George Henry Longly, Anne Neukamp.
For Art Nova, Chez Valentin gallery is pleased to propose a dialog between Anne Neukamp's (Germany) and George Henry Longly's (Great Britain) works of art. These two artists use different mediums but displacements which are produced in their respective work and the appropriate distance that they install in it, look like post-minimalist heritage by their architectured opposition of forms and patterns.
By an elegant displacement of humdrum materials, George Henry Longly conceives mini theatrical drama. « A partially mirroded glass partition illuminated by a few strategically positioned disco lights, shone like a tropical sunset in a shuttered beach house (Colin Perry in Freize, July 2009) »
George Henry Longly works with simple geometrical forms and industrial materials. By a work of light and spatial organization, the artist exercises displacements and distorsions on forms, making them change radically into a duality between perception and reality.
This dimension is also existing in Anne Neukamp's work. She underlines experience of her painting's processus, reveiling then the conceptual dimension of her work of art. Anne Neukamp's paintings are coats of paint successions in which subsist the processus of painting itself : underlying levels manifest itself or are partially visible.
Palm trees, landscapes, ornaments and geometrical forms mix together, assembling geometrical patterns and the mark of a picture as long as a polyphonic unity create itself.
For Art Basel Miami Beach, Georges Henry Longly introduces two new works of art especially conceived for this project. First, a work of art on the ground, which is built of simple geometrical elements mould in plaster and slightly coloured.
A second work of art composed by generous glass panels striated by mirror strips geometrically arranged. These panels, enlightened by two couloured spotlights, produces a play of light and shadow.
Anne Neukamp introduces a serie of three important works produced in 2010, taking up the processus of setting coats of paint successions against opposition of forms and patterns.