Table of Contents
| Title: | Fox Jenson Galleries |
|---|---|
| Duration: | 02:26 |
| Year: | 2025 |
| Production: | Handmade Films (Australia) |
| Production Crew: | David Silva, Alex Ballingall, Ben Chew, Luca Rabak |
At the 2025 Melbourne Art Fair, Fox Jensen & Fox Jensen McCrory presented a thoughtfully curated display that celebrated the expressive possibilities of abstraction through the innovative works of Jan Albers, Koen Delaere, Elisabeth Vary, and Aida Tomescu. Together, these artists explored the boundaries between painting, sculpture, and the tactile qualities of their chosen materials, creating a compelling dialogue within the gallery’s stand.
Visitors approaching the booth were immediately drawn in by the bold sculptural presence of Jan Albers’ constructions. Albers, whose practice navigates between the realms of sculpture and painting, presented dynamic pieces that appeared both architectural and organic. Using materials such as polystyrene, ceramics, and metal, layered with subtle yet vibrant paints, Albers’ artworks embodied a captivating tension—at once refined and raw. The intricately structured surfaces encouraged audiences to closely examine the interplay of shadow, light, and texture, revealing complex narratives of form.
Adjacent to Albers’ works, Koen Delaere’s paintings offered an equally compelling exploration of materiality, though through a distinctly different approach. Delaere’s abstract canvases resonated with energy, evident in the visceral brushstrokes and dense layers of paint applied along vertical axes. His approach was spontaneous yet deliberate, capturing the immediacy and physicality of artistic creation. The dynamic rhythms within his compositions complemented Albers’ sculptural precision, highlighting how abstraction can simultaneously channel chaos and structure.
This conversation about the expressive potential of abstract form and colour found a subtle yet powerful continuation in Elisabeth Vary’s sculptural paintings. Vary’s practice blurred distinctions between two-dimensional painting and three-dimensional sculpture. Her uniquely faceted, wall-mounted pieces, crafted primarily from painted cardboard, defied traditional rectangular formats, extending confidently into the viewers’ space. The intense hues and geometric complexity of Vary’s works interacted harmoniously with Albers’ structured forms and Delaere’s painterly vigour, underscoring the collective pursuit among these artists to challenge conventional limitations of medium and format.
Anchoring the emotional and spiritual dimensions of the booth were the luminous and densely layered paintings by Aida Tomescu. Born in Romania and based in Australia, Tomescu brought to the group a profound sense of depth, achieved through her immersive and richly textured canvases. Her dynamic brushwork and vibrant palettes radiated intensity, evoking a powerful emotional response. Tomescu’s paintings seemed to hold a conversation not only with the other works on display but also directly with viewers, drawing them into deeper reflection on the emotive capacities of abstraction.
The collective presentation by Fox Jensen & Fox Jensen McCrory thus emerged as more than a mere exhibition of individual talents. Instead, it became an engaging narrative, exploring abstraction’s capacity to transcend simple categories, merging physical, emotional, and conceptual spaces. By thoughtfully juxtaposing these four distinctive voices, the gallery not only highlighted each artist’s individual accomplishments but also celebrated abstraction itself as a dynamic language, capable of endlessly reinventing the possibilities of visual art.
