Fundamental to Uglow’s work is the understanding that he, as the artist, is not cast in the traditional role of observer. Conversely, he is in and of the work, the conductor amid a tempest of paint, arranging the often-bewildering cocktail of the physical, the metaphysical and the emotional into an internal cohesion. For Uglow, paint is not the expression of something understood; it is the conduit to understanding. In this, he echoes the masters of the canon, from the Venetian Cinquecento to the New York abstract expressionists. Like his forebears, he is committed to the ongoing enquiry into pure painting.   He must. After all, he paints because ‘life isn’t enough. It disappears. I need so

  In her video work Messenger(s), the artist Sejin Kim observes and comments on the inherent imperialistic ambition of human nature: the desire of man to expand territories repeatedly seen throughout history is now going beyond the Earth. The protagonist of the artwork is ‘Laika the Space Dog’, who took part in the mission Sputnik 2, and  became a part of history as the first living creature to orbit the Earth. The space dog gave her life for her country, involuntarily fulfilling a canine suicide mission, with Russia announcing the cause of death 50 years later: excessive heat and stress coming from the heat adjustment error of the spaceship. The Messenger(s), reborn with a 3D digital motion

  During the Enlightenment, French salons acted as incubators for social and cultural innovation. Within the arts, the salons served as both cultural hubs and platforms for the exchange of often radical ideas that continue to influence the cultural fabric and practises of the visual arts as we know them. Salon 2022, a new exhibition curated and organised by the team at TSIVRIKOS SHAKE, will reimagine the idea of the salon by bringing together a diverse group of artists committed to exploring contemporary concepts of expression, language, and identity – ideas that both influence and define cultural and societal developments in the 21st century. In a return to the illustrious tradition of the

An endless 'Rat Race' "They exist without permission.They are hated, hunted, and persecuted.They live in quiet desperation amongst the filth.And yet they are capable of bringing entire civilizations to their knees.”   Rats are one of Banksy's significant motives and continuous source of inspiration. They are used allegorically both as anagram of the word 'ART', and as a symbol of the vices of the human race and those who suffer treated as 'lesser than' in the darkness. For Banksy, the rat is paying homage to the graffiti artists and ,therefore, himself, who tend to appear at night, hidden in the darkness and are hunted down by the authorities, treated almost like pests.  By giving the figu