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Red Moon & Childhood https://images.squarespace-cdn.com/content/v1/5c0e8e360dbda36036814038/1546251266304-9DPZSWIOZJKFE8NG35PN/ROBE+NO.+1.jpg New Gallery - Robe No. 1 https://images.squarespace-cdn.com/content/v1/5c0e8e360dbda36036814038/1546251333495-O4Y0HBIFWH90B2G7MJUR/THE+BEAUTIFUL+%26+THE+CHAIR.jpg New Gallery - The Beautiful & The Chair https://images.squarespace-cdn.com/content/v1/5c0e8e360dbda36036814038/1545667874503-OZ1OEARXY7GXK9A58M9H/BLOODFLAG+NO.+1+USA.jpg New Gallery https://images.squarespace-cdn.com/content/v1/5c0e8e360dbda36036814038/1546251356574-MOB2NFJMC0NVZCLMWUYP/THE+SECRATERY++minimalism.jpg New Gallery - The Secretary Minimalism https://images.squarespace-cdn.com/content/v1/5c0e8e360dbda36036814038/1546251369317-5YVO07P22RDYLHRJPDO1/THREE+COLORS++%26+THE+PERFECT+WOMEN.jpg New Gallery - Three Colors & The Perfect Woman https://images.squarespace-cdn.com/content/v1/5c0e8e360dbda36036814038/1546251386295-PY6N67TSVQSRD5JU3SPU/TWO+LINES+%26+77%2CKG+++minimalism.jpg New Gallery - Two Lines & 77,kg Minimalism https://www.studio3926.com/mathildebonbonart daily 0.75 2019-01-04 https://static1.squarespace.com/static/5c0e8e360dbda36036814038/t/5c2f5418c2241b1c7341ba22/1545666515925/ New Gallery https://static1.squarespace.com/static/5c0e8e360dbda36036814038/5c20ffc61ae6cf1d5eb48943/5c20ffd370a6ad50aaa81621/1545666515925/ New Gallery https://images.squarespace-cdn.com/content/v1/5c0e8e360dbda36036814038/1546252536051-WGR998O7YX8IOHV21U4N/Ange+de%CC%81chu-122x82x4%2C5-5kg.jpg New Gallery - Ange Déchu https://images.squarespace-cdn.com/content/v1/5c0e8e360dbda36036814038/1546252562677-BWLW396Q3V0WGYC6QDTF/blueblack.jpg New Gallery - Blueblack https://images.squarespace-cdn.com/content/v1/5c0e8e360dbda36036814038/1545816970799-OX85MHA132JLWKSB5GKH/La+petite+danseuse.jpg New Gallery https://images.squarespace-cdn.com/content/v1/5c0e8e360dbda36036814038/1546252574831-J2C2YPZ8E0HQ08B9YJNU/MB15-Jazz-120x80cm.jpg New Gallery - Jazz https://images.squarespace-cdn.com/content/v1/5c0e8e360dbda36036814038/1546252580131-YIIZDIEYTAT8BCB7GTYF/MB15-Les+jumelles-120x80cm.jpg New Gallery - 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Poney https://images.squarespace-cdn.com/content/v1/5c0e8e360dbda36036814038/1546252910541-8DXFZCR2ELCKXEQ5N4WU/TOTEM.jpg New Gallery - Totem https://images.squarespace-cdn.com/content/v1/5c0e8e360dbda36036814038/1546252917315-7067BUROL3YNXAF6N8JT/totem+%231.jpg New Gallery - Totem #1 https://images.squarespace-cdn.com/content/v1/5c0e8e360dbda36036814038/1546252924053-37TEPK80FCWTOV84YRL9/totem+%232.jpg New Gallery - Totem #2 https://images.squarespace-cdn.com/content/v1/5c0e8e360dbda36036814038/1546252927958-7475UXC2VN7MXZ3G6C0O/totem+%234.jpg New Gallery - Totem #4 https://images.squarespace-cdn.com/content/v1/5c0e8e360dbda36036814038/1546252932302-XC4GE715C3DOLA5P0VB5/totem+Voodoo+%28detail%29.jpg New Gallery - Totem Voodoo ( detail ) https://www.studio3926.com/atable daily 0.75 2020-06-04 https://images.squarespace-cdn.com/content/v1/5c0e8e360dbda36036814038/1545662804052-QZJ07AX0AJMX5PQP33KQ/DSC_0395.JPG Book Your Place Henry Anno & Mathilde Bonbon cooking in their studio in Berlin. https://www.studio3926.com/mathildebonbon daily 0.75 2021-06-09 https://images.squarespace-cdn.com/content/v1/5c0e8e360dbda36036814038/1591287523454-Q8T91OZRL64QVM36ZQT7/mathilde%2Bat%2Bwork%2528CROPPED%2529.jpg Gallery - Mathilde Bonbon Born in Paris, Mathilde Bonbon has a background in textile design. Her attention to texture remains evident on the surface of her canvases, as likewise her appreciation for the intricacies of thread does in her sculptures. But it was for art’s ability to capture emotion in loose and spontaneous forms that Bonbon left her design practice behind, and it is in this aspect that her work comes to life. A little army of of moderately proportioned sculptures Bonbon refers to as her Totems, a word well-chosen to reflect the heavy spiritual aura of the objects. Each is a deep, glistening black, painted onto mostly wood, then meticulously bound in natural rope according to the Japanese knot tying practice Shibari. Now mostly known for its use for SM purposes, Shibari is also a form of meditation. That is to say, it is not only about restriction for pleasure-pain, but about learning to find calm, catharsis and beauty in that.They might seem dark and frightening, but Bonbon’s sculptures are much more than that. Everybody hurts – pain is simply part of life, and the totems show us what that looks like materialized. They are a way of processing, facing and coping with life’s emotional ambivalence. Such affective transference is a mode that reoccurs across Bonbon’s oeuvre. The shiny allure of the totems extends onto the new enamel paintings, like Red Triptych and an untitled dark and royal blue couple (both 2018). In the latter, the artist develops her signature formal language: organic shapes and splotches in various colour combinations, which morph and change their meaning for each frame, and depending on the eyes that see. Almost as if submitted to a Rorschach test, every viewer sees something different: a map, a landscape, a starry night, molecules through a scientist’s microscope. Often, what is described is a feeling. In Fallen Angel (2016), for instance, the slouching white figure on a blue background, turns its back on the light, like an old fur coat, defeated and fatigued. In The Twins (2015) two yellow shapes, qua the work’s title, evokes two eggs framed by the same membrane, two peas in a pod: a distinctness always on the verge of collapse into total unity, were it not for the black background, suggestive of loss and mourning. In The Possibility of an Island (2016), the shape that made an egg in The Twins has taken on a different meaning. Named after Michel Houellebecq’s 2005 novel about clones inhabiting a world wrecked by climate change and nuclear war, there’s lots for viewers to read into. And, as that story tells us, a clone is not just a copy, but a reflexive agent. Similarly, in Bonbon’s paintings, forms are cloned and repeated, layers added on top of layers. Like mood rings, these intense picture planes reveal ever changing emotional landscapes, showing us life in all its richness, but from the inside out. https://images.squarespace-cdn.com/content/v1/5c0e8e360dbda36036814038/1545666482382-MGMYQNTFEFM4H2V6BJV2/MB17-Enclume-47x47x4cm.jpg Gallery https://www.studio3926.com/henry-anno daily 0.75 2020-06-04 https://images.squarespace-cdn.com/content/v1/5c0e8e360dbda36036814038/1545669396129-66D7SF17ROSQTL6N7OLT/henry+working.jpg Henry Anno - Henry Anno In Henry Anno’s work, no material is arbitrary; every surface has a texture, every texture a history. For Anno – who worked in the fashion industry for many years before turning to art in the early 2000s – therefore, there is no such thing as a blank canvas or a clean slate. Rather every ground component is already the bearer of particular signification. Where did it come from? How did it get here? From such a starting point, any material makes as self-evident a base for an art work: from old doors, bed sheets, a chainsaw, Anno finds potential in anything. In his early work, he applies his interest in materiality and consumer culture to comment on globalised networks of trade. Although everything we have around us was, at least once, inside a big shipping container, we rarely pay attention to their exterior. Anno captured their surprising idiosyncrasies in a group of large photographs from YEAR. Suddenly apparent are the differences in colour and font design, while the almost true-to-life size of the works for a moment tricks the viewer, like a post-industrial trompe l’oeil, into believing that they’re three-dimensional. And given the sporadic nature of Anno’s practice, they may well have been actual container fronts. For a subsequent suite of works, Blood Flags (YEAR), he employed heavy-duty fibreglass plates, originally used to board up windows of properties along the Rhine river to protect them during high tides. On these, he painted a total of five flags – USA, Israel, the Soviet Union, China and Switzerland – chosen, not for any political or historical reason, but for the presence on each of them of a star or a cross. These symbols are always red, while the other colours are muted and strictly decorative. Inspired by pop art, here, Anno leaves viewers to speculate what happens when political tropes become graphic icons. Is it possible for them to carry any stable or inherent meaning? Related questions are at stake in Anno’s on-going and diverse use of the tarpaulin cloth he gathered from the old radar station on Berlin’s Teufelsberg. Standing on top of a hill made of the rubble from Germany’s bombed out capital after the war, the radar station was used by the US army until the fall of the wall. Ironic, given this epic story, Anno named the series of monochrome tar paintings he made from the material Silence. But this incongruence, in fact, speaks volumes of how we talk about, build upon, and move on from the mars of history. Whatever Anno paints on the Teufelsberg cloth, the history of the cold war and his own childhood memories of growing up in West Berlin, are always there in the background. These works are all emblematic of Anno’s practice in their eccentricity and reliance on chance and intuition. Many more fill up his archives: surrealist assemblages of disparate objects – an axe, a plastic shovel, a toy church, for instance, in Childhood (YEAR) – are often both eerie and funny, while, in a recent turn to figurative painting, Anno lovingly satirises the art world in a colourful band of caricatures. (His Collector has the solemn face of a more well-dressed Angela Merkel). Common to all is their boldness and sense of humour. 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