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The Fragmented Portrait

22 June- 20 July 2019 

Tom Kraanen, Patricia Werneck Ribas

We proudly present our new group exhibition ‘The Fragmented Portrait’, opening 22 June at Josilda da Conceição Gallery. With work by Daleen Bloemers and Tom Kraanen in the main gallery space and Patricia Werneck Ribas in the gallery’s project space. The exhibition will be on view until 20 July.

Daleen Bloemers

“Something I genuinely believe in –simple everyday observations. These observations are exaggerated enough to get our attention, so that we can chuckle at our own (human) quirky nuances from our everyday life.”

Daleen Bloemers (Rotterdam, 1990) focuses on the ability of seemingly small interactions between people to create an awkward atmosphere. The photographic works that she will show at this exhibition take the unspoken and unknown, which always leave room for interpretation, as their point of departure. In order to go inside this awkward atmosphere, to feel it, create it and be in it, she has created an installation of large detailed images so one can really walk into the work.

Tom Kraanen

Self-taught artist Tom Kraanen (Utrecht, 1990) explores the way that shapes and colours convey feelings to the viewer. Though originally painting portrait-based work, his current work is heavily influenced by contemporary abstract art and often doesn’t feature a human face at all. Different sources of inspiration and influences come together as a collage of shapes, textures and elements to create an image that is both harmonious and challenging. Kraanen will also exhibit a sculpture as a three-dimensional study of the effect of spatial composition and color.

Patricia Werneck Ribas

Recently the artistic practice of Patricia Werneck Ribas (Itapetinininga, Brasil, 1972), which focuses on issues of identity, has centred on the human head. For this show she will present Head (of a Woman), which consists of subdued images of her own shaved head taken during chemotherapy. Due to their minimalist aesthetic, these seemingly gender neutral heads are almost the contrary of a portrait. In the adjacent space they are contrasted with brightly coloured wigs. In this way, Ribas explores the hidden worries in the life of a woman based on her own experiences and memories. From her own experience of recovery from a severe disease, she uses these images to connect her memories to a deeper understanding of sickness and recovery.

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