This October, Scion launched the fifth installment of its Installation Art Tour. The program is designed to give exposure to both established and emerging artists. Installation 5: Self Portraits highlights a diverse array of artists from around the world. Read More >
Upon first viewing Levi Van Veluw’s photography, my mind immediately drew parallels to the resurgence in the interest in the mask, and film-inspired disguise in contemporary photography, ranging from Gillian Wearing’s diaristic and macabre facial effigies of sorts, to Hanna Liden’s gothic black metal inclinations, or even Cindy Sherman’s self-portraiture. Van Veluw’s works seemed to function within this conversation; his experiments in obscuring and fundamentally altering his own visage seemed like the logical, humorous, conclusion to prior explorations within examining, and shifting, self-image. Surprisingly, Van Veluw dismisses the heavy conceptual framework of the mask, citing it as merely functioning for “religious” purposes or as “decoration/tradition.” In a way, his refusal to acknowledge his relationship to other similar artists is interesting; they become instead private, more ego-driven explorations of himself, like a young child painting his face for the first time and marveling at his own transformation. Perhaps this is fundamentally what introduces humor into the works—we voyeuristically watch Van Veluw make a fool of his face in new and surprising ways, time and time again.
In applying vibrant colors to discarded containers, Tony Feher’s objects become transformed into beautiful and arresting pieces of sculpture. Evoking lanterns or hummingbird feeders, these majestic works have a meditative mood, and, although constructed from manmade materials, present a relationship with nature. A personal favorite is the tower of green fruit baskets. Appearing fragile and ephemeral in its airiness, the piece hints at architecture and minimalism. With a strong interest in transparency and suspension as an aesthetic tool, Feher provides a