Further Reading

About Exhibition

Working at a moment when the possibility of clarity – social, political, and otherwise – appears chimerical at best, Shattered Speech brings together artists who revel in their respective frenzies, using abstraction to allude to – or evade – form. Martin Lukáč’s paintings, for one, hold onto their abstraction by only a thread: while they lack clear figuration, looping strokes across the canvas are primed for hidden images, creating a sense of endless discovery. Similarly, Sin Park’s compositions, while unabashed in their discord, use speeding lines in thickly-applied oil paint to create texture and the possibility of form; far from the negation of the image, Park’s abstractions open the door to serendipity, and the creation of imagery from luck or chance. However, in turn, Una Ursprung turns this notion on its head – using figuration as a foundation, Ursprung’s practice is founded on erasure and recreation. The intersection of form and line reconfigures the viewer’s ability to derive clear meaning from her imagery, allowing for (re)interpretation along entirely different or renewed logics.


Fittingly, thisextends the work with abstraction that Grove Collective has pursued to date, while opening up to a range of new practices. Importantly, Shattered Speech moves away from London as a locus of artistic production, creating dialogue between European and British-based practices, although each artist exhibited lives and works away from their native country. With a mind towards globalism and discovery, Grove Collective is excited to draw upon all facets of its exhibitional practice, including turns toward narrative and technology, to further contextualise each artist amongst each other, as well as amongst the gallery’s broader offering.

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Una Ursprung

Una Ursprung (b. 1985, Taipei, Taiwan) graduated from the Taipei National University of the Arts in 2007, and Ecole Européenne Superieure d’Art de Bretagne site Quimper in France in 2011 (from which she received Diplome National Superieur d’Expression Plastique, the highest honor awarded by the National Arts Councils and Culture Agencies). Currently, she lives and works in France. Recent exhibitions include: Rush of Spring, online exhibition, (Steak Galley, Edinburgh, Scotland, 2021) and The Top 100 (The Auction Collective, London, UK, 2021).

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Sin Park

Sin Park (b. Seoul, South Korea) currently lives and works between Glasgow and London. She is currently a PhD candidate in Fine Art at Glasgow School of Art. She completed an MA in Painting at the Royal College of Art, London in 2017, and a BFA in Painting from Ewha Womans University, Seoul in 2012. Recent exhibitions include: A cabinet of Curiosities (Brownsword Hepworth Gallery, London 2020), Open Window (Square Gallery, London 2020), Annual Show (The Royal Scottish Academy, Edinburgh 2020), Elephant Lab (Colart, London 2020), Crocodile Tears (Greenpoint Open Studios, New York 2019), Skip-Ad; Play (Savoy Center, Glasgow 2018), Odyssey (Summerhall, Edinburgh 2018), The Arrival (Square Gallery, London 2017), The Abstraction of Continents and The Continent of Abstraction (Lychee One, London 2016), Royal Institute of Oil Painters (Mall Galleries, London 2016). Recent residencies include: Elephant Lab (2020) and Aucart Lab London (2019).

Artist-profile-photo

Martin Lukac

Martin Lukáč (b. 1989, Piešťany, Slovakia) is a painter currently living and working in Prague. Lukáč’s work often nods to or directly references the recently-past aesthetic forms he encountered during his life growing up in post-occupied Bratislava. Selected Exhibitions include: Interpreter‘s Booth, an exhibition in two chapters by Anu Vahtra and Martin Lukáč (Chimera-Project Gallery Budapest, HU 2018), NOSZTRÓMO (ASHES/ASHES, New York, NY 2019), and I Ain’t Though (Kunstraum Ortloff, Leipzig, DE 2019).  Lukáč was also the recipient of the La Brea Studio Residency (Los Angeles, CA 2019).

Grounded in the firm belief that the art world must reflect an increasingly globalized marketplace, Grove Collective was established as a means to actualize a collective conception of what the art world can become when it works to benefit increasingly exciting and active new markets, not only an established collectorship. In doing so, the gallery exhibits exciting work from around the world, easing bottlenecks that prevent artists from selling their work, and making art from a diverse range of practitioners available to an equally diverse collector base.