Naomi Gillon Caption

How to make a monstrous clay paw after your manicure with Naomi Gilon

How to make a monstrous clay paw after your manicure with Naomi Gilon

Two people talking:

Person 1: Hey! Have you seen the new video posted on Sajetta?
Person 2: No. What is that ?

1: It’s a project of the young Belgian artist Naomi Gilon. In which she stages the realization of a monster paw in clay after putting false nails.
In general, she’s working on the issue of hybridization.
With monstrous paws combined with other elements such as the work  Picnic with the Wolf presented in 2019 in the gallery Like a little disaster.
2: I don’t know his work. His universe seems crazy to me!
And in her video what did she mix ?

1: I think the artist wanted to question history and combine it with his current work which questions popular culture a lot.
2: The image of the monster is also mythology.

1: Yes, but I was thinking about the history of nails. We can see a mirror effect, a kind of parallel between his own hand and the clay paw which has nails almost similar to his own.
2: We can also think of Nail Art which arouses a lot of interest.
I have lots of videos of this on my Facebook news feed or on Youtube. I wonder every time how people manage to wear such long nails!

1: I think Naomi wanted to show us that it’s above all a logic of adaptation. Like, for example, a person who becomes disabled, she relearns a new gesture.
2: They want to maybe have claws like animals, except that for them it is a defense. Today, we no longer need to fight with claws, we have found more effective methods. (ironic laugh)

1: The era in which we live greatly facilitates this kind of transformation of the body, mainly for aesthetic purposes. It’s pageantry.
Naomi allows us to dig into the past to understand the birth of wearing long nails.
Apparently, this comes from Asia and the goal was to display social rank; it showed that the person wasn’t doing manual labor.
2: And Nail Art is the same thing?

1: No. Nail Art comes from the 13th century among the Incas. Men and women painted their nails to pay homage to their gods. And in the twentieth century we see a boom in this art in Japan and Korea before becoming globalized and detached from any religious purpose.
2: I really need to watch this video !

1: You can even learn how to make a clay paw. She uses a rather playful aspect, as if it were a tutorial with comments and advice. Probably to highlight accessible appearance. Participate in the demystification of the artwork.

Harlesden High Street

Harlesden High Street and Underground Flower – Manifesto

Harlesden High Street
Underground Flower

Harlesden High Street and Underground Flower - Manifesto

Our core values are formed by our experiences as outsiders navigating the gallery system.

Elitism of all kinds, segregation, and complacency is what has kept us from progressing as marginalised artists and people of colour. Our fundamental mission is to center the voices of those who feel alienated – but without enabling a sense of self-entitlement.

We value self-determination, integrity, and respect in opposition to cultural norms dominated by apathy and privilege.

We don’t use low quality imagery in any aspect of our projects We don’t use images from the exhibition as our marketing. Marketing images are exclusive images and can be considered artworks within themselves.

We don’t show/host work by any member of staff/associate, but do allow staff to curate.

We encourage new, original work which hasn’t been presented in another gallery or platformed online.

We hope to show new and interesting ideas and visual styles; we are uninterested in cliched subcultural references and topical current events.

We don’t ask for hand outs or donations, better to go without.

We discourage elitism but do our best to not tolerate racists, misogynists, unhygienic and anti social behaviour in our physical or online space.

We also don’t encourage typical art world performances that ostracise/alienate people and in particular, general members of the public.

Harlesden High Street and Underground Flower encourage artists who feel marginalized to take pride in their diverse life experiences and create work which achieves high standards of quality, though it may not adhere to mainstream conventions. To work in a creative field is, in itself, a privilege – our guidelines are aimed to acknowledge this and inspire artists with principles of dedication and empowerment.

Chloe Feinberg, ILLUMINATURA V1.01a, 2020. Installation view.

Chloe Feinberg

Chloe Feinberg

Chloe Feinberg (b. 1979), is an English/American new media artist living and working in London. Feinberg works across drawing, animation and digital media and is currently building CGI worlds and using game engines to produce her own fantasy images. Her work is a psychic excavation that seeks to become more and more fluid; full immersion in another’s dream. Within virtual realms, she explores notions of mental real estate, reconfiguring gaze, and the possibilities for creating autonomous spaces where unconscious desires can play out.

Chloe has a BA in fine art from Central St Martins and an MA in animation from the Royal College of Art in London. Most recently her work has appeared at the Tate Modern, Tate Britain, Art Night and Space, London. Her drawings have been published by Nieves books and Innen zines in Zurich; her zine Hermetica was a top pick of Printed Matter’s New York Art Book Fair at Moma PS1 in 2018. Both Hermetica and her book Infinite Recognition have been stocked in Art bookshops world-wide. Her film Love Soldiers screened at several festivals and premiered online on Mubi in 2015.

Illuminatura, an alchemical term for illumination in darkness, is a prototype for a larger body of CGI film and VR work currently in production. A collection of embodied images and experiences that seek to plumb the detritus of late stage capitalism to connect with other deeper flows.

Clémentine Bedos, MAGNETIC RESONANCE, 2020. Installation view.

Clémentine Bedos

Clémentine Bedos

Clémentine Bedos (b. 1992) is a transdisciplinary artist with backgrounds in Law, Philosophy, and Fine Art. Her practice stages the fictional and phantasmatic nature of socio-cultural norms. Exposing the violence they produce as well as the breach: To feel. To heal.

This video is part of a new body of work in which I explore erotic arts of consciousness such as Tantra and BDSM. At the intersection of both, I move through Dark Tantra to stretch beyond all oppressive boundaries and weave new forms of connections.

Stacie Ant, WATERS OF LETHE, 2020. Installation view.

Stacie Ant

Stacie Ant

According to Greek Mythology, Lethe was one of the 5 rivers of the Underworld, associated with oblivion and unmindfulness. Those who drank from it experienced a euphoric state of complete forgetfulness.
The image invites viewers to embrace the spiritual side of technology circa a 1990’s perspective of the future, cueing visual references to cyberpunk fiction and the obscure PC-98 conversion of Policenauts.
Waters of Lethe draws comparison between technological immersion and spiritual nirvana.

Stacie Ant, Born 1991 is a Russian/Canadian new media artist and curator currently based in Berlin. Ant draws on her experiences as a female artist while developing the critical views of our technologically-saturated contemporary society that inform her work. Using video, installation, and performance, Ant reinvents elements of contemporary culture through fictional, maximalist narratives.

Stacie Ant’s character-driven work operates as a critique and rejection of the male gaze, enhanced by a modern culture of digital immersion. She harnesses the very digital tools offered in a technologically-dependent world as a means of empowering female identity and sexuality. Often humorous, Ant’s work offers a way of looking at a fast-paced digital realm through a lens of irony and satire.

Stacie is represented by Harlesden High Street.

Neckar Doll, T800 ÜBER ALLES, 2020. Installation view.

Neckar Doll

Neckar Doll

Through videos, sculptures, and installations, Neckar Doll (b. 1995) focuses on the capacity of cultures to play with transmissions: transmissions of vulgarisation/popularization, connecting fictions initially foreign to each other, linking different worlds, the anarchic transmission between so-called high and popular cultures. Mixing manufactured objects, ready-mades, and handmade objects, Neckar playfully explores the ways in which fiction and reality are interrelated.

Neckar Doll received a MA from the Haute École des Arts du Rhin (HEAR) Mulhouse, France in 2019.

Selected recent commissions/exhibitions include:  Baitball 1 (I’ll slip an extra shrimp on the barbie for you) (2020) – Palazzo San Giuseppe, Palignano a Mare, Umbrella.Corp (2019) – Makaronka Art Center, Rostov-On-Don, Passants (2019) – Aubes, Mulhouse.

T-800 Über Alles is inspired by Mary Shelley’s novel Frankenstein, or, The Modern Prometheus.

The video is based on cinematic mods from Mortal Kombat 11, in which the T-800 endoskeleton plays combat victories poses of other characters. Put in parallel to the T-800 body, a flayed man appears through the lightings, followed by other pop-culture characters related to energy. The different images sometimes appear through gothic church windows.

Twee Whistler, intallation view.

Twee Whistler

Twee Whistler

Twee Whistler (b. 1995) lives and hangs with her friends in Milan (IT). She has a degree in Painting at Accademia di Belle Arti di Brera, where she’s currently studying net-art.
Her work examines fan art’s economic/ontological position in relation to original productions and explores the thin line separating fandom from celebrities.
Obsessed with Jon Rafman since an early age, she crossed the blurred line between fiction and reality by incorporating the Canadian artist in her The Sims 3 machinimas. Slowly overcoming her insecurities, in 2018 she debuted online on Art Contemporary Club with the exhibition I only hope to fall asleep before I fall apart and was included in CHAIN LETTER, a collective exhibition at Hutt Collective, Nottingham.

Intrigued by Paul Barsch & Tilman Hornig’s sculpture Mr flüte, Twee Whistler decided to appropriate their work in order to insert it a bigger narration. Much like Pepe the frog’s story (the cartoonish frog adopted by the alt-right to support Trump election in 2016), Twee means to play with this character, whose control is not in the hands of his original creators anymore, once a pic of him has been posted on the internet.
By keeping the same signifier as the original work Twee Whistler intends to slowly translate its signified, therefore challenging that narration -spread by traditional art historians- which consider an idea “exclusive” to a so-called genius, ignoring the influences he’s been subjected to.
Oh, and it is also a way to engage with other artists and feel less lonely.

ʚ♡⃛ɞ( )