The installations of Carly Fisher may at first appear to be trash strewn galleries. However, closer inspection reveals that none of the items are actual garbage. Rather, Fisher carefully recreates litter from little more than paper and glue. The meticulous attention she gives to sculpting trash replicas, so to say, may seem odd. However, the familiar international name brands dotting the gallery floor raise the question: do these corporations possibly give the same meticulous attention to the branding of litter as Fischer? As one of her gallery statements puts it, “Perhaps there is a marketing edge to trash?”
Kris Aaron and Andy Walker are slightly modifying the purpose of fine China dishes. It’s now decorated with messages and gay illustrations. “Shit again”, “Cock monster”, “I’m going to fuck you” and pornographic images are hand drawn onto plates and kitsch ceramic ornaments. They either paint slogans or sexual images on small objets such as a tiger or a swan or desert plates. The couple just wanted to check “how cute it would be if they were more gay.”
All the pieces in the Pansy Ass ceramics series are one of a kind. Already collectors of similar items, they redoubled their research in thrift shops and vintage flea markets to find the perfect antique China dishes for their collection. Their intention was to accentuate the kitsch side of plates and objects. “For instance, we have this swan that’s the gayest thing I’ve ever seen,” Aaron says, “and we thought it’d be funny if we painted ‘masc’ (like masculine) on it.” The result is a weird combination of classic patterns and graphic scenarios.
Ideally, the artists would want their embellished dishes to be displayed at Macy’s. From porno chic to porno kitsch there could a part of the market interested in inviting their grandmother to a fancy cucumber sandwich tea party. (via Lost At E Minor).
Freelance illustrator Sam Brester pulls humor into social commentary, and sometimes criticism with his work, which is cut even more effectively through his odd perspectives and quirky characters. His illustrations can be found accompanying many a newspaper article both in the states and abroad. His personal project Hand of Man Publishing should not be missed… particularly if you’re in the market to purchase, publish, or peruse some zines.
Austrian sculptor Erwin Wurm has been developing an ongoing series of “One Minute Sculptures” since the late 1980’s in which he poses himself or his models in unexpected relationships with everyday objects close at hand, prompting the viewer to question the very definition of sculpture. He seeks to use the “shortest path” in creating each piece — a clear and fast, sometimes humorous, form of expression. As the sculptures are fleeting and meant to be spontaneous and temporary, the images are only captured in photos or on film.
Skyler Buffmyer is a young filmmaker who makes simple shorts that have a big impact. Her diary short Death In Dialogue is about as basic as it gets but packs a big punch. Her work is playful, sincere, and doesn’t take itself too seriously. We should all keep an eye on her. I’m sure she will go on to big things.
Watch Death In Dialogue and her short documentary Phone Sex after the jump.
Korean artist Kim Joon fabricates images of fragments of hollow porcelain that resemble nude bodies. Through a painstaking digital process, Kim coats the anthropomorphic forms in bold patterns from ceramic brands such as Villeroy & Boch, Herend, and Royal Copenhagen. What results are deceptively convincing surfaces complete with reflection and shadows.
According to Kim tattoos are not only physical inscriptions on the body but also signifiers of mental impressions left on the consciousness. Alluding to society’s weakness for material objects, Kim’s tattoo imagery reflects our obsessions and deep-seated attachments. The artist’s exploration of tattoos stems from his experiences tattooing his peers while in the Korean military. In his earliest works, Kim grappled with the notion of tattoos as socially taboo in Korean society. He created sculptures that mimicked tattooed portions of flesh. Using water-based markers, he embellished latex-coated sponges, creating anonymous parts divorced from the human form. In recent years, Kim’s work has neatly overturned the negative connotations surrounding tattoos in Korea. In his hands, not only do tattoos reflect social habits and desires but they’re also a vehicle for transforming the body into a highly aestheticized object.
Julien Previeux’sPatterns of Life uses dancing lightsabers to reveal the simplicity and power of gesture. This 15 minute video is a highly choreographed work whose opening section uses light to uncover the essence of human movement. Dancers wired with lights illuminate the darkness and reveal the simplicity of movement.
Part galactic warrior and part neon sign, the dancers fill the space with the linearity of their limbs punctuated by shining spheres that add curvature and depth to their geometry.
But this is just the beginning of Previeux’s exploration of the intimacy of gesture and its implication in a world shared with others. Through what looks like a strenuous eye exam, Previeux demonstrates that eye movements have the power to reveal our thought patterns and perhaps betray our inner world to those who observe us carefully enough.
Also compelling is Previeux’s fascination with walking patterns and our natural tendency to follow the same paths again and again. By mapping the route of a young Parisian woman, where she works, where she lives, and where she goes to school, one of Previeux’s dancers uses tape to create a three dimensional model. Once mapped, her movements, which were assumed to be open and carefree, seem controlled and confined.
Patterns of Life switches between time frames and points of view. In doing so it presents us with various choreographed vignettes. Narrator Crystal Shepherd Cross guides us tranquilly through the intellectual terrain with ease so we can enjoy the grace that is Previeux’s work.
Julien Previeux’s Patterns of Life can be seen at DiverseWorks, Houston, Texas, in “What Shall We Do Next” until 19 March, 2016.