventive mixed media, sculptures and decorative art.

The gallery will be transformed into a place of irony, contemplation and judgment, with the opportunity for visitors to engage in the form of a freestanding confession booth, inviting guests to ‘confess’ for their favourite works of art on the evening of the Launch Party. A specially commissioned and unique musical montage created by London-based duo Vision & the Riddle is geared to the mood, atmosphere and theme of the exhibition for an ultimate art experience.

The relationship between religion and HIV/AIDS is complicated and often controversial, as the Roman Catholic Church is still in serious denial about human sexuality, we therefore decided to donate part of the proceeds of the sale of the artwork to a charity called AidsArk. Religionis Violenta is supported by the following sponsors and media partners: Religion Clothing Ltd, Moncada Brewery, Rooms Art Uncovered Magazine and Marshall Darling Productions and is made possible with support from the Malta Arts Fund.

PROVOKE, SHOCK AND AMEN TO THAT!

General information | London West Bank Gallery | 133-137 Westbourne Grove | London W11 2RS

Private View & Launch Party | Thursday 06 September from 7pm – 10.30pm | RSVP only

Open to the public | 07 – 11 September from 11am - 7pm | Free admission

For more information and to attend the Private View please email info@kgbprojects.com

www.kgbprojects.com

This is a new piece I am working on. This wall-mounted sculptural piece consists of found objects, a geniune cross with a brass corpus christi and is named Stercus Accidit! (Shit Happens!). It is for the Religionis Violenta Exhibition happening at the London West Bank Gallery in September. 

Killing in the name of....?

The hypocrisy of religion with its involvement in war and discreetly promoting non-peaceful attitudes, but also about the hypocrisy of the Law (or basically, human instituted forms of protecting morality). It refers to the concept of acting as some representative for God or the Law (or really Morality) and abusing that power.

 Lights in action, mystical aura and absolute power.

We are not narcissistic, we are individuals with the ability to change things, situations, our own lives (and those of others). We are not gods, but could be if we tried. Everyone has a superpower to use, it is in our hands.

With "Deus-Dei (Super-Ego)" it is intended to bring the concept of "power", leading to personal grounds, to political-religious struggles or social and cultural aspects. To create chaos and submit to the bare survival. We are survivors of a society full with superpowers, supergods and superegos.

Bright aura of the powerful people or those who think they are. Blinding lights that present reality, the differences between individuals (who are separated from the masses). Brightness of the altars, of the coins, crowns and scepters. Shining eyes and hopeful souls who trust on the changes. Shiny dark we all know and not so bright freedom we all want to meet.

The superegos are the parts that represent the moral and ethical thoughts received by the culture, for our environment. It's the love-hate we feel toward our society (parent, finally after all). Complicated sense of belonging to a group and the need of individuality, to lead the group.

Through painting, photography, installation, graffiti, sculpture, drawing and video art intended to show a small amount of power collected from different angles and the greatest number of possibilities. It uses humor and irony as a vehicle to get to the viewer, being direct and clear.

13 artists. 13 (big) Gods.

'Asinius Blasfemo' 2012

'Broken Promises' 2012

'Grillig Glas'

('Unpredictable Glass')

Gonny's work doesn't fit in the traditional glass gallery, but can't be found in the street either. Yet, her work is a refence to the urban environment. "In the world of Urban and Street Art glass art is totally new. People are very surprised that the objects are made of real glass and want to touch it. That is totally fine! Glass is a fragile material, though it is a powerful statement. This tension between power and fragility makes glass so special to work with."

Tattoo, Art, Graffiti & Lifestyle is what it’s all about in INKSTYLE Magazine

#1 out 1 June 2012 @ the 8th International Tattoo Convention Amsterdam

Editor:

Drs. M.Blokzijl
editor@inkstyle.eu - info@inkstyle.eu

www.inkstyle.eu

Photo by:

Peter Baker

Tattoos:

Prick Tattoo (London) - Henry Hate

Into You (London) - Calypso

Mark (Cambodia)

Urban Glass Artist:

GonnyGlass

http://www.an-mag.com/super-ego/

May 18, 2012 |  by Kendrick 'GREATeclectic' Daye  |  Art & Culture

We are not narcissistic, we are individuals with the ability to change things, situations, our own lives (and those of others). We are not gods, but could be if we tried. Everyone has a superpower to use, it is in our hands.

With Deus-Dei (Super-Ego) the work is intended to bring the concept of “power” leading to personal grounds, to political-religious struggles or social and cultural aspects. To create chaos and submit to the bare survival. This diverse group of artists curated by Adonay Bermudez are survivors of a society full with superpowers, supergods and superegos.

Bright aura of the powerful people or those who think they are. Blinding lights that present reality, the differences between individuals (who are separated from the masses). Brightness of the altars, of the coins, crowns and scepters. Shining eyes and hopeful souls who trust on the changes. Shiny dark we all know and not so bright freedom we all want to meet.

The superegos are the parts that represent the moral and ethical thoughts received by the culture, for our environment. It’s the love-hate this generation feels toward society (parent, finally after all). Complicated sense of belonging to a group and the need of individuality, to lead the group. Through painting, photography, installation, graffiti, sculpture, drawing and video art intended to show a small amount of power collected from different angles and the greatest number of possibilities, the exhibition uses humor and irony as a vehicle to get to the viewer, being direct and clear. 13 artists from five countries including Bart Jansen, Dido Fontana, Gonny Van Hulst, Hervaerk, Jorge De La Cruz Mari a Canas, Michael Viviani, Mr Trazo O Scar Mari N Repoller, Ro Ro and Sergio Ojeda.

“Deus-Dei (Super-Ego)” opens June 22 at Castillo 43 in Spain and runs through the 21st of July. Click here for more information.

DegreeArt announces an ambitious, genre-busting new exhibition for summer 2012 - ArtHAUS. 

(with 'Friend of Dorothy' - screen printed black enamel and pure gold on glass - GonnyGlass)                          

Showcasing the best of DegreeArt's own artists and transforming the traditional notion of the group show. ArtHAUS is not just an exhibition but is also considered an immersive installation work in its own right.

Through a fusion of fine art and interior design in an environmental setting, ArtHAUS is a surrealist take on the modern home. Incorporating five dynamic rooms through which visitors are invited to wander- including a living area, bedroom, dining room, kitchen and bathroom- The whole installation will also be viewable simultaneously, revealing the imaginative possibilities which have shaped the entire space. 

The exhibitions' thematics and aesthetics are drawn from the invention of the gallery's artists but then expanded into a three dimensional setting that is at once familiar and domestic , fantastical and dreamlike. ArtHAUS gives its audience a more exciting, material experience of viewing artwork in an imaginative space, which relates to everyday experience and our own homes, yet freed from the rational constraints of conventional interior architecture. Owning works of art can introduce windows of beauty, pleasure and escapism into the spaces where we spend our lives - ArtHAUS extends this aspiration into an unforgettable experience.

Under the creative umbrella of DegreeArt and curator Ryan Lanji, ArtHAUS has turned a collaborative veture into a singular vision. By involving influential interior designers, local retailers and philanthropic organizations, a melting pot of influences have all fed into DegreeArt's Execution Room on Vyner St to create this involving show. ArtHAUS' East London locale is particularly important, as the show explores the social importance of upcycling and working with local enteprises to reflect the exterior upon the interior.

Exhibition Enquiries: Ryan@DegreeArt.com

Purchase Enquiries contact: Chloe@DegreeArt.com

Press View/ Enquiries: Alison@DegreeArt.com

SUBMISSIONS DEADLINE: MONDAY 23th JULY @ 5PM

OPEN CALL FOR 1ST ANNUAL GROUP EXHIBITION:
KGB-Projects is proud to present an Open Call for a group exhibition entitled: 'RELIGIONIS VIOLENTA'  at the prestigious London West Bank Gallery located in the heart of London's trendy Notting Hill from 6 to 11 September 2012, with the Private View and Award Ceremony being held by invitation on the evening of Thursday 6 September. Open to artists at any career stage, including students, living in the UK and are over the age of 18. All media is accepted, except video art and performance art.

We donate 10% of our commission from art sales to AIDSARK, a registered and official charity of SOHO Gyms

THEME:
'RELIGIONIS VIOLENTA' is an exhibition extraordinaire, taken from the Latin for violent religion. The curatorial concept initially emerged as a spontaneous reaction to the many conflicts that occur in the name of religion in a historical context.

For further information on how to enter please visit our website www.kgbprojects.com or email us info@kgbprojects.com

We look forward to receiving your submissions and good luck!
 ❛ The Biscuit Crew ❜

I was Highly Commended for the Warm Glass Prize 2012 with my piece 'Claustro-Phobia'

As an iconic and evocative object, the gas-mask addresses a 21st century urban condition. 'Claustro-Phobia' speaks of a child growing up in a cultural environment that is embedded in media violence, this environment of violence, profanity, crudeness and meanness is suffocating its childhood.

The Artists Category was judged by renowned Glass Artist, Amanda Simmons.

I will have work including; Claustro-Phobia at the RAW Art Fair in Rotterdam, February 8-12, 2012, booth #28 with st-artgallery.

ARTISTS

Zeitgeist Magazine

art - fashion - lifestyle - music

Introducing...
Gonny van Hulst
January 11th 2012

Describing herself as an "Urban Glass Artist", Netherlands born Gonny van Hulst, AKA Gonny Glass, is taking traditional glass techniques to new artistic levels.

Having moved to London a decade ago, Gonny found herself inspired by the random, absurd chaos and diversity of urban life. Finding beauty in urban decay, she set about translating this to her multimedia artworks, focussing on glass, a material that in itself is very much representative of urban life.

“Like life itself, I find glass demanding. When I push it to its limits, glass can be extremely challenging to work with. It is this struggle to control its technical complexity, its contradictory qualities, and sometimes unpredictability that I am strongly drawn to.”

Still very much an emerging artist after graduating only last year with first-class honours from the University for the Creative Arts, Gonny has already been shortlisted and commended for several awards and prizes, and is now affiliated with the very exciting Ben Oakley Gallery and their incredible stable of emerging artists.

Check out their amazing website: www.zeitgeistmagazine.com

Gonny van Hulst was awarded the Highly Commended Prize from the Contemporary Glass Society at New Designers 2011 in London.

Interview between Richart Taylor and Gonny van Hulst

A glass artist specialising in kiln-casting processes and digital/silkscreen is embarking on her third year at the University for the Creative Arts. We catch up with how she creates conceptual objects dealing with the ‘idea’ as an invasion of consciousness.

The transparencies of usurping the past for a present object future

"So far my BA has been an invaluable experience. I have a complicated relationship with my stomping-ground, the 'Big Smoke', so it's natural for me to create visual representations of city life. My work can be symbolic and important, something to identify with that translates different messages and holds strong links with a diverse mix of social groups.

Working with glass is a means of dealing with a turbulent past. I've always been drawn to the random, chaotic, absurd and unfixed nature of urban life and the diversity it presents, especially for those who exist on the edge of society."

Conversational clarity

Richard Taylor: How does glass provide transparency for your ideas and experiences?

Gonny van Hulst: Glass holds an unlimited amount of conceptual potential. Its unique properties and contradictory qualities of inspire, seduce and challenge me. I use its light transmitting abilities to obscure, reflect, project and alter thought-provoking objects with a sense of humour - at times the crafting process can have a direct reference to my own experiences.

RT: How do you feel about your role as a craftsperson, is it intrinsic with being a visual artist who's exploring a definite question or theme?

It seems that craft is still perceived as old fashioned and in the established art world it has certain connotations. Am I an artist or a craftsperson? I feel kind of stuck in the middle as process, technique and craftsmanship play a huge part but my work is not traditional.

I have moved from thinking about myself as a craftsperson to an artist and decided to call myself an urban glass artist. Urban because I live and work in London and everything about living in London inspires me. My work creates a feeling of connecting with the many subcultures and styles that make up the city, either its ugliness or its dazzling beauty. I am also influenced by street art, graffiti and music and there is no shortage of that here.

RT: How does it make you feel to present your objects - made with such a characteristic medium - alongside other sculptures made with other materials?

GVH: It is great to be able to show my glass-art alongside other sculptures made in other materials. It makes my work stand out a bit and it grabs the viewer's eye, it makes them curious about how it is made and they always have the urge to find out if its really made of glass. Recently I was included in 'The Signature Art Awards' exhibition held at the DegreeArt.com Gallery in London, with forty artists in four categories it had a variety of works but I was the only artist showing glass-art and the feedback was really positive. In the near future I would like to show my work to a wider audience in fine art galleries, pop-up shows or other venues. I think my work fits perfectly well within these environments.

RT: It is often perceived that craft aspires to function - objects made for use. When responding intricately to the urban environment, how does your work act as a conflux between art and craft - would you say your sculptures have a function?

GVH: Indeed, craft has long been seen as functional and utilitarian, but today many contemporary craft objects are hybrids; they take characteristics of both craft and art, the objects are often representations of everyday life made for the purpose of display. I think that craft as art has to communicate a message to the audience, but it has to be executed with a greater knowledge of the material, which is fundamental in craft.

I choose subjects that have intrinsic meaning to broader issues and translate them into glass. 'Son of a Gun' for example, a series of kiln-cast glass guns taken from a real 'Beretta' gun, is a visual interpretation of an emotional response towards gun-crime. The broader issue and function of the object is lost through its translation in to glass, it becomes a functionless but visual object with societal undertones.

RT: I am interested in how you take yourself away from the city and place yourself back in to your past. Your recent trips back to Holland must have given you valuable perspective on your work. But how do you feel about your own relationship to the issues you approach - do you think through using glass you're looking for clarity on your past?

GVH: Glass changes quickly and it can be a challenge to keep up with, like life itself! I think I've found my voice since working with it - so perhaps it is true that I use glass to look for clarity in my past.

When I go back to Holland it can feel like stepping back in time, it can trigger certain memories and feelings about my past. My teenage life was rough I lived in squats and on the streets and took each day as it came. I was doing stupid stuff and got into drugs. It took a really long time to figure out what I wanted in life and I have regrets about myself and my own behaviour and the people I let down considerably during those years. But that's how life was for me and maybe I shouldn't have such regret. If I think I wasted years of my life, then I would have gone in a completely different direction and probably wouldn't be where I am now. It is like going through another transition and now my past helps me to realise myself and my visions and gives me the scope to express my thoughts and hopes, connecting both to myself and to the world. My work can be symbolic or something that is real and tangible. Glass is a magical medium; my interest is held fast by its luminosity, transparency, colour and working energy...

What do you think?

How much clarity does the material or craft you choose to use give to ideas permeated in to art practice? And how does conceptualism extend itself in to craft producing succinct art objects for a gallery context?

©  the artist(s), writer(s), photographer(s) and a-n The Artists Information Company

SAVE THE ARTS - PETITION

Who they are:

The Save the Arts campaign is organised by the London branch of the Turning Point Network, a national consortium of over 2,000 arts organisations and artists dedicated to working together and finding new ways to support the arts in the UK.

The aim of the Save the Arts campaign is to encourage people to sign a petition which will be sent to the Culture Secretary, Jeremy Hunt. It points out that it has taken 50 years to create a vibrant arts culture in Britain that is the envy of the world and appeals to the government not to slash arts funding and risk destroying this long-term achievement and the social and economic benefits it brings to all.

Over a hundred leading artists including David Hockney, Damien Hirst, Anthony Caro, Howard Hodgkin, Anish Kapoor, Richard Hamilton, Bridget Riley, Antony Gormley and Tracey Emin have joined the campaign to make the case against the proposed 25% cuts in government funding of the arts. The campaign acknowledges that reasonable cuts and efficiencies are necessary but that the 25% cuts being proposed will destroy much of what has been achieved and will have a particularly damaging impact on smaller scale arts organisations, as well as on national and regional museums and their collections.

The first stage of the campaign presents a new video animation by artist David Shrigley highlighting the effect of the funding cuts and a new work by Jeremy Deller with Scott King and William Morris. Each week, the work of a different artist will be released. Mark Wallinger will present the next project.
The costs of David Shrigley’s animation have been covered with a grant from the Paul Hamlyn Foundation. All artists engaged in this project have generously donated their time, talent and art.

It has taken 50 years to create a vibrant arts culture in Britain that is the envy of the world.

We the undersigned appeal to the government not to slash arts funding and risk destroying this long-term achievement and the social and economic benefits it brings to all.

http://savethearts-uk.blogspot.com/

GO AND SIGN THE PETITION!

http://www.gopetition.com/petitions/save-the-arts.html