Artwork
#Mevlana Lipp
#portray
#crops
#wooden
“Overflow” (2021), wooden, velvet, acrylic coloration, ink, sand, aluminum stretcher, 80 x 60 centimeters. All photographs © Mevlana Lipp, shared with permission
“Velvet work” could evoke visions of midcentury kitsch, because of artists like Edgar Leetig (1904-1953) and a requirement for mass-produced decor. However that phenomenon is simply a fraction of the historical past of portray on velvet, a convention that’s believed to have emerged in Kashmir, the place the material was first produced. The silky materials’s high quality pile absorbs mild, offering a novel substrate for work on which pigments seem to drift on a contrasting, deep black background.
Mevlana Lipp redefines the style by meticulously rendering otherworldly botanicals that writhe and unfold amid decorative components. Acrylic paint, sand, and ink are utilized to meticulously reduce picket panels, that are then laid excessive of velvet. Fantastical and glowing as if considered below a black mild or synthesized, the blooms and vines counsel an alternate actuality through which crops tackle suspiciously human behaviors or options, like palms or eyes.
“My work all the time has to do with eager for this different place, the place issues are nonetheless related on a deeper stage, the place ideas don’t happen and instincts take over,” Lipp tells Colossal. within the relationship between order and chaos, he usually makes use of symmetry or repetition as a foil to the natural curves of his topics. In his most up-to-date work, the artist has been experimenting with the theme of a grid or gate.
“Claw” (2024), wooden, velvet, acrylic coloration, ink, sand, aluminum stretcher, 45 x 33 centimeters
When Lipp visited Venice earlier this yr to see the inaugural exhibition of Capsule Shanghai new location, the place he will likely be presenting a solo present subsequent month, he was fascinated by the burglarproof steel bars affixed to residential home windows. “They oftentimes are extremely inventive, typically floral or extra architectural in form,” he says. “I like the concept that they’re like a barrier, separating the within and outdoors—these two worlds—and making a transition between these two troublesome.”
Conceptually, the grid transforms into what Lipp describes as “a web of duties and social contracts” all of us conform to, affording glimpses of what lies past but bodily barring entry. In his work, the boundaries perform as metaphysical gateways between our recognized realm, our primordial origins, and our capacity to understand our personal evolution. “The place on the opposite aspect is perhaps too wild for homo sapiens, however it’s nonetheless tempting to have a look between the bars infrequently, peaking by a window into our distant, feral previous.”
Lipp may even have work quickly within the group exhibition TICK TACK at Kunsthalle Recklinghausen in Germany, which opens on August 24. Discover extra on the artist’s web site, and observe Instagram for updates.
“Customer” (2023), wooden, velvet, acrylic coloration, ink, sand, aluminum stretcher, 80 x 60 centimeters
“Hearth” (2024), wooden, velvet, acrylic coloration, ink, sand, aluminum stretcher, 200 x 150 centimeters
“Curiosity” (2023), wooden, velvet, acrylic coloration, ink, sand, aluminum stretcher, 80 x 60 centimeters
“Pressure” (2024, wooden, velvet, acrylic coloration, ink, sand, and aluminum stretcher, 45 x 33 centimeters
“Orbit” (2023), wooden, velvet, acrylic coloration, ink, sand, aluminum stretcher, 150 x 110 centimeters
“Progress” (2023), wooden, velvet, acrylic coloration, ink, sand, aluminum stretcher, 120 x 90 centimeters
“Pulse” (2023), wooden, velvet, acrylic coloration, ink, sand, aluminum stretcher, 80 x 60 centimeters
#Mevlana Lipp
#portray
#crops
#wooden
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