For one recent series, Channer
appropriated and digitally manipulated
images of the carved drapery from a group of fourth - century - BCE
Classical sculptures in the British Museum, which were then printed onto lengths of fabric and suspended from the ceiling, playing with the relationship between sculpture, architecture, clothing, and the body.
David Claerbout's paintings on paper are fundamental to his film practice; Ilse D'Hollander's intimate canvases are sensual explorations of the physical act of painting; Jose Dávila interrogates how the modernist movement has been translated,
appropriated, and reinvented; Laurent Grasso's meticulous appropriations of
classical paintings integrate impossible phenomena, blurring the line between the historical and contemporary; Rebecca Horn's large - scale gestural paintings evoke her early performance work, their dimensions being determined by the artist's physical reach; Callum Innes» Exposed Paintings are concerned with both making and unmaking the work; Idris Khan utilizes language, melding thousands of lines of stamped text into singular abstract
images; Hugo McCloud's work fuses industrial and fine art materials; Sam Moyer combines found textures into a fresh, expanded, artistic palette; and James White's oil paintings reimagine the still life as a chance freeze - frame.