Vincent Leroy / Galerie NeC nilsson et chilglien, Hong Kong

Vincent Leroy exhibition Galerie NeC nilsson et chilglien, Hong Kong

Vincent Leroy exhibition / Galerie NeC nilsson et chilglien, Hong Kong
March 15 - April 27, 2013

Opening reception with the artist: March 14, 2013, from 6 pm.

Moving under the influence of Japanese pop culture and New Realism. Kinetic artist Vincent Leroy forms poetry with his technology. Movement and repetition redefine natural order and commanded creation. Electric Flowers absorbs a haunting and fascinating rhythm that reinforces the endless repetition of motifs. Thus this field of mechanical flowers whose petals turn tirelessly on their rolling pins becomes an unlikely ode to the fragility of nature.

Born in 1968, into a farming family in Avranches, in France’s Normandy region, Vincent Leroy graduated from the Ecole Nationale Superieure de Creation Industrielle in 1995. In his work as an industrial engineer, he maintains an overall perspective on the manufacturing process slecting shapes, materials, colors and technical properties. Active on the international contemporary art scene, Vincent Leroy is among those artists who refuse to be categorized.

"Creating an object usually starts with finding the right materials, but the starting point for my work is kinetics. I play around with the speed and the way actions have casting effects. Movement was the basis for my piece I created in London for The Sketch, the restaurant and gallery space developed by Mourad Mazouz. I installed a flexible geometrical shape powered by two large motors between two mirrored walls. The material used is made to ripple, and the movement is reflected infinitely in The mirrors. Similarly, in Berlin I showed three balls made of translucent material that were made to move completely independently. I installed a tiny camera inside one of them, to give visitors a random, unimpeded perspective, with no vertical reference points, a little like astronauts in the weightlessness of space, when they’re moving around the shuttle. I wanted to let the public experience the phenomenon with just the bare minimum of technological resources.

Simple movements still remain the basis of my work. Ten years ago my sculpture was more mechanically focused, the technology was present, more visibly a subject matter. Today the movement in my work is more fluid, and natural. I’m at a happy medium with this balance of nature verses machine, or nature as machine. We must come to mix and not oppose. My creative process is driven by a natural need to experiment. To question, guess, try, play, solve, function. Even if it is as basic as a piece of cardboard, glue and a toolbox. I am always surprised with the magic that emerges from these unexpected moments.

I think my audience is primarily people who are on top of the latest trends in art and in music, who are found in major cities. It’s also companies like Arkema and Renault, Nissan and Canal+ I’ve had the opportunity to work with. In many cases it’s an audience that doesn’t judge the work on the basis of whether it’s consistent with some artistic movement. They’re people who are capable of being won over or astonished by what they see. It gives me great pleasure to be able to reach such a wide audience.” Vincent Leroy

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Gustaf Nordenskiöld exhibition / Galerie NeC, Hong Kong

Gustaf Nordenskiöld exhibition Galerie NeC Hong Kong

Gustaf Nordenskiöld exhibition / Galerie NeC, Hong Kong
August 24 - September 29, 2012

Opening: Thursday, August 23, from 6 pm.

Gustaf Nordenskiölds ceramic work deals with issues about functionality, primitivism, natural forces, and perceptible method. He is exploring the field between design, crafts, arts and industrial production.

The exhibition consists of new museum collections, post production, the assembly of pre-existing and newly manufactured items, and works transformed to form new en-sembles. The exhibition presents ambivalent ceramic works, virgin archaeological objects of unknown origin that expresses beauty in the making, or in disrepair.

"My intention is to create works in which the methods are a prerequisite for the final result, where traces of the process remains in the finished work.
To freeze a moment for posterity. To preserve and display an action. What is worth preserving? Methods where the finished objects conveys trace of effort, different movement patterns or natural deformation/formation.”
Traces, as a memory of its creation, Gustaf Nordenskiöld, 2012.

In partnership with the Consulate General of Sweden, Hong Kong.

Gallery Hours: Monday to Saturday, 11 am - 8 pm. Sunday, 1 - 6 pm.

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Wouter Dam exhibition / Galerie NeC, Hong Kong

Wouter Dam exhibition at Galerie NeC Hong Kong

Wouter Dam exhibition / Galerie NeC, Hong Kong
28 June - 18 August, 2012

"The ceramic sculptures I make, do steadily develop along a clear line, this last group of sculptures here on show are slightly larger and with more unbroken circles incorporated into the sculpture, in this way slowly revealing more of its origins, the vase and bowl shape.

The sculptures are closed and curled on to itself and in this way, keeping more of it’s secret, enticing you to explore the almost hidden inside of the sculpture.
They are covered with a coloured engobe, the latest colours I have introduced are the soft pink, a light porcelain blue, and a grey tone. All these colours are specifically chosen to enhance the shape and to give a good contrast in between light and shade.

The sculptures are built up of elements made on the potterswheel, assembled when leatherhard, every one of them becoming a unique sculpture, although clearly belonging to the same family of shapes.

The sculptures are like drawing lines in space, making the clay seem weightless. The edges are refined and cut through the air in contrast to the soft voluminous exterior surfaces that bask in the light.” Wouter Dam, 2012

Gallery Hours: Monday to Saturday, 11 am - 8 pm. Sunday 1 pm - 6 pm.

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