,,,,Zoé Byland 'Girl in White / sold',,,,Zoé Byland 'Sunday Afternoon',,,,Zoé Byland 'In the Woods (sold)',,,,Zoé Byland 'Girl and Butterflies (sold)',,,,Zoé Byland 'Girl and Paperplanes',,,,Zoé Byland 'Sisters',,,,Zoé Byland 'Sisters with Snowy Owl',,,,Zoé Byland 'Day at Sea',,,,Zoé Byland 'Still Life I',,,,Zoé Byland 'Head in the Clouds II',,,,Zoé Byland 'Girl and Fishes',,,,Zoé Byland 'Out of Water',,,,Zoé Byland 'Boy and Dog',,,,Zoé Byland 'Girl and Owl',,,,Zoé Byland 'Girl with Grammophone' Shot 2019-04-14 at 01.52.02.png, Shot 2019-04-14 at 01.52.02.png, Shot 2019-04-14 at 01.52.02.png, Shot 2019-04-14 at 01.52.02.png,Zoé Byland 'King of the Woods'


ZoƩ Byland


2015 Nov 7 - 2015 Dec 4

November 07 at 17.00 we'll open the new solo show from Zoè Byland ~monochromatic~
New stunning monochromatic paintings and limited edition prints.

Zoé (1975) first studied Art and Media Design in Zurich and, in 2002, she joined the Muntean/Rosenblum master class for contextual painting at the Academy of Fine Arts of Vienna. She completed her studies in 2008, led by Elke Krystufek and Hans Schreil.
Through a continuous dialog between historical and contemporary portraits, Byland has, in recent years, developed a figurative composition that has attained an impressive position within the Austrian art scene.

Her paintings are pervaded by a nocturnal motive, which seems to emerge from the photography of the early ‘900 as well as from the noir films era. This feature brings with itself the mystery of distant memories, the nostalgia of a vintage aesthetic and, at the same time, all the iconography of our present pop philosophy, together with the synthesized symbolism of science fiction’s hi-tech imagery and the overbearing street art language. By tying all these elements together, Byland creates an alchemical mix of codes and numbers belonging to a future yet to be drawn.

Byland’s imagery is original and easily recognizable. Whether she decides to illuminate the black and white pages of students’ diaries or to peek from a keyhole during a Sunday afternoon tea party, her characters are always little more and much more than children at the same time. They are aware of the cold embrace of time and they know mysterious destinations; they crop paper cuts to fly away and remain still at the depths of an elegantly furnished ocean for as long as it is necessary, in order to subvert our expectations and to go on playing in the viewer’s head, leaving him to fantasize in the throes of a multitude of suggestions.

The surrealism of Byland settles in the era of “good and nice costume”, in a re-reading as romantic and nostalgic as lucid and ironic that, while giving light to the charm of a fabulous past époque, lets everything out of fantasy sink into darkness.