Ramat Gan 1960 II is inspired by the forms of modern and contemporary architecture featuring Apartment building, Ramat Gan Israel 1960-65. A fluid interplay of form and colour. Blocks of pigment and brush strokes intersect, spliced with textured fragments of architecture. Created using hand-rendered textures, photography and screenprinting.
Angus Vasili is an artist known for his architectural and abstract-infused silkscreen prints. He studied Graphic Design and Illustration at Liverpool John Moores University, where he honed his skills and developed a passion for process-driven work. Vasili?s unique style involves a delicate balance between the abstractions of printmaking and the monumental forms of modern and contemporary architecture.
Vasili?s works fuse and coalesce in an extraordinary dance of visual elements, weaving in screen-printing, photography, and hand-finished texture. His practice is continually evolving, informed by the experimental, and described as ?loose and intuitive.? He relies on the aleatory nature of the printing process, allowing chance accidents in analogue techniques to bring about some of the most spectacular visual instances, resulting in a raw and dynamic contemporary aesthetic.
Vasili?s work is inspired by urban decay, particularly decay in posters and billboards, which has developed into abstracts referencing nature.
The forms in his work empower the audience to create their own definitions and experiences. The overall theme of his work is to explore the hidden beauty of urban decay, encouraging the audience to approach the subject from a different angle or lens. The juxtaposition of finding a more traditional beauty from a non-traditional starting point of urban decay is the driving force behind Vasili?s art.
The message and meaning behind his works reflect how we view neglected spaces in the urban landscape and the importance of finding the right balance between deconstruction and reconstruction. Vasili?s work explores the conflict between the two, reflecting on the hidden beauty that can be found in decay. By ripping things apart, he pushes the boundaries of print and his practice, encouraging more process-driven work, facilitating happy accidents and allowing the subconscious to be the driving force behind his art.