From 14th March Gazelli Art House will present a diverse outlook on the crossover between classical fine art and new media. The exhibition titled Red Tape will present new works by New York based artist Stanley Casselman (America) and London based artist Hyo Myoung Kim (South Korea), drawing on the cyclical nature of creative input and output. By referencing the predecessors, the exhibition questions how far can contemporary techniques overtake and outweigh that which was created and explored in the past -­‐ is it all a matter of conceptual strength backing a familiar image, or do we require a complete break away from tradition and the mundane?

Stanley Casselman and Hyo Myoung Kim each tackle and confront the nature of procedure. Through the use of the squeegee in his IR series, Casselman’s work references the strong visual concept and practice prominent in the works of German artist Gerhard Richter and thus highlights the influence of the late 20th century avant-­‐gardist artists. In contrast, Hyo Myoung Kim digitizes images creating complex visual developments of the actual and existing data he collates. Rather than dissociating his colour blocks from any traditional or symbolic meaning, he alludes to the visual language of Modern Art.

Applying multiple layers of acrylic paint to a wet canvas using a flexible squeegee, Casselman creates paintings that are complex, yet consistent in form. Inspired by a tongue-­‐in-­‐cheek comment by American art critic Jerry Saltz of New York Magazine, Casselman’s new body of work, Inhaling Richter, is a collection of originals that contain Richterian elements but maintain an aesthetic that is purely his own.

Hyo Myoung Kim is a new media artist whose influences stem from the pioneering ideas of the early chrono photographers such as Eadweard MuyBridge and Étienne-­ Jules Marey. Utilizing image-­‐generating applications, Hyo Myoung acknowledges the allusion of the logic of traditional art practice in the current two and three dimensional image editing/animation software. The result of his irreverent iterations are estranged familiarities of our contemporary visual culture.