- Richard Mason
- Faatimah Mohamed-Luke
99 Loop is delighted to be exhibiting the unique work of two artists, who use plastics and found objects to create their intricately patterned work.
Mohamed-Luke works with Lego-style bricks to build graphic two-dimensional works exploring religion and politics and the dialogues we need to have around them, while Mason creates intricate dot patterns from metal bottle tops which have been flattened and painted, in an exploration of surface, formalism & the demands between artist, audience and gallery.
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Mohamed-Luke's fascination with creating large-scale works from plastic building blocks comes from her love of minute detail and intricate patterns. Inspired by a trip to Morocco, where every surface was painstakingly adorned to perfection, she hopes to highlight and recreate the art form of tessellation in a modern way using miniature bricks. This medium creates a sense of nostalgia and contemporary relevance at the same time.
This particular series of works references the medieval Muslim territory in the Iberian Peninsula, Al Andalus, where the Abrahamic religions flourished together. Despite their similarities, these faiths over the centuries have struggled for dominance, losing sight of their basic values. Mohamed-Luke here draws on the clean, symmetrical motifs of Andalusian religious architecture to focus on their shared aspects - love, kindness and peace. You can read an interview with Mohamed-Luke here.
Mason explains his works:
"This is an exhibition about how objects fit into space. Specifically, the way in which they need to transform to fit into a particular commercial art space. While there is an emphasis on surface, the works look deeper to the relationships that exist between the viewer and the artwork.
On the surface level the works within the exhibition are just colourful chemicals on flattened bits of metal.
Deteriorating bottle tops are transformed into new objects that seem to defy entropy. Industrial materials and processes are used to produce individual objects with the flawless veneer of mass produced products which are organized in geometric patterns as artworks.
Similarly, the optical works seem to confirm that surface is king. Entirely handmade, the repetition of parallel lines, geometric shapes and contrasting color interact in a way that appears to make the surface vibrate with energy. Although visually formalist these works are not as emotionally detached as their surface suggests. Their inspiration lies in the geometric patterns of entoptic phenomena. The objects of consciousness itself are the impetus for these works rather than the world outside.
‘Visual entertainment’, so detested by the critics of op-art, seems necessary in an art world that competes with entertainment media for attention, as long as there is reward for those who wish to scratch beneath the surface. And in this way we are brought back to where we began - the surface."