Perrotin Shanghai has presented Eddie Martinez’s solo exhibition Fingers Pointing at the Moon marking the artist’s first gallery exhibition in Mainland China since his 2019 institutional debut, Open Feast at Yuz Museum, Shanghai. The artworks on view comprise Martinez’s recent drawings, works on canvas, and tabletop bronze sculptures.
Perrotin Hong Kong has presented a solo exhibition by Japanese artist Aya Takano, marking the artist’s second presentation at the Hong Kong space, since her debut in 2012. In these series of ten paintings and twenty-four drawings, Aya Takano has created an ode to Hong Kong like no other, capturing its landscapes, its culture and its quirks, in a happy and colourful tribute that puts on display the artist’s intimate affection for the city.
This presentation brings together a selection of sculptures and drawings created specially for this occasion. Before being installed in Seoul, the pieces first inhabited her immediate surroundings, in her studio located in the Swedish countryside in the forest by a lake, North of the Stockholm region.
Kristalova’s figures speak to our emotions immediately. The artist is a storyteller who uses the plasticity of sculpture to build small micro worlds, where something peculiar has just happened or is about to happen. She usually relates to a sculpture tradition that has its roots several hundred years in the past.
"At the Seams" is her first show with the gallery and her first in Asia. With their deeply saturated palettes and fragmented forms, Orchard’s paintings accomplish an impressive duality: swimming within the currents and eddies defined by modernist figurative painting, while also freely incorporating fresh contemporary narrative into her work. Her scenes—domestic and languorous in tone—depict women in repose and repeatedly ask quiet questions about viewership, voyeurism, and artistic ownership of the female form
BanBan’s large scale paintings are immediately recognizable. Their broad range of fleshy hues and voluptuous brushstrokes depict scenes of contemporary life and snapshots of intimacy. Her female subjects tend toward the Rubenesque, with features enlarged and elongated that spill towards the edge of frame. These consciously exaggerated figures contain an illustrative clarity of form, occasionally tempered by gestural and abstract intrusions. This combination of precision and obstruction serves to define an emotional response that feels both realistic and swirled through that of memory and feeling.