Srijon Chowdhury's paintings reference diverse histories, mythologies and mysticism. With elements of Renaissance religious painting and magic realism, these dream-like, surrealist compositions are at once unsettling and alluring. The rich colors and ambiguous motifs act on a subconscious level between knowledge and emotion, showing his concerns with the interplay between painting and architectural spaces. In crystallized intimate moments, Chowdhury studies ideas of faith, repetition, structures of knowledge and histories, and the construction of meaning. Originally from Bangladesh, his paintings – whose inclinations connect and merge expressions from his native country culture and symbolism with American Figuration - engage with literally and metaphorically dark, mysterious, surreal, fantastical and sexual themes. The symbolism in his work responds to the dystopian reality that defines today.
Zoe Williams' practice incorporates a range of mediums including moving image, installation, ceramics, drawing, event and performance based work. Her work employs recurrent symbolic visual language in order to implement a playful interchange between notions of eroticism, craft, gender roles, excess and hedonism. The glazed ceramic 'animal idol' sculptures that she has created here explore notions of fantasy, sublime embellishment and the grotesque; creating an interplay between the seductive and the abject through their simultaneously ecstatic and excessive forms. The elaborated and ostentatious display devices heighten the ceramics fantastical connotations, highlighting and challenging notions of taste and excess. The work expands upon Williams interest in the creation of objects and spaces which ‘perform’; ritualised spaces that implicate the subject in their sensorial dialogue.