Aleksandra Domanović deals with sculpture that echoes monuments from the past from her native (former) Yugoslavia. While some sculptures take on more traditional forms of post-Communist leaders, the Berlin-based artist also began experimenting with unique materials in her work. 19:30 Stacks was created by piling size A3 and A4 paper with photos printed on their sides with ink-jet printing. First creating a massive PDF file of a photo, Domanović set the printer to ‘border-less print’ setting, which coated the ends of each paper, and when stacked upon each other, revealed the finished image.
For a time this work was open-sourced so that anyone could make one for themselves by downloading the file (now broken), printing it out, and then placing it between 1500 empty pages on the top and bottom of the printed stack. According to her artist statement, Domanović’s ”work focuses on profound social and media-technological transformations, and their interdependence. Some of her projects give form to the relationships of meaning imposed by archival models. Others suggest alternate models that draw on her observations of shared memory and feelings of community. Domanovic uses material related to her autobiography — the television, music, and monumental art of Yugoslavia — as well as materials that claim transcendence of the personal and national, such as Getty Images’ database of stock photography and (on the blog Vvork, which she co-edits) international contemporary art production.” (via u1u11)
Alex Chinneck is a London-based artist and designer, recently responsible for an installation that cleverly combines both disciplines. In Margate, a tiny town in Kent, England, a dilapidated home in the Cliftoncille district which had laid in ruins for months has been transformed. By remodeling the brick exterior and exposing the building’s top floor, Chinneck has altered the facade of the building to look as though it has become a single sheet and slid from the rest of the house.
Playfully titled From the knees of my nose to the belly of my toe, Chinneck extends his experimentation for surreal constructions and alterations of ordinary buildings (past projects include 312 identically smashed windows near the Olympic Stadium, and a melting brick wall). In an interview with Dezeen, Chinneck stated “I just feel this incredible desire to create spectacles, I wanted to create something that used the simple pleasures of humour, illusion and theatre to create an artwork that can be understood and enjoyed by any onlooker.“
Chinneck goes on to state some intentions of the piece, though admits they mostly have come after the piece’s construction. ”It has social issues, it struggles with high levels of crime and the grand architecture has fallen into a fairly fatigued state,” says Chinneck, “I increasingly like that idea of exposing the truth and the notion of superficiality,” he explained. “I didn’t go into the project with that idea, but as it evolved I started to like that.”
From the knees of my nose to the belly of my toe can be seen at 1 Godwin Road, Cliftonville, Margate UK, until October 2014, when it will again be turned into residential housing.
Let’s face it, sometimes artists need a little extra motivation to keep creating and challenging themselves. Based on the Drawing-a-Day style exercise, Drawlloween (generally hash-tagged so each artist’s daily offering can easily be searched on social media sites) is the month of October equivalent where artists and illustrators test their skills and dedication. Illustrator Brian Luong has taken this challenge, and come out with a completely cohesive and solid body of Halloween-themed work. The Southern California-based Luong has gone beyond mere renderings of each instructional prompt (list below), creating dark narratives that add necessary darkness, mystery and visual heft to each drawing.
Although Luong’s portfolio shows a range of strengths typical of most illustrators, Luong’s muted palate, tight hatching and large areas of shading have become more focused and with the project. On the eve of the project’s culminating date of Halloween, the drawings have developed their own distinct, chalky, monochromatic style. Dark shadows have became longer, and scenes of street stalking vampires, discovered corpses and goblin-carved pumpkins became more imaginative than most other participants. Luong’s final Drawlloween piece should be posted today, Halloween, on his Tumblr.
Chinese architect Ye Chang‘s Kong Shanshui/Empty Shanshui is a naturally transforming installation consisting of over 10,000 petri dishes. Part of the “Pavilion of China – Architecture China 2013” exhibition, which recently opened at the Palacio Quintanar in the Segovia, Spain, the piece has a unique, changing quality. The base of the installation consists of layers of white stones which fill the ancient palace’s courtyard, echoing peaceful, meditative gardens. On top of the stones are piles or gatherings of petri dishes, some ten thousand in total, stacked in various forms, resembling miniature hills, mountains and rock formations.
According to Sue Wang at Cafa Art Info, the installation transforms at different stages of the day, citing firsthand that, “…there is dew in the petri dishes in the morning; light is gentle in the morning and the glass is transparent; when there is direct sunlight at noon, the installation is entirely placed in the sun, strongly reflecting, which is in contrast to the dry surrounding environment, making people feel cool; the setting sun is blocked by the house in the evening, so the glass reflects the light from the sky, seen as backlit, it looks like the scales of a huge creature stranded on the beach, with rich tones; the whole glass hills is self-luminous at night, producing a transition effect changing from semi darkness to darkness.” This daily, natural transformation of the installation not only is a quickly-viewable message of transition, but it’s meditative qualities also call to attention how both art and architecture can effect a viewer’s ability to feel at peace in a home, garden or museum experience. (via myampgoesto11 and CAFA Art Info)
Photographer Ben Sandler (previously here) has applied his fascination with the desert landscapes outside of Phoenix, Arizona into an unearthly yet oddly remindful new photoseries titled Badlands. Conceived with and digitally constructed by Zeitguised, the photographic images of Sandler are transformed into something otherwordly. According to Sandler’s statement of the Badlands project,“The Painted Desert – as it is known – is a land full of the remnants of a previously lush and fertile environment, now dried up and succumbed to the harshness of the arid atmosphere and unforgiving sun. The sweeping colors, immense spread of land, mountains eroding into flowing waves of sand and pebble – indeed, it seems that it is a glimpse from another world.”
The photoseries, made in collaboration from Arizona, Berlin and Paris, combines simulated digital models which further explore the haunting landscapes, reinterpreting the “the geologic phenomenology of the fantastical land“. This collaborative process seems imperative to both the blended natural and unnatural aesthetic of project, as well as the message developed from it. “Within this process, an aesthetic language is developed – one that interpolates between the inorganic substrates of the prehistoric landscape, with the organic and tectonic structures embedded within. Based on image analysis and observation, the project circumvents the dichotomy of the real and the fake, as it combines the two in imagery that is taking cues from itself – iterating an image transformation based on its original recording.”
Photographer Mark Dorf‘s photoseries //_Path is an exploration of how technology and encroaching singularity affect our relationship and place in the natural world. The Brooklyn-based artist notes “…there is barely a single situation that is not influenced by digital technology and communication through the World Wide Web – the Internet and digital technology has been integrated into nearly every part of our lives and will only continue to become more and more present in our daily routines.”
//_Path seeks to explore this integration in its most visual form; combining bucolic and lush photography with images from collage, digital photographs and renderings, and early 3D scanning techniques. These symbolically-loaded, technologically-sourced alterations serve to represent a “…synthetic form to contrast against the landscape in which they are manifested; a comparison of language.”
Though Dorf is certainly not the only artist working with juxtapositions of technology and the natural world, his work specifically calls attention to the psychological and sociological damage our dependence on the tools we depend on, which once served us and now control us. Acknowledging that this dilemma too is human nature, Dorf seems to call for a combination of understanding: an existence both within the frameworks of our digital lives, and within our natural environment. Dorf explains, “It is no longer about logging on or off, but rather living within and creating harmony with the realms and constructs of the internet for our newest generation of inhabitants.”
Tokujin Yoshioka is one of the more famous contemporary artists today, even if his website’s bio modestly (or jokingly) claims “His works, which transcend the boundaries of product design, architecture, and exhibition installation, are highly evaluated also as art.” His current career retrospective at Museum of Contemporary Art Tokyo is titled Tokujin Yoshioka_Crystallize, a play on both the artist’s tendency to utilize both light and crystals in his work, as well as the idea of the alternate definition of crystallizing, meaning to give form to.
The exhibition, which is Yoshioka’s largest solo show to date, consists of well-known and previously un-shown pieces, though certainly centers around the immersive sculptural installation, Rainbow Church (pictured above). The installation is forty feet tall and consists of 500 light-refracting crystal prisms which project rainbow hues in the gallery space.
In a description of the piece for Fast Company, Margaret Rhodes describes the work, “The spare aesthetic doesn’t make it easily apparent, but Rainbow Church is influenced by an experience from his early 20s, when he visited Henri Matisse’s Rosaire Chapel in Vence, France. “I had a mysterious experience of being filled with overwhelming light and vibrant colors,” the artist says in a press release. “A dream to build architecture like this chapel came up to me strongly.” In a departure from the tangible materials he’s used in the past–foil for chairs, feathers for a snow-themed art installation–he’s building with light, the most ephemeral material of all.”
Other works also utilize the ethereal qualities of refraction, such as Ray of Light (below) also emits a rainbow glow, this time via a transparent crystal structure. The gallery walls are again activated by the light, as the gallery space is changed by the sculpture itself. (via designboom and fast company design)
Michael DeLucia draws with a scary talent for hand-rendering intense geometric grids and patterns. The Rochester born, Brooklyn-based artist (whose sculptures were previously featured here) creates drawings that reference shape, geometry and intersecting lines to create familiar and affecting moiré patterns. Utilizing carefully spaced lines, which intersect and diverge in different points, gives the work an almost meditative quality for the viewer, and more than likely for the artist during their creation.
Perhaps unsurprising when considering the strength of depth and field in the drawings, DeLucia has received more attention for his sculptural work than the works on paper, though both quite obviously inform each other. Several sculptural works (Partial Sphere and projectionfor example) echo the same skill and detailed work as the drawings, and exist as both independent and linked artworks. (via butdoesitfloat)