• Deborah Brown
  • Camilla Engström
  • Alexander Guy
  • Jordy Kerwick
  • Hiroya Kurata
  • Jeremy Lawson
  • Maud Madsen
  • Koichi Sato
  • Tony Toscani
PAINTERS OF MODERN LIFE

Curated by Katharine Kostyál
13.07.2023 — 16.07.2023
Casa Cardinale, Ibiza

Opening hours: 
Friday - Sunday: 4-8pm by appointment
Please contact yasmin@kostyal.com

PAINTERS OF MODERN LIFE, CASA CARDINALE IBIZA
(left) MAUD MADSEN, SWEET PEA, 2023 acrylic on linen 25h × 20w in 63.50h × 50.80w cm (right) ALEXANDER GUY, STRAIGHTEN OUT, 2023 oil on canvas 72h × 78w in 182.88h × 198.12w cm
(left) HIROYA KURATA, PEEKABOO, 2023 oil on canvas 40h × 32w in 101.60h × 81.28w cm (centre) MAUD MADSEN, SWEET PEA, 2023 acrylic on linen 25h × 20w in 63.50h × 50.80w cm (right) ALEXANDER GUY, STRAIGHTEN OUT, 2023 oil on canvas 72h × 78w in 182.88h × 198.12w cm
(left) JEREMY LAWSON, THE COLOSSAL SPECTACLE OF NO ANTAGONISM, 2023 oil on canvas 152.40h × 121.92w cm 60h × 48w in (centre) CAMILLA ENGSTRÖM, STORM ÖVER SIKMARÖ, 2023 oil on canvas 54h × 40w in 137.16h × 101.60w cm (right) KOICHI SATO, PARADISE IN THE SUBWAY, 2023 oil and acrylic on canvas 72h × 60w in 182.88h × 152.40w cm
KOICHI SATO, PARADISE IN THE SUBWAY, 2023 oil and acrylic on canvas 72h × 60w in 182.88h × 152.40w cm
(left) MAUD MADSEN, SWEET PEA, 2023 acrylic on linen 25h × 20w in 63.50h × 50.80w cm (right) ALEXANDER GUY, STRAIGHTEN OUT, 2023 oil on canvas 72h × 78w in 182.88h × 198.12w cm
(left) JEREMY LAWSON, THE COLOSSAL SPECTACLE OF NO ANTAGONISM, 2023 oil on canvas 152.40h × 121.92w cm 60h × 48w in (right) CAMILLA ENGSTRÖM, STORM ÖVER SIKMARÖ, 2023 oil on canvas 54h × 40w in 137.16h × 101.60w cm
Carl-Kostyal_Casa-Cardinale_Sofia-Gomez-Fonzo-44
TONY TOSCANI, BEACH BOY, 2022 oil on linen 96.52h × 81.28w cm 38h × 32w in
JORDY KERWICK, CHARM & OMEN, 2023 oil, acrylic, and spray on canvas 200h × 180w cm 78.74h × 70.87w in
JORDY KERWICK, BETTER LATE THAN NEVER, 2023 oil, acrylic, and spray on canvas 62.99h × 70.87w in (160h × 180w cm)
(left) JORDY KERWICK, BETTER LATE THAN NEVER, 2023 oil, acrylic, and spray on canvas 62.99h × 70.87w in (160h × 180w cm) (right) DEBORAH BROWN LIME, SIDEWALK, 2022 oil on cavas 203.20h × 177.80w cm 80h × 70w in
HIROYA KURATA, PEEKABOO, 2023 oil on canvas 40h × 32w in 101.60h × 81.28w cm
PAINTERS OF MODERN LIFE, CASA CARDINALE IBIZA
CAMILLA ENGSTRÖM, STORM ÖVER SIKMARÖ, 2023 oil on canvas 54h × 40w in 137.16h × 101.60w cm
JEREMY LAWSON, THE COLOSSAL SPECTACLE OF NO ANTAGONISM, 2023 oil on canvas 152.40h × 121.92w cm 60h × 48w in
KOICHI SATO, PARADISE IN THE SUBWAY, 2023 oil and acrylic on canvas 72h × 60w in 182.88h × 152.40w cm

Exhibition Text

Carl Kostyál is delighted to present new works by Deborah Brown, Camilla Engström, Alexander Guy, Jordy Kerwick, Hiroya Kurata, Jeremy Lawson, Maud Madsen, Koichi Sato, Tony Toscani.

His soul stretched tight across the skies​
That fade behind a city block,​
Or trampled by insistent feet​
At four and five and six o’clock;​
And short square fingers stuffing pipes,​
And evening newspapers, and eyes​
Assured of certain certainties,​
The conscience of a blackened street​
Impatient to assume the world. 

I am moved by fancies that are curled​
Around these images, and cling:​
The notion of some infinitely gentle​
Infinitely suffering thing. 

Wipe your hand across your mouth and laugh;​
The worlds revolve like ancient women​
Gathering fuel in vacant lots. 

T. S. Eliot Preludes 1910, verse IV

T. S. Eliot’s poem Preludes, which anticipated his much longer opus The Waste Land, is a profound meditation on the drudgery and loneliness Eliot perceived to be inherent in modern city life. Urban society, the poem suggests, isolates people from one another, threatening to erase their individuality and even eroding human morality itself, an overwhelming preoccupation at the turn of the last century.  

Describing the hum of ordinary street life as viewed from his window in almost painterly terms, this impressionistic snapshot seems to contain all of human existence: the daily grind of the familiar and the strange, the street, the dirt, the sounds, the isolation of the individual in the crowd, where comfort is to be found and where it is absent and a resounding awareness that the world keeps on turning, no matter what noise we make in it. Plus ça change, one might say.  

Adapting its title from Baudelaire’s immortal musings on the life of the flâneur, this exhibition will look at how these artists, each in their distinctly poetic ways and over a century after Eliot penned his poem, offer perhaps a contemplative palliative to this dystopian vision, touching upon the struggle for authentic living and the search for meaning in and escape from our modern lives, seen both from within the urban sprawl and the alienating digital technocracy of our present.  

These artists’ chosen medium is painting, the language of which is becoming ever more elastic, generous and relevant as a uniquely analogue, solitary and salvatory pursuit. Deborah Brown’s haunting streetscapes, Camilla Engström’s hallucinogenic escapist landscapes, the ‘poor-Pop’ of Alexander Guy’s painterly kitsch compositions, Koichi Sato’s familiar archetypes of New York life, Hiroya Kurata’s comfortingly familiar yet absurd painterly snapshots of family life, the deliberate meditative destruction of the artist’s presence in Jeremy Lawson’s abstraction, Maud Madsen’s interrogations of memory and normalcy, Tony Toscani’s lethargic, isolated figures and Jordy Kerwick’s fantastical animal compositions each in their way mark a profound engagement with painting as an essential and hopeful pursuit for our times.

– Katharine Kostyál      

 

 

Photo by Sofia Gomez Fonzo © the artist. Courtesy of Carl Kostyál, London | Stockholm