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Hidden melancholy

The artists rework the melancholy hidden in our contemporary times, restoring it in a disenchanted and free way. Jade van der Mark and Dylan Hurwitz, two styles between dream and reality, passing through personal imaginary. The room, based on a strong aesthetic experiential component, is characterized by a broad stylistic register and by an eclectic mix of unique artworks that coexists freely.

Dylan Hurwitz (1989, Brooklyn, NY) is based out of Brooklyn, NY, his portrayals of queer embodiment combine luminous color and crackling impasto in their slow-burning narrative intimacy; the viewer, whether cast as voyeur or the subject himself, activates molten tenderness in each composition through artistically engineered proximity, whether scanning a glowy bathhouse pastoral or glancing down at a lover’s large, square hand. Hurwitz’s soft stylizations treat paint as a sculptural highlight, employing texture as a way to pull focus or create hierarchical depth in pictorial space. A kind of dialogue emerges where the bodies that inhabit this littoral climate take on a responsive shape in relation to their environment.

Jade van der Mark (1990, Bergen, Netherlands) is a Dutch Contemporary figurative painter. Based between Amsterdam and London, she is a self-taught female painter that explores contemporary and examines the dichotomy of crowds and human intimacy. Her large-scale group portraits of cities’ inhabitants highlight issues of overpopulation, greed, burnouts and oppression. The colorful and lively figures remind us of a shared humanity. Thereby, the works are a colorful reflection on the fast-paced city lives of the city’s people. Each work is telling the story of strangers, who don’t know they’re being painted, but are brought together to create a unified story of our world.