THE SHARP EYE When I was thinking about the title for this, the first exhibition of Diego Correa Art Space, I wanted something that perfectly condensed the idea of what good art should be (as a minimum), while also being able to find that quality concretised in the work of each artist in the group. The title The Sharp Eye came to me after the first two artists confirmed their participation in the show and I understood what they were trying to achieve using their individual and unique processes. But it wasn't until I had the four of them confirmed that I finally committed to this title. I’m aware that the title may sound like a cliché, as it has been used and abused by many without any sense of depth or responsibility. Obviously, one does not want to be lumped into that crowd, so why take the risk? I believe that every good artist needs to have the ability to see what others usually can't see, recognise, or identify, and thanks to their art, they make that unseen element visible to us. This innate “gift” won't suffice for an artist to be called an artist; he or she will also need to develop a skill, and it is thanks to that skill that the unseen or the untold can be made visible in a harmonious way. One of the very few combinations of words that summarises that capability in both a metaphorical and literal way is “THE SHARP EYE”. All four artists in this show, for me, have that craving to express what they can so piercingly see. Let's see why: Benedict Douglas-Scott can see associations among the visual records of his surroundings, whether they are magazines, newspapers, cut-outs of plain or patterned papers, or even his own work as a graphic artist. He is able to put them together so they acquire a new dimension, reflecting what his mind has seen. He does this with a sense of beauty, composition, and harmony that makes the work go far beyond what could be interpreted as a mere pastiche of images. They become art pieces in their own right. Vim Vinwyn’s sharp eye is merciless, satirical, and reserved. He refuses, so far, to tell us the whole story—the story that he has so clearly seen in his mind. He presents us with fragments of a visual puzzle with enough power for us to imagine the situation, but we are not given any encouragement or validation that our idea of the “problem” is the correct one. His intentional cropping and use of colour act as an iron-laced gate that denies us clarity but incites curiosity. It would be fascinating to know what every person “sees” when interpreting his paintings. John Huw Davies’ sharp eye has a master—a master that controls how he sees, what he sees, and in what colours he sees. That master is Music. If one were to be kind, one could say that music is John’s muse, but I have the feeling that that would be neither fair nor accurate. A muse suggests and inspires. A master demands; it is the one who decides what part of its being has to be followed, explored, and put on a canvas, panel or piece of paper. In the name of art, one craves that this special relationship does not fade, but gets stronger and stronger. Michelle Owen has discovered that her eye is that of a photographic lens; it needs a subject and a focus. Her subject is that of the landscape and its variations. But it is in her focus where the sharpness comes into play: the dissecting of the landscape, its distillation, so she can take that thing—and that thing only—that interests her from that landscape. It could be the soil, the formations, or the vestige of what was there and now is just a shadow. Her sharp eye does not discriminate between what is, what was, or what could be. The landscape is alive and changing; hence, it is her freedom to decide what part of that reality she wants to focus on and share it with us. Diego Correa Art Space is committed to presenting artists that, at a minimum, have a “sharp eye” and a defined language. A young artist that has these qualities, like all four of these artists do, is a beautiful promise for a successful and solid career. Yes, it is not a guarantee, but it has to be the first condition for it to happen. Time, polishing of skills, and the right exhibitions at the right time will help these artists and their work to be where they deserve to be. It is a pleasure to be part of their journey. Diego Correa Director Diego Correa Art Space