Coordinated by Ben Joiner, London and Ali Dolanbay, Berlin
3YE, a collective of six emerging London based artists, from Brazil, Colombia, Great Britain, and Spain, show a two‐part series titled, Nothing Gold Can Stay. Taking place in London during March and subsequently during April in Berlin, the artists intention with Nothing Gold Can Stay Parts I and II is to examine a commonality within their approach towards the illusion of value, disenchantment and the reinterpretation of mundane translations of the urban environment by working with sculpture, painting and sound. Fragility, detritus and non‐ valuable materials all add to the elusive interpretations of the works and highlight the inclinations each artist holds concerning their own notions of a contemporaneous, dystopian fictionalized future. The implications of their works in the gallery will amplify their collective approaches towards their practices. The political moment in their work lies in the resonance of their shared memories and a Janus faced interpretation of nostalgia. The curatorial format of the rolling, two‐part exhibition as well as the methodologies of the cities of London and Berlin will place the artists practice in a new context, thereby ultimately reforming the associative meanings of their work.
RENATA BANDEIRA works with raw and heavy materials, trying to see their fragility within. Banderas work has an unfinished quality that leaves it open to the possibility of further exploration giving it a living character. She likes to think of it as a situation founded on a void: the void of the situation being not what is there, but what is necessary for anything to be there. CLAUDIA CASSASOLA works with noises in her environment, which are not mundane but potentially stimulating, which nonetheless fill our lives, shape our moods and feelings and somehow leave traces in the unconscious. In her work there tends to be an affinity with backdrops or stage sets in which the element incorporated are like props, whereby the objects she selects communicate to the viewer. AMELIA Martins work collapses the space between two and three dimensions. Referencing the traditional language of sculpture allows her to explore the expanding role of the sculptural object and its relationship to the viewer. Martin can identify with physical relationships by tucking things away, weighing things down and sticking things loosely in order to set up scenarios. OSCAR Murielles work surrounds itself with underlying notions of melancholia, euphoria, ideas of collapse and ruin, recycling and reforming. The execution is rapid; it is simultaneously tense and casual, with much of the raw improvisational energy of the working process left showing the physically exhausting making‐process of this work, agonizing but playful. EMILY OAKS is interested in public space, human beings, euphoria and disillusion. She is interested in hypocrisy, accessibility and function. The objects and paintings Oaks make are trough an intuitive internal logic. Her inspiration comes from observation experience and humour. Personification, familiar shapes and ugly materials reward awkward but not uncomfortable engagement. RIKKI‐LEIGH TURNER sees her paintings as a culminated desire to grasp at passing moments and condenses an ongoing flow of visual data. Turners paintings often hover on the edge of the mundane while also exploring relationships to other painted spaces in dialogue with the history of abstract painting, and in‐so‐far question the phenomenology of perception.