Shan Hur‘s sculptures interact with the gallery space in a unique way. He embeds his sculptural work inside walls and pillars throughout the space. Each piece almost seems if it is in the middle of being excavated right out of the gallery wall. In this way the sculpture brings the entire gallery into the work of art, and by extenstion its visitors. Interestingly, Hur says of his work:
“One of the issues I have focused on is how to reduce the burden of the volume of sculpture. I then connect this mass to its surroundings, but not just as part of the whole. I think sculpture should communicate with its circumstances.”
This installation of Martine Feipel and Jean Bechameil is as much about the structure as the empty space within it. The installation’s title Le Cercle Fermé, or the Closed Circle, offers a clue. Like a closed circle Feipel and Bechameil offer a finite space that in some ways look familiar, much like a home. However, the artists playfully alter the structure and its furnishings to throw viewers off balance. The warped rooms make visitors acutely aware of the space and how they interact with it. In a way this calls to mind more benign spaces like bedrooms or kitchens, and encourages us to consider how such familiar spaces influence daily life. [via]
Oliver Payne‘s collages present many juxtapositions: East and West, new and old, digital and analog. In an interesting way, though, the images of Japanese Bullet Hell Games and photographs of classical European sculpture compliment one another. A tradition of fantastic stories and violence are present in each. Further, the gallery statement mentions that the “Greek statues serve as a background and a reminder of the fantasy worlds produced in Japanese arcade games, which often picture rural Europe.” While exhibited, the collages are joined by the raucous soundtrack of the noises of a traditional arcade flowing through the gallery.
Every winter about 125 miles North of the Arctic Circle a hotel is built entirely out of snow and ice. While definitely a unique hotel, ICEHOTEL, as it’s called, is just as much an art project in its own right. In a way the structure is contemporary interpretation of traditional homes built of the same material. However, each year brings an entirely new design to the hotel. In addition to being filled with guest rooms and a bar, the art and design group at ICEHOTEL also work from a handpicked group of artists. The hotel becomes a temporary home to art and people, to be destroyed and rebuilt next year. [via]
Photographer David Chancellor‘s series Hunter documents South African big game Hunting. Chancellor explains that while hunting safari’s were once particularly fashionable among the leisure class, the activity has since undergone some changes. Land that had once been dedicated to farming and livestock now serve as big game ranches – a place professional hunters can once again kill for sport. Chancellor captures the complex relationship between hunter and hunted, which is rendered even more complex by modernization. He says that the series is “a long term project documenting human/wildlife conflict in all it’s forms, Hunters explores the complex relationship that exists between man and animal, the hunter and the hunted, as both struggle to adapt to our changing environments.”
The art of Adeela Suleman is built of common cooking utensils found in her home of Karachi, Pakistan. Suleman utilizes objects such as strainers, measuring spoons, tongs, and enamel pots among many others. While many of her pieces appear organic, others seem to be a form of armor or helmet. She juxtaposes traditionally domestic tools with the appearance of items of aggression and physical protection. Perhaps, a reminder of physical abuse directed against women as well as the absurdity of violence.
Ana de Orbegoso‘s series of photographes, titled The Invisible Wall, is a way of visually depicting personal prejudices. The photographs are a series of portraits each obscured by a pair of hands, as if the subject were hiding their face. Underneath the hands, though, a face subtly appears. Obviously, the series’ title refers to a figurative wall, a social one. Of these ‘walls’ she says:
“Behind our individual walls we each keep hidden our prejudices, our preconceptions, our highest aspirations. Our individual walls serve to protect us by enabling us to always hold something back, an edge between what is hidden and what is revealed.”
The work of artist Christopher Derek Bruno playfully interacts with perspective shifts. Some of his art only comes into a cohesive whole when viewed from a very specific angle. Other pieces have multiple forms depending on where a viewer is standing. In a way, his art uses literal multiple perspectives to comment on multiple social perspectives. As his work changes from one vantage point to another, the reading of any work of art changes with each viewer. In this way one piece becomes several.