Daniel Freaker’s work explores the painterly qualities of print, video, film and photography through the medium of painting. The filmic reminiscence of film-scenes suggest fragments of a broader narrative which the viewer can interpret. Sitting between abstraction and figuration, Freaker’s paintings play as much emphasis on the materiality of paint as they do the form of the image itself. Where some aspects of the painting are defined and detailed, others are more suggestive and evocative. Contrastingly, Adam Lowenbein’s paintings place his subjects into visual spaces that fuse the interior and exterior into theatrical spaces that are suggestive of “what lies underneath”. In the age of social media where opinions are formed quickly and expressed directly, Lowenbein is interested in the liminal space that is often ignored - the space that lies deeper and is perhaps concealed upon first inspection. By painting places and objects that occupy the world around him, Lowenbein tries to capture the “murkier unknownness of them”. Whether it is the light from a TV or mobile phone, or the reflection of the sun or moon off a pool, Lowenbein harnesses light to capture a moment lost in thought or reverie. In direct contrast to the idealisation of the visual on social media, Lowenbein’s paintings reveal the uncomfortable and express the precarious.
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