Gathering is delighted to announce Substance, a group show featuring works by Kristian Kragelund, Rannva Kunoy and Jennifer Tee, inaugurating Gathering Ibiza. The exhibition will take place across the multi-level gallery, with each artist’s work occupying self-contained spaces, allowing the practices of Kragelund, Kunoy and Tee to enter into dialogue whilst retaining their singularity. Each of the artists uses unconventional materials to experiment with formalism, encoding wall-based media with histories and ideas that operate just beneath the works’ surfaces. The diversity of each practice is linked by an expansive, near-sculptural abstraction, with a special awareness of the ways material degrades or evolves as time passes and looking is prolonged.

Installation Views (5 images)

Rannva Kunoy (b. 1975, Faroe Islands, Denmark) uses layers of car paint, made up of colour shifting crystal pigment, to create her monumental canvases. As the viewer moves from one side of the painting to the other, the colour shifts and changes like an oil slick. In Kunoy’s own words, each painting becomes ‘like a lamp… a light generator,’ illuminating the networks of marks that are often layered on top, reminiscent of automatic writing.

Kristian Kragelund (b. 1987, Denmark) similarly makes use of industrial materials and processes. The works on view at Gathering Ibiza are were created by using enamel, fibreglass and epoxy, borne out of Kragelund’s research into the phenomenon of Mach Bands - an optical illusion wherein a band of gradients will appear to be lighter or darker than they actually are. The Mach effect appears in fields from medical science to computer graphics; by exploring it through his practice, Kragelund engages the history of painting’s entanglement with the phenomenology of perception.

Selected Works (11 images)

In contrast, Jennifer Tee (b.1973, Arnhem, Netherlands) takes the tulip petal as the medium in her ongoing series of works titled Tampan Tulips. Tee painstakingly selects, picks and presses Rembrandt tulip petals by hand on annual trips to North Holland and as-sembles them into geometric works that oscillate between abstraction and figuration, taking inspiration from the historic designs of Lampung ceremonial textiles known as Tampans. Often featuring iconography evocative of transformation and movement, the works entangle spiritual resonance with colonial histories of trade and elements of Tee’s own ancestral history.