Peter Trevelyan’s incredible geometric sculptures are a thing of wonder being created out of fragile pencil lead. Fused together carefully with glue these delicate sculptures come in a range of sizes that will boggle the mind.
Patient careful craftsmanship, the slow meticulous creation of form through the assemblage of repeated elements and an interest in the architecture of space are characteristics of Peter Trevelyan’s elegant, refined works, which speak to the world’s structures but also to fragility and ethereality – both practically and metaphorically.
Forged from in his interest in the history of mathematics Trevelyan’s pieces, large and tiny, transit possibilities from antiquity through utopian architecture to future focused nanotechnology.
Drawing and sculpture are entwined in Peter Trevelyan’s practice with both two and three-dimensional works ‘drawn’ in fine pencil lead or created with paper. An investigation of the role of drawing is at the heart of his work. As he has said:
“A drawing is a plan, a preliminary visualisation of something to be undertaken in the physical world. Drawing is an ancient technology, a system for postulating, organising and mapping information about the physical world and manipulating it in order to change or affect that world.” (via)
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Welcome to the HR Giger bar located at the museum of the famous sci-fi artist in Gruyeres, Switzerland. Decked out with bone chairs, spinal chord ceilings, and dead baby relief wallpaper this bar is surely to leave a lasting impression on while your awake as well as in your darkest dreams. (via)
The interior of the otherworldly environment that is the H.R. Giger Museum Bar is a cavernous, skeletal structure covered by double arches of vertebrae that crisscross the vaulted ceiling of an ancient castle. The sensation of being in this extraordinary setting recalls the tale of Jonah and the whale, lending the feel of being literally in the belly of a fossilized, prehistoric beast, or that you have been transported into the remains of a mutated future civilization. Text excerpt from Secret Magazine No. 23, by Javier De Pison
BLAZE LAMPER, Autumn Sass, 2012, Graphite on paper, 12 x 9 inches
JUSTIN VALDES, Lookout B!, 2010, Pencil and ink on paper, 8 ½ x 10 ¼ inches
Finders Keepers, a group exhibition curated by An Hoang including Joseph Hart, Todd Knopke, Blaze Lamper, Andy Ness, and Justin Valdes featuring drawings, collages, and photographic prints. This show brings together artists who engage in a creative process which allows for discovery through the act of making. What is found by the artists remains to be discovered by the viewer. Whether it is an edge, a gesture or the way the figure is revealed, all the works provide for the experience of uncovering the hidden.
Joseph Hart’s works on paper examine compositional tension through an elegant balance of spontaneous and deliberate marks, heavy and delicate forms, and subtle gestures confined by thick layers of graphite. The detailed, constructed fabric pieces and photographic prints by
Todd Knopke, incorporate the textures, patterns and seams inherent in the material to form dreamlike compositions which transcend the original story of the clothing. Blaze Lamper’s enigmatic graphite drawings feature mysterious figures whose faces remain veiled while in plain sight. The watercolors and pencil drawings by Andy Ness explore personal themes of searching and wandering using recurring imagery of ships, airplanes, teeth, and the reconstructed body to form newly defined narratives. Incorporating airbrush, acrylic and pencil, the still-life drawings by Justin Valdes investigate the relationship between object and frame.
Frederieke Taylor Gallery at TSA presents Finders KeepersTSA is a new Bushwick gallery located at 44 Stewart Avenue, #49 Brooklyn, NY, 11237.
On view from November 16, 2012 – January 6, 2013. Opening: Friday, November 16, 7-10PM.
Lord Of The Rings’ fans have always been a bit eccentric but Utah based balloon artist Jeremy Telford has raised the bar by more than a few notches by constructing Bilbo Baggins’ hobbit house entirely out of balloons. The Tolkien super fan spent over 40 hours with swollen fingers creating the life size structure right in the middle of his living room using only a hand held balloon pump, his imagination, and a spiffy green vest to hold the balloons in. The structure comes complete with a fireplace filled with wood and flames, ornate chandelier, ceiling beams and closet doors that open and close! Watch a time lapse video after the jump of Telford in action as he creates the ultimate nerd shrine to Lord Of The Rings. (via)
I absolutely love these intricate and meditative carvings by Pete Goldlust. Not only is the artists medium of choice everyones favorite childhood drawing tool but each piece was meticulously carved by hand creating totem-like objects that could be held in the palm of your hands. There’s obviously a large Brâncuși influence in each of these works but a “sense of play” is intrigal to all of Goldlust’s creative endeavors. (via)
Russian Artist Dimitri Tsykalov’s incredible Meat series is equally frightening and beautiful. Creating weapons, body armor, and other accessories of war and violence out of raw flesh, Tsykalov’s powerful photos put death front and center.
For Meat Tsykalov used over 150 kilos of fresh meat. He had to work rapidly because the meat had to be as fresh as possible in order to have optimal colour and texture. He sculpted his “meat weapons” at night and decorated his models with them in the morning.
The concept: ‘It is flesh holding meat to shoot flesh’. He brings rifles to life using dead meat, wielded by a human being, live flesh, that will, eventually, die, too. The idea of transience and mortality, that was already present in Skulls, is continued here. Tsykalov made Meat in the aftermath of the war in Iraq, but the series is not a reaction to that war as such. It is a reflection on man’s violence in general, devoid of melodrama and with a sense of humour. But it is not the humour that will strike the spectator most. The life-size prints of naked people holding ‘meat weapons’ make an aggressive first impression. It is only after a while that the poetry, aestheticism and even eroticism become visible. The photos are frontal and highly stylized, even though they may look raw: the clair-obscur lighting, the colour nuances and the texture of the meat and skin, a drop of blood slowly meandering down the body … the images make a lifelike impression, almost as if we can touch the bodies. Still, the uncanny feeling they arouse, is in the mind of the beholder, rather than in the images themselves. -Tamara Berghmans