‘Dirty Pink’, a new exhibition curated by Tina McCallan, opened last night in Russafa. Bay is excited to be showing her paintings ‘Allegory’ and ‘Confession’ alongside work by twelve international women artists.
Bay is delighted to be exhibiting in this summer’s collective show ‘Dirty Pink’ in Sporting Club Russafa, Valencia. The exhibition, curated by Tina McCallan is an exhibition of thirteen international women artists responding to the controversial colour pink.
The exhibition opens on Friday 2nd July at 18.00 until 22.00 and will run until 31st July.
Themes of the Russafa art exhibition
Tina intends to pose important questions through the exhibition, including whether gender is a performance and the reality of a “feminine or feminist aesthetic”. As she explains,
“Over the centuries, society’s perception of the colour has changed, at times being considered feminine, erotic, kitsch, sophisticated or transgressive.
According to Valerie Steele the author of Pink: the history of a Punk, Pretty, Powerful Colour, The 150-year-old notion of pink as synonymous with fragile femininity is being challenged. We’ve seen the rise of millennial pink as an ‘It’ hue, but also its appropriation by feminists around the world as a powerful, socio-political mark.”
Participating Valencia and International Artists
The participating artists will address this ambiguity alongside their own individual styles and concerns:
Perfection and imperfection, be it the mathematical perfection in the abstract works of Katrina Blannin who in, “Maximillian # 101 and 102”, bases her abstract works on the mathematical formulas of the Old Masters or the colour perfection of Caroline List, for example in, “Chromascape Scarlet Green” uses complimentary colour gradients to refer to Modernist abstraction and representational languages. Illusory perfection can be seen in the iridescent skin of “Raimunda IV” by Josie McCoy whose uncannily realistic portraits of female celebrities give the viewer a sense of the “unheimlich”
The surface perfection of the blank canvas is physically attacked in the works by Marie Julou with glitter-sprinkled, scratched and pencil doodled oil paint. In “Glitter Circle” and “Sgraffiti Doodle 1” she mixes both “low” and “high” art materials on amateur canvases and, with tongue firmly in cheek, she seeks to challenge the modernist patriarchal hegemony while in Sandi Goodwin’s“Splash of Pink”, the energetic gestural strokes of colour almost burst out of the frame.
In Celia Kettle’s “Shot through the Heart” the circle operates as a metaphor for the individual with watery spheres breaking out of their boundaries and spilling out onto the white canvas like blood stains.
Partly inspired by Magritte’s “The Lovers” as well as the judgement around women breastfeeding in public, Motherhood is tackled in Alex Baker’s graphically beautiful photos entitled, “This is Motherhood” of women breast feeding while Francesca Ricci’s subtly layered paintings entitled “In Utero” are dotted with esoteric signs and symbols referring to the experience of maternity as an almost alchemical process.
Beauty, self-image, and identity are tackled in the work of Bay Backner with alien-like flesh-coloured floral forms in “Allegory”, threatening to obliterate the figure. Painted “Alla prima”, (wet into wet) these portraits are based on photos of the artist, the surfaces of which are then decorated with embroidered patterns.
The fragmented and politicised female body is dealt with in Emma Shapiro’s “”Cuerpas”, video series. Using old life modelling photos of herself, she cuts them up and reassembles them mixing heads, torsos, and legs then films them in an animated dance which resembles scientific flicker tests. In her “Nipple Wall”, visitors will be able to take a selfie in front of wallpaper printed with the nipples of hundreds of women, challenging the censorship around this part of the body.
In Lauren Moffatt’s film loop entitled “Rose, coloured” in a futile attempt at control, theartist has painted in oil directly onto her image on the frames of a super 8 film with the effect that the acid in the paint dissolves and ultimately destroys the film. K.L. Brown shows us, in “Sophie’s choice”, a photographic work of a discarded dolls house which aims to question the social structures around us and their effect on our psychological state while Ashley Davies’s painting hovers between abstraction and figuration in a liminal space influenced by her visual impairment questioning the certainty of perception.
Exhibition Times and Dates
Dirty Pink will inaugurate on Friday 2nd July at 18.00 until 22.00, and then be open to visitors on the dates below:
For ¡Abril Despierta! Bay has made five figurative artworks in oil paint and hand-embroidery on canvas. These explore how identities are being shaped by this year’s pandemic, specifically how its experiences affect our subconscious minds.Truth expresses how many of us looked inwards during isolation; Trust, the creative relationship between our conscious and subconscious; Expectation,how we balanced hope with reality; Ice, the complicated nature of solitude and Untitled, the freedom of imagination while confined.
The Jan Royce Gallery exhibits contemporary art from around the world, presenting a “fascinating, broad selection of artists and works. Stimulating, cutting-edge works by established contemporary artists, as well as intriguing works from young emerging artists, who may not have yet gained public acclaim.”
Jan Royce Gallery director Cornelius Moon affirms that the space “recognises the importance of supporting local talent and believes that the development of the Arts in any community is paramount in creating a society with character and soul.”
Artist and journalist Tatiana Roig writes that ¡Abril Despierta! is “an art exhibition where three artists from different nationalities reflect on the influences of being born in different countries and their very diverse way of conceiving art. Three women come together in a post-pandemic era to show their art and its origins.”
“Unusual textures and textiles, blending cotton and wood, shape a multicultural exhibition in the heart of the city of Valencia.”
The show will open on 10th April 2021 and run until 30th May.
Bay is now showing Blancanieves, her new large-scale embroidered oil painting at Galeria Cuatro, Valencia. The work is part of collective exhibition Sexto Sentido, on show at the gallery until 3rd March 2021.
Blancanieves was painted in response to the current restrictions in Valencia. With one of the highest incidences of Covid-19 in Spain, all cultural events have been postponed and gatherings of more than two people are prohibited. When gallery director Miguel Castillo Gómez invited Bay to participate in Sexto Sentido, he asked for a work that would be impactful and colourful as a response to the challenges the current situation presents.
Blancanieves (Snow White in Spanish) is an expression of the joy we can find in creativity. No matter what we encounter in the external world, our internal worlds can be one of magical stories, enchanted mirrors and self-expression. The painting is part of Bay’s wider ongoing series of paintings exploring our hidden selves.
Blancanieves is 146 x 114 cm in oil paint with hand-embroidery on canvas. At 1900Eu the painting is expect to sell to Bay’s collectors in Valencia. To check that the painting is stil available before your visit, call Galeria Cuatro on 963 51 00 63
The gallery is open daily in line with current restrictions, from 10.30am until 6pm.
Bay is showing new work in the latest exhibition at Valencia gallery Galería Cuatro. The show, Sexto Sentido, will open this Thursday, 29th January. Bay will debut her latest large-scale embroidered painting Blancanieves(Snow White), a 114×146 canvas which will be featured on this site after the exhibition opens.
Following current restrictions for Covid-19, there will be no traditional inauguration. The works can be viewed in person at the gallery between 10am and 6pm until 3rd March 2021.
Galería Cuatro’s director Miguel Castello was yesterday interviewed by newspaper Las Provincias. He discusses the challenges facing our city’s art scene and the importance of making galleries relevant for the younger generation. You can read the full interview in Las Provincias Culture here.
Galería Cuatro is a well-established and pioneering Valencian gallery, having opened its doors more than forty years ago in July 1980. Initially it was a parallel space to the historic Theo Gallery, concieved to support the work of emerging Valencian artists.
The gallery overcame Spain’s 2008 economic crisis and is facing current challenges with innovative exhibitions and new artists. These are being led by Miguel Castillo’s son David, who has taken on the role of gallery curator.
Bay is delighted to be participating in the gallery’s program this year.
Bay curated a series of weekly covid-responsible art events throughout October 2020. In collaboration with art collective Colonia Roma, the events included artist talks, art workshops and discussions. Highlights were artist Emma Shapiro‘s discussion on social media censorship and Tina McCallan‘s workshop on shamanistic journeys into the subconscious.