August 2 (Fri) - 24 (Sat), 2024 
OPEN: Wed, Thu, Fri, Sat  12:00 pm - 7:00 pm
CLOSED: Sun, Mon, Tue
Opening Reception: August 1 (Thu), 2024  *Invitation Only. 

After two decades of producing projects for other artists, this is the first time I am presenting my own artwork. I feel like I still have a lot to learn, and it may seem presumptuous to display my own work. However, life is short, and now is the time to share my work.

Welcome to "The Sacrifice"

The concept for this exhibition came from my conversations with Shohei Otomo. Our discussions usually circle back to the notion of sacrifice. The general idea is that good art necessitates a sacrifice. Something must be relinquished, some amount of suffering or loss must happen to create meaningful work.
I personally relate it to the classical notion that any significant endeavor should start with a sacrifice to the gods. Want to be taken seriously by the gods? Burn a lamb, evoke The Muses, spill blood. So, the concept for my first exhibition became apparent.

This collection brings together two themes that I have been developing over the past few years: "The Fallen Caryatid Studies" and "The St. Sebastian Studies.” Both were developed separately and were never intended to be in dialogue with each other.
"Fallen Caryatid" attempts to continue the concept initiated by Rodin and is greatly influenced by A Stranger in a Strange Land, the science fiction story by Robert Heinlein, which, among many things, is a profound critique of Rodin’s sculptural work.
I have always been moved by the iconic martyrdom of Saint Sebastian. There are the early depictions by Andrea Mantegna and Guido Reni. But it was the photographic portrayal of Yukio Mishima as Saint Sebastian by Kishin Shinoyama and The Passion of Muhammad Ali by Carl Fischer that caught my attention. Who wouldn’t want to be part of this dialogue?

Both themes are anchored in the concept of sacrifice and present layers of unconventional thematic resonance. The Caryatid endures sacrifice for civilization, Saint Sebastian for faith. One is overwhelmed by her obligations, the other by his beliefs. Through their contrasts — slow/sudden, giving/receiving, crushed/pierced — they embody opposing manifestations of sacrifice. I find the unconventional duality thematically pleasing and open to interesting interpretations. It made perfect sense and didn’t require too much post-rationalization to canonize the two concepts into my debut exhibition.
I hope you enjoy the work.

Thank you,

 

KOAN
At the heart of Alexander Mitchell, aka KOAN's projects, is the philosophy that culture is the most effective tool for positive social development.
With over two decades of experience, KOAN has honed his skills as a producer, art director, curator, and artist, becoming one of the most respected figures in the industry. He has produced over 300 exhibitions, including shows at prestigious institutions such as the Tia Kwun Museum in Hong Kong and the National Gallery of Victoria.
As a producer and curator, KOAN is known for his close collaboration with artists and willingness to take risks to see their vision and potential realized. He believes that artists are important generators of culture and a pillar of social progress, working tirelessly to help them find their voice and make a lasting impact on the world.
KOAN's own artwork uses a unique blend of digital and physical techniques. His interdisciplinary collage techniques push the boundaries of what is possible in art and integrate technology seamlessly into established mediums. His experiments with new technology, such as programmatic artworks and mixed reality, alongside traditional mediums like photography, video, and collage, present classical archetypes in a contemporary context.

 

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