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Roby Dwi Antono

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Michael Todd Horne - Bijijoo

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Troy Lamarr Chew II

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Ana Mendieta

Earth Body Series (includes Silueta and Tree of Life Series) 

Silueta Series-   She left marks of her own silhouette within nature in a wide array of ways, constructing it from clay, building it out of flowers, tracing it out with fire or leaving it behind as a subtle imprint after laying down.

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Davor Gromilovic - Drawings 1

KNIGHT MEETS SECRET GIANT LORD, 2019, woodcut, oil-based print on paper, 30 x 21 cm (11.8 x 8.2 in)

POSSESSED COW AND WITNESSES, 2019, woodcut, oil-based print on paper, 30 x 21 cm (11.8 x 8.2 in)

BROKEN HOUSE, 2018, acrylic on canvas, 20.5 x 25.5 cm (8 x 10 in)

LIFE INSIDE OF VIMANA, 2019, acrylic on canvas, 40.5 x 30.5 cm (15.9 x 12 in)

FEEDING THE DRAGON DUCK, 2017, ink on paper, 17.5 x 23 cm (6.8 x 9 in)

CHICKEN FROM OUT OF SPACE, 2018, ink on paper 17.5 x 23 cm (6.8 x 9 in)

TEMPLE OF FEAR, 2018, ink on paper, 17.5 x 23 cm (6.8 x 9 in)

MUTANT NAVIGATOR, 2019, ink and watercolor on paper, 17.5 x 23 cm (6.8 x 9 in)

PORTRAIT OF A LADY WHO STOLE MY DREAMS IN 1987, 2019, ink and watercolor on paper, 17.5 x 23 cm (6.8 x 9 in)

INFATUATION WITH DOMINATION, 2018, ink on paper, 17.5 x 23 cm (6.8 x 9 in)

BALLHEAD ELIMINATOR AND WITNESSES, 2020, ink on paper, 25 x 31 cm ( 9.8 x 12.2 in)

CITY WITCHER OPENING ANOTHER DIMENSION, 2021, ink on paper, 17.5 x 23 cm (6.8 x 9 in)

OUR LAST DRIVE IN THE OUTSKIRTS BEFORE WE GO GO, 2021, ink and graphite on paper, 42 x 35 cm (16.5 x 13.7 in)

RAINBOW SQUAD ON THE SPACE SUMMER VACATION, 2021, ink and watercolor on paper, 25 x 31 cm ( 9.8 x 12.2 in)

ONLY COW KNOWS HOW THE SECRET GOES, 2021, ink on paper, 17.5 x 23 cm (6.8 x 9 in)

INSIDE THE SKULL MOUNTAIN CHAMBER, 2021, ink on paper, 17.5 x 23 cm (6.8 x 9 in)

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Davor Gromilovic - Drawings 1

GLOWING LIANA, 2014, graphite on paper, 46 x 67 cm (18.1 x 26.4 in)

OBSERVERS, 2016, colored pencil and graphite on paper, 35 x 50 cm (13.7 x 19.7in)

SUPERIOR BEAST, 2017, colored pencil and graphite on paper, 25 x 31 cm (9.8 x 12.2 in)

DESTROYERS, 2017, colored pencil and graphite on paper, 25 x 31 cm (9.8 x 12.2 in)

TERRIBLE LOSS OF MALE MIGMENT B SPECIES, 2018, colored pencil and graphite on paper, 25 x 31 cm (9.8 x 12.2 in)

EXPERIMENT INSIDE A PORTABLE GLASS LABARATORY, 2018, colored pencil and graphite on paper, 25 x 31 cm (9.8 x 12.2 in)

THE BLIND READING STORIES TO STORYTELLER, 2018, colored pencil and graphite on paper, 17.5 x 23 cm (6.8 x 9 in)

DEATH INSIDE THE LABORATORY, 2017, colored pencil and graphite on paper, 17.5 x 23 cm (6.8 x 9 in)

SECRET GREEN BUBBLE STONE, 2018, colored pencil and graphite on paper, 25 x 31 cm (9.8 x 12.2 in)

GIRL WITH REALLY BIG FOOT IN HER GARDEN, 2019, colored pencil and graphite on paper, 17.5 x 23 cm (6.8 x 9 in)

PORTRAIT OF MISSING VISITOR FROM 1969, 2019, colored pencil and graphite on paper, 25 x 31 cm (9.8 x 12.2 in)

BEWITCHED DOG AND THE CRYING OWL, 2019, colored pencil and graphite on paper, 17.5 x 23 cm (6.8 x 9 in)

ALTAR OF THE HOLY PANTHER, 2019, colored pencil and graphite on paper, 25 x 31 cm (9.8 x 12.2 in)

SPACE NAVIGATOR TRYING TO LOCATE THE LIZARD THIEF, 2020, colored pencil and graphite on paper, 17.5 x 23 cm (6.8 x 9 in)

SKATEBOARDING MANIAC INSIDE THE LAB, 2020, colored pencil and graphite on paper, 17.5 x 23 cm (6.8 x 9 in)

TAKE THIS PILL AND EVERYTHING WILL BE FINE, 2019, colored pencil and graphite on paper, 17.5 x 23 cm (6.8 x 9 in)

PROCESS OF CREATING MELEKTENJALS’ EGG, 2018/2020, colored pencil and graphite on paper, 25 x 31 cm (9.8 x 12.2 in)

LOST SHIP, 2019/2020, colored pencil and graphite on paper, 25 x 31 cm (9.8 x 12.2 in)

SECRET LABORATORY INSIDE THE SKULL MOUNTAIN, 2018, colored pencil and graphite on paper, 42 x 35 cm (16.5 x 13.7 in)

POSSESSED HORSE, 2017, colored pencil and graphite on paper, 42 x 35 cm (16.5 x 13.7 in)

TOUR BUS, 2018, colored pencil and graphite on paper, 42 x 35 cm (16.5 x 13.7 in)

THE TAXI’S ALWAYS LATE, WHEN SHE’S GOT A DATE, 2021, colored pencil and graphite on paper, 17.5 x 23 cm (6.8 x 9 in)

CASE No.34: GLOWING SKULL, 2020, colored pencil and graphite on paper, 17.5 x 23 cm (6.8 x 9 in)

HERE ARE GIFTS, PRESENTS IN LIFE FORM, 2018/2021, colored pencil and graphite on paper, 25 x 31 cm (9.8 x 12.2 in)

THERE’S NO PLACE LIKE HOME WHILE WE’RE IN OUR PUB WINTER HOLIDAYS, 2018/2021, colored pencil and graphite on paper, 31 x 25 cm (12.2 x 9.8 in)

DRIVER’S NOTICE: ARE THAT MR. MUSHROOM AND BADGER THE MAD WARLOCK, 2021, colored pencil and graphite on paper, 17.5 x 23 cm (6.8 x 9 in)

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Tessa Farmer

Swarming Fever: Giant Gallery Bournemouth 

Others:

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Andy Harper

Seeing Harper’s paintings at the Bournemouth gallery was an experience. I sat in front of one for ages and it really had a life in there. It was an undulating piece; i felt like I was looking down into some mystical grassland.

for notes, fluffy pink book

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Mu Pan

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Charles Avery

Market Stand:

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Marjorie Cameron

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Spiritual Art:

Anne Churchill, “Blue Oval Drawing”

Anna Mary Howitt, “Spiritualist Drawing”

Installation view of Pia Lindman’s work in Not Without My Ghosts, the Drawing Room, London: (Clockwise from left) “MJFP 29,” “GL 28 (Emotional Soup),” “LBL 44 (Rocket),” “GL 28 (Naivete),” “KE 28 (Black Thing),” “FAC 41(Black Turns Yellow, Brown Turne Red)” (all 2016)

Madame Fondrillon, “Dessin Médianimique”

Ithell Colquhoun's Toy (1947)

Grace Pailthorpe's The Torment of Tantalus (1938)

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Georgiana Houghton

Claimed to have been guided by the spirits of the dead. Houghton made abstract are  decades before the abstraction in the European art scene of the early 20th century emerged. 

Historian Rachel Oberter:  “she most likely adopted an abstract mode of artistic production for a similar reason as many of the pioneers of transcendental abstraction in the twentieth century such as Kandinsky and Malevich: since it does not depict mundane objects, her art is less tied to the natural world, and more able to evoke a less tangible plane of spiritual existence.”

Created a visual language which portrayed an unseen force. 

Mondrian:  “approach the spiritual in art, one will use as little of reality as possible,”

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Tai Shani

Andromedan Sad Girl -

collaborative exhibition by artists Florence Peake and Tai Shani

‘Drawing on their research into structures of feminism, their immersive installation is an imagining of what a pre or post patriarchal site could be.’

exploring the fluid mythologies and imagined futures of lost civilizations

The artists take an archaeological excavation as a point of departure to imagine and represent non-hierarchal, pre-historical or futuristic civilizations

Buried Zine:

Semiramis:

refer to pink book 

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Superflex, founded 1993

participative public works across the world that engage directly with communities outside of traditional art spaces -  architects, designers, scientists and community members,  works are referred to as ‘tools’ used to facilitate change in society.  

SUPERFLEX’s political philosophy - ‘warns against consumerism, private ownership and ecocide by demonstrating the practical value of things like cross-cultural learning, community and entrepreneurial spirit.’

Democratise the potential of public art.

Supergas- early project-  started in Tanzania, expanding to Thailand, Cambodia, Zanzibar and Mexico - simple biogas system allowing people living in rural areas to produce their own energy fuel using human and animal waste - alleviated pressure of deforestation -  strengthening at grass-roots and equipping local communities

Superkilen- park in Copenhagen

people from the area were asked to nominate specific objects of street furniture, be they benches, neon signs, manhole covers, bins or fountains either from their country of origin or somewhere they encountered through travel  

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Santiago Sierra

Known for performance and installation art, born 1966.

160 cm Line Tattooed on 4 People-  ‘Four prosititutes addicted to heroin were hired for the price of a shot of heroin to give their consent to be tattooed. Normally they charge 2,000 or 3,000 pesetas, between 15 and 17 dollars, for fellatio, while the price of a shot of heroin is around 12,000 pesetas, about 67 dollars.’

‘By turning the process of exploitation into a spectacle, viewed in a gallery or museum, Sierra causes the institution to collaborate in relations of power and economics, thus highlighting the ubiquity and inevitability of such relations and raising a number of related ethical questions. By enabling heroin addicts to have more heroin, as in 160 cm Line Tattooed on 4 People  and a work made a few months previously 10 inch line shaved on the heads of two junkies who received a shot of heroin as payment 2000, Sierra himself enters an ethically ambiguous situation in which the artworld participates by purchasing his art product.’

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Agnes Denes

Emerged in the 60s and 70s. Concept based artist, investigating science, philosophy, linguistics, psychology, poetry, history, and music.

According to Peter Selz -    “probably the first large scale site-specific piece anywhere with ecological concerns.”

Wheatfield – A Confrontation

Documents, analyzes and aids humanity, investigating and visualising knowledge. 

planted a field of golden wheat on two acres of rubble-strewn landfill near Wall Street and the World Trade Center in lower Manhattan

Tree Mountain–A Living Time Capsule

the first man-made virgin forest, situated in Ylöjärvi, in Western Finland- reclamation project

use of metallic inks and other non- traditional materials in drawings and prints that exploring mathematics, philosophy, geography, science and other disciplines.

The Crystal Fort/Glass Fortress-  Part of the Fort Asperen Project, design for a full size fortress made of glass to be built along the Waterlinie as a major tourist attraction to create revenues for the reclamation plans 

A FOREST FOR NEW YORK - A PEACE PARK FOR MIND AND SOUL