Depths of Loneliness


ABOUT SHOW

“Depth of Loneliness”

The cycle “Depth of Loneliness” reflects the ambivalence of our urban, connected society:

Together alone. 

We surround one another and we are being surrounded by each other. Devoutly we believe to be individuals and still we are nondslaves of the city we live in.  Surely, it might be of importance which city we are referring to.  Meanwhile, the overwhelming feelings of numbness and of being left hungover doubtlessly are universal . 

SOKAR UNO takes these feelings on:

His scenes take a break in the speed of life. They take their time. They take our time.  

Surreal situations are being shown - displaying a familiarity and creating something unknown at the same time. SOKAR UNO’s work is not multi-layered, it is profound.  What we get to see in his art is not a surface anymore, it is not a false bottom. And still it makes us feel unstable like falling into an abyss. 

Though the paintings might appear gloomy, the remaining impression is hope. “Depth of Loneliness” is the promise of momentariness. It is the ode to the awakening from the exhilaration of life.

 

View full show here.


ABOUT ARTIST

The graffiti artist SOKAR UNO has his roots in Gotha/ Germany, where he was born in 1987. Already during his childhood days, he started to play around with the letters of his name by writing them in multiple artistic manners.

The discovery of graffiti in the streets did not only influence his artistic development, it influenced his whole life up to the present day. The apprenticeship as a design draftsman and the occasional job as a conservator he thereby never perceived as his real profession. They were rather part of the evolvement of becoming a professional artist. 

Taking a closer look at SOKAR UNO’s work – at the faces and characters of his portraits – the observer may notice the art’s realistic component permanently shifting into an emotional image.

To create these images, SOKAR UNO uses spray cans and paint rollers. In his paintings the artist metaphorically processes his personal encounters and experiences in several ways: directly, fragmented and by transferring them  into projections of an inner world of emotions. The human being is always his medium, the translator. We as the observers are familiar with the object’s outer shell, we recognize it and believe to be able to read it. Meanwhile, it discloses a second layer behind its obvious façade. By unmasking and by breaking the characters surfaces, the artist lets us gain an insight in their inner life.