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Kloosterboer on Glorious Color

The Premise

When Didi Menendez, publisher of PoetsArtists Magazine, invited me back to curate a special edition for the second time, I jumped at the opportunity without hesitation. Curating Idiosyncratic Monochromes in 2017 was a tremendously enriching experience for me, especially because that issue was so well received.

This time, to juxtapose the previous monochromatic theme, I chose Glorious Color as the starring leitmotif and published a call for submissions asking for paintings and drawings created in vivid, bright, intense colors. My objective: To publish a spectacular anthology of realist artwork expressed in vivaciously flamboyant color schemes that will show the artists’ bold and intrepid use of a variety of polychrome palettes that will wow the reader.

Hazel Soan | British Figurative Painter | 1954

Hazel Soan | British Figurative Painter | 1954

Hazel Soan is a British watercolour painter and was born in 1954. She was grown up in the United Kingdom and completed graduation with BFA honours in Fine Arts. She later studied painting at Camberwell and Leicester Art Colleges. She is an award winning artist and has been awarded the Holbrook Trust Prize form the Nottingham Museum and Art Gallery in the year 1976. She is such a talented painter that she started to earn her living within the first year of her graduation and her all paintings got sold within the very first hour of her art exhibition in London. She was advised by her college professors that “always have an exhibition on the horizon”. Since then she has exhibited near about 20 solo painting exhibitions. She has exhibited all over the world such as South Africa, Namibia, Venezuela and Zimbabwe.

When is fake ‘even better than the real thing’?


DISNOVATION.ORG, Shanzhai Archeology, 2017. Exhibition view at FAKE: THE REAL DEAL?. Photo credits: Science Gallery Dublin

Matt Kenyon, Giant Pool of Money, 2016. Exhibition view at FAKE: THE REAL DEAL?. Photo credits: Science Gallery Dublin

FAKE: The Real Deal?, a free exhibition at Science Gallery Dublin, invites us to leave behind our prejudices when considering the simulated, the artificial and the fictitious.

“Fake” is a word that pops up ad nauseam in social, political and economic contexts. It is often associated with low quality goods, forged artworks, earnings of dubious origins, polite orgasms, Trump bombastic ‘rhetoric’ (or rather lack thereof), etc.

The curators of the exhibition, however, challenge us to spend time examining the multiple facets of the fake and to reconsider any assumption we might have about it:

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