A R T M O O R H O U S E M O O R H O U S E 1 2 0 L O N D O N W A L L

DIALECTICAL MATERIALISM

David Degreef-Mounier - Phil Dobson - Ileana Arnaoutou

Cover Image: David Degreef-Mounier - Discoveries - Indian ink on paper - cm 57 x 42 cm Phil Dobson - Medium Crowd - Acrylic on canvas on board - 50 cm x 58 cm

Ileana Arnaoutou Seductive “Virus" I, II - Polyester fabric, stuffing, faux fur, mild steel metal rod, liquid latex

DIALECTICAL MATERIALISM

ALL IMAGES ©Ileana Arnaoutou ©Phil Dobson ©David Degreef-Mounier

EXHIBITION CURATED BY ELISA MARTINELLI, PHIL DOBSON, DAVID DEGREEF-MOUNIER

BROCHURE CONCEPT ARTMOORHOUSE

MEDIA PARTNER

08TH April 2015 - 15TH May 2015 I ARTMOORHOUSEMOOR HOUSE, 120 LONDON WALL, LONDON EC2Y5ET

DIALECTICAL MATERIALISM David Degreef-Mounier - Phil Dobson - Ileana Arnaoutou

First published in 2015 by ArtMoorHouse All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by means, electrical, mechanical or otherwise, without first seeking the permission of the copyright owners and publishers. All images in this catalogue are protected by copyright and should not be reproduced without permission of the copyright holder. Details of the copyright holder to be obtained from ArtMoorHouse. ©2015 ArtMoorHouse

The three artists in this exhibition approach their work from different directions - intention towards intuitive form, light balanced with matter, representation of an abstract idea - but ultimately can find common ground.

There emerges in this display different dialogues, between the artists and their material, between the artists and the external world, or Nature, and also between the works shown.

These give rise to new syntheses, new forms, new ideas.

DAVID DEGREEF-MOUNIER

David Degreef-Mounier's work is process-based. He uses materials for their ability to be transformed, for their malleability and their metamorphic properties, in order to explore new landscape of the mind. His research revolves around a Lacan quotation: "I think where I am not, therefore I am where I do not think". It translates in his work by a series of ongoing experiments, where, by rejecting expectations and preconceptions, he is able to accept what is happening here and now.He states: "Art is not simply an object,  nor does it exist solely in the mind. Rather it is the relationship between the two".

Shapes Dances and Forms 1 -Hand sawn pieces of wood slight burned

Shapes Dances and Forms 2 -Hand sawn pieces of wood slight burned

Shapes Dances and Forms 3 -Hand sawn pieces of wood slight burned

Shapes Dances and Forms 4 -Hand sawn pieces of wood slight burned

Shapes Dances and Forms 5 -Hand sawn pieces of wood slight burned

Shapes Dances and Forms 6 -Hand sawn pieces of wood slight burned

Shapes Dances and Forms 7 -Hand sawn pieces of wood slight burned

Discoveries - Indian ink on paper - 57 cm x 42 cm

Discoveries - Indian ink on paper - cm 57 x 42 cm

Discoveries - Indian ink on paper - 57 cm x 42 cm

Discoveries - Indian ink on paper - 57 cm x 42 cm

Discoveries - Indian ink on paper - cm 57 x 42 cm

Discoveries - Indian ink on paper - cm 57 x 42 cm

Discoveries - Indian ink on paper - 50 cm x 40 cm

Discoveries - Indian ink on paper - 50 cm x 40 cm

Discoveries - Indian ink on paper - 50 cm x 40 cm

Discoveries - Indian ink on paper - 50 cm x 40 cm

Discoveries - Indian ink on paper - 50 cm x 40 cm

Discoveries - Indian ink on paper - 50 cm x 40 cm

Discoveries - Indian ink on paper - 50 cm x 40 cm

Discoveries - Indian ink on paper - cm 50 x cm 40

Spaces 1 - Giclée print - 40 cm x 30 cm

Spaces 2 - Giclée print - 40 cm x 30 cm

PHIL DOBSON

Along with the development of his technique of layering and sanding acrylic, building up relief and then eroding it, an acknowledgment in the resulting flatness of a schematic way of representing the world, and in the process, of its temporal nature, he has developed the language of the work's various strands, combining amorphous form and precise delineation, the fluidity of paint with the rigour of geometry, the symbolic colour of maps with the luminosity of stained glass.

Medium Crowd - Acrylic on canvas on board - 50 cm x 58 cm

Hydrogen Sulphide - Acrylic on canvas on board - 50 cm x 50 cm

Carbon Dioxide - Acrylic on board on canvas - 50 cm x 50 cm

Red Are We Related - Acrylic on board on canvas - 75 cm x 75 cm

Drawing From Memory - Acrylic on board on canvas - 90 cm x 90 cm

Naturally - Acrylic on board on canvas - 90 cm x 90 cm

City - Acrylic on board - 30 cm x 34 cm

Violet Cosmology - Acrylic on board - 30 cm x 34 cm

Gardening With Gutenberg - Acrylic on board - 154 cm x 176 cm (Private Collection)

Host - Acrylic on board - 152 cm x 176 cm

Under My Skin - Acrylic on canvas on board - 75 cm x 75 cm

Garden - Acrylic on board - 75 cm x 90 cm (Private Collection)

Nature Abhors A Vacuum - Acrylic on board - 75 cm x 90 cm

Generator - Acrylic on board - 30 cm x 34 cm

Phyton Triptych - Acrylic on board - 123 cm x 90 cm each

Trajector A-F - Giclée print on archival paper edition - 38 cm x 29 cm each

n(n+1)/2 - Giclée print on archival paper edition - 86 cm x 66 cm

ILEANA ARNAOUTOU

The stepping-stone of every work of mine is a walk, a treasure haunt in the city. Discarded objects have always intrigued my creativity, as inspired by the culture of my country, I believe that every element has its own history and forms by that way its own character. I feel like rescuing objects and materials, bringing them back to life, by dismantling and combining them together, by lighting them up.

I perceive my sculptures as a 3D collage, which due to its versatile dimensions provides me with the opportunity to unfold new ideas, ways of creation and combinations. Light plays a pivotal role in my work. It contradicts the bold and dark nature of the discarded pieces, creating an amazing contrasting balance. This balance is directly linked to the conceptual aspect of my work. Balance in all sort of levels.

The scale is an object that has triggered me for a long time. More specifically the ancient Egyptian ritual of weighing the heart has played a pivotal role in building up my conceptual aspect of the works. Weighing the heart with a feather, for me is an amazing symbolic structure, which is mostly present in everything in life. My aim is to create and imagine scales, imagine the possible two sides, imagine their relationship.

My sculptures weight light and colour with matter, soul with human body. The “results” and combinations are infinite and that is what makes me want to create.

Seductive “Virus" I, II - Polyester fabric, stuffing, faux fur, mild steel metal rod, liquid latex

DAVID DEGREEF-MOUNIER

David Degreef-Mounier was born in Cannes (France) in 1967.

He studied Art at L'Ecole Nationnale des Beaux Arts de Lyon (France), and obtained a BA in 1990. He completed an MA in Fine Arts at Wimbledon School of Art in 2005 and has maintained a studio practice in London since.

He has shown extensively with notable recent exhibitions at Testbed1 (Battersea), and an installation at the Hospital Club (Covent Garden), which has led to his work being specially featured in one of the Club's new Hotel rooms.

DAVID DEGREEF-MOUNIERwww.warriorstudios.org/David-Degreef-Mounier dacodemo@hotmail.com info@warriorstudios.org

PHIL DOBSON

Phil Dobson grew up in the south-east of England and after studying sciences at school went on to a degree in architecture at the then Oxford Polytechnic. He then took a degree in Fine Art and History of Art at Reading University. At this time he was concerned with the application of systems in both 2 and 3 dimensional work. After moving to London he worked as a gardener and garden designer and on nature conservation projects for a while before starting to paint full-time 

Using a technique of layered, sanded acrylic, his work has developed several strands. Generally it addresses the old dichotomy between representation and abstraction. It looks for meaning in the relationships between idea, process, material and reality. It draws on scientific imagery, maps, diagrams and other schematic ways of presenting information and plays on a tension between analogue and digital means of processing data. 

There are three significant projects in his development:

Our Autonomous Nature; May 2012; the first of a series of shows at Testbed1, Battersea, London curated by Chloe Tinsley looking at our relationship with Nature. For this he created 3 very different works:

After The Protein, a diptych based on a 1970s diagram of a molecule of a protein found throughout the animal and plant kingdoms, including in humans.

PHIL DOBSONwww.warriorstudios.org/Phil-Dobson

phil.dobson@ic24.net info@warriorstudios.org

Phyton: a triptych based on the concept of a phyton – the smallest part of a plant that when detached is able to grow into another individual. The paintings are in an ongoing series imagining endlessly morphing photosynthetic matter. Tulips: a triptych based on drawings of parrot tulips as they open from the bud, each drawing incorporating the previous drawing representing a kind of time-lapse sequence with the previous state fading before the next one. A representation of the cycle of life. This project allowed him to work in different ways simultaneously and also reacquainted him with the pleasure of traditional drawing.   Residency at Sitterwerk, St Gallen, Switzerland and subsequent exhibition there; July 2012.

During this residency he continued an interest in the ideas of Marshall Mcluhan as expressed in The Gutenberg Galaxy, linking text, typography and geometry. Working with letter stencils he produced the Trajector prints which are revisiting his earlier interest in the relationship between 2 and 3 dimensions.   Brewster’s House, Testbed1, Battersea, London; November 2013.

An exhibition based on a short story by Duncan McAfee imagining an interior as a physical manifestation of the ideas of Brewster Kahle, the internet activist and digital librarian. This was the first show by S. London artists’ collective Warrior Studios and explored the potential for showing work by individuals of a diverse nature curated around a unifying theme.

ILEANA ARNAOUTOU

Born in 1994 Greece, Athens, lives and works in London Education

2013-2017 BA Fine Art, Sculpture, Slade School of Fine Art –UCL- London 2012-2013  Level 4 Foundation in Art and Design,  Fine Art Pathway, University of the Creative Arts –UCA- Canterbury 2010-2012  International Baccalaureate Visual Arts High Level Exhibitions

2014 Shapes, ArtMoorHouse, MoorHouse, Moorgate, London 2013 Big Painting Exhibition, Woburn Research Center, Slade School of Fine Art, UCL 2013 Foundation Degree Show 2012-2013, UCA Canterbury 2012 Final IB Show, Geitonas School, Athens, Greece Curation

2014 Shapes, ArtMoorHouse, Group Student and Graduate Exhibition Publications 2013 Cover Artist, Level 25 Art Journal, Issue 2, December 2013, http://level25artjournal_issue2pdf_ver3

ILEANA ARNAOUTOUiarnaoutou.wix.com/iarnaoutou i.arnaoutou@gmail.com

ARTMOORHOUSE Moor House 120 London Wall, EC2Y 5ET

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