There is something intanglibly familiar about Korean artist Lee Jeong Lok‘s photoseries “Tree of Life”. Perhaps it is the beautiful, postcard-quality of the surroundings, or that Lee has truly tapped into a cross-cultural metaphor for the spiritual in using an illuminated tree as a subject. Lee has mentioned in previous interviews that he considers himself a deeply religious person, and attempts to give his photographs a palpable sense of spirituality. Says Lee,
“I tried to depict emotions and spiritual imagination in that the sceneries inspired rather than recreated the scenery itself. … Every myth talks about another world that we believe co-exists with the real world we look at and live in. The other world has a powerful presence that we cannot see.”
Lee, who grew up in the Korean countryside, often depicts an intimate bond with nature in his work. In his Tree of Life photoseries, the photographer admits to using installation, sets, scenes and digital manipulation to create his constructed scenes of illuminated trees in spiritually-emotive surroundings. Lee continues,
“But it is very important to me that my end product is photography. I believe there exists another, invisible world within the world we can see with our eyes. If I were to draw an image of this parallel universe, it would become a mere fantastical illustration. However, by using photography the end result is very different; it retains the essence of our experience of reality, while simultaneously conveying a sense of the hidden realm that exists therein.”
Young-Deok Seo uses the human figure as the core of his work, though material is an ever present, and surprisingly inventive, concern. Using bought and discarded bicycle chains, the young South Korean artist spends months constructing and welding his pieces, with larger pieces taking even longer. Although the majority of his intricate constructions are manifested through the human form, there is an ever-present emotional quality present, oftentimes that of hurt and loss. While some figures physiques are the pinnacle of human perfection, others are faceless, in positions of mourning, or shattered upon the gallery floor. The viewer can easily make the assumption that the links Seo uses go past material and into metaphor, connecting chains to our manufactured, and fractured, world.
The artist explains, “We get to deal with lots of relationships in our fiercely competitive society. And from those relationships, we get desire for materials.To portray the mankind as a being which are bound to many things around them, I use the material that is also bound and also connected to each other….material restrict and choke each other.Modern people’s addiction to the material can be stood up as a main theme, in this way.” (via myampgoesto11)
Treasure Hunt “Treasure Hunt is based on the artist’s childhood memories. Lee devoted three months to crafting the lush multitude of wire leaves – it evokes a child-like wonderland.”
South Korean artist Jee Young Lee spends weeks and even months converting her work space into an elaborate tableaux which the artist then photographs (and never alters with computer after effects). In a Seoul studio measuring smaller than 12′ x 13.5′ x 8′, the artist creates intricate scenes, employing various materials, and camera tricks to create narrartive photos which reference fables, cultural metaphors, and stories personal to the artist herself.
According to curator Hyewon Yi “Lee’s constructed realities belong to the “directorial mode,” employed since the 1980’s by Postmodernist photographers in repudiation of the Modernist practice that sought truth in the everyday world. Lee’s “constructed image photography” may be compared to the works of German sculptor and photographer Thomas Demand…U.S. installation artist and photographer Sandy Skoglund’s orchestrated room-size installations. But in contrast to these earlier artists, Lee’s subjects are deeply personal and intensely psychological. Drawing upon prodigious powers of imagination, she labors for months to create effects that seem to expand and contract physical space. And always, a lone figure inhabits and completes her narratives. Jee Young Lee assumes the roles of set designer, sculptor, performer, installation artist, and photographer – and she executes them all magically.”
OPIOM Gallery in Opio, France will be presenting Lee’s first European exhibition, a selection of her ongoing body of work called Stage of Mind. The exhibition opens February 7 and runs through March 7, 2014.(via mymodernmet)
Los Angeles-based painter Justin Bower makes portraiture a glitched metaphor, literally and figuratively, to the present and future of a combined human and computer existence. Bower “…paints his subjects as de-stabilized, fractured post-humans in a nexus of interlocking spatial systems. His paintings problematize how we define ourselves in this digital and virtual age while suggesting the impossibility of grasping such a slippery notion.”
Absorbing different movements and styles (visually one could see a connection to the paintings of Francis Bacon, Jenny Saville, Op Art, as well as early 90’s Cyberpunk and post-Millenium Glitch aesthetics), Bower creates large-scale works that seem almost pained, frustrated or weariness, but with a computer-like void of any tangible, specific emotion. This is balanced delicately by the controlled, digital-referencing malfunctioned backgrounds, combined with loose, painterly brush work, affirming the power and communicability of the paint medium.
French artist Daniel Buren‘s long career has been focused on both questioning and criticizing the relationship of art to the structures that frame it. Buren’s work has delved into installation, critical writing and interventions. From the artist’s statement: “All of Buren’s interventions are created ‘in situ’, appropriating and coloring the spaces in which they are presented. They are critical tools addressing questions of how we look and perceive, and the way space can be used, appropriated, and revealed in its social and physical nature.”
One of his most powerful interventions Perimeter For A Roomwork in Situ. 2011, was installed at Lisson Gallery, the London Gallery who represents Buren and who specializes in conceptual, Minimalist art. Created with sheets of clear acrylic colored with self-adhesive filters,and punctuated by border stripes of black vinyl, Perimeter investigates the nature of the room which houses work, and identifies with the idea of being work. Says the artist in an interview with Wallpaper*’s Emma O’Kelly, “It’s so simple. It follows the perimeter of the room, which is an unusual L-shape, with varying heights. It’s a complicated space, but more exciting to work with than a white cube. Playing with the idea of the perimeter – something I have never done before – I built the piece in-situ, as always…The colours are simple – I could only get four colours of Plexiglas. I arrange them in alphabetical order depending on the language of the country I’m in, so for this piece, they are arranged as they are spelt in English. I always apply this system as soon as I start using more than two colours.” (via wallpaper*)
Alex Konahin is a draughtsman who works with an almost Maximalist desire to fill a blank page with intricate detail. Working on A3 paper and using fineliners and india ink, Konahin renders with shading and line-work that simultaneously resemble mechanical, architectural and floral drawing styles.
The Latvian-based artist’s most recent series, Little Wings, uses various insects as the starting point for what turn out to be intensely detailed, baroque-esque drawings. Says the artist and graphic designer, “I’ve been inspired to create this series last summer in the Netherlands. It was a fantastic time living in the countryside away from noisy cities…” Common insects such as flies, bees and dragonflies become the base for the draping hard-edged, and perfectly shaded lines of Konahin’s pen.
To see more of Konahin’s work, also visit his Tumblr. (via from89)
Joining 3D printing and digital textile printing, the idea of a sprayable, wearable and fabric has the inventors of Fabrican LTD imaging the possibilities which go beyond its initial usage in the fashion industry. Fabrican’s ‘Euraka!’ moment came from another famous canned sprayable, Silly String. The science of the process involves the creation of a liquid suspension which is then applied using a spray gun or aerosol canister. The resulting sprayed fabric has natural, synthetic and recycled fiber options, and when applied typically feels like a breathable suede.
Practical applications have ranged past fashion shows into automobile interiors, furniture upholstery and even entire rooms (the material is easily washable). The fabric can be embedded with a variety of supplements and additives which make separate colors, patterns and (which also opens up the possibilities of quick-creating medical applications such as casts, bandages and even antiseptic-wound cleansing).
According to Fabrican-inventor, Spanish fashion designer Manel Torres, “As a non-woven material, Spray-on Fabric offers possibilities for binding, lining, repairing, layering, covering and moulding in ways previously not imaginable.”
Watch a slightly NSFW video of Fabrican LTD in action after the jump!
Olivier Ratsi‘s latest project Onion Skin is an attempt to create an unreachable plane by physical means. Two walls are connected at 90 degree angles, and a series of visual light displays plays simultaneously off of the joined walls, created a uniquely intangible, unreachable dimension. This type of work is typically elaborate for Ratsi, who describes his works as “The deconstruction or fragmentation acts mainly as an emotion trigger, which does not aim at showing what things could be, but more at questioning their references.”
Shapes that begin to form are quickly changed, morphing into others and blending into a seemingly 3-Dimensional landscape. Ratsi, who is also the co-founder of visual art label AntiVJ, gives the viewer a sound component to coincide with Onion Skin‘s hypnotic geometric shapes overlapping, peeling and unfolding. Ratsi explains, “Its aim is to generate a break with the meaning of the original items, to propose a new viewing angle and to provide the public a new field of experience, another way of looking at space and time.”
Onion skin is currently installed in Belo Horizonte, Brazil (until November 30th, 2013), after which it will be included at an exhibition at the Parque Lage in Rio De Janeiro (December 7th and 8th, 2013). (via designboom)