Artist and designer Fabrice Le Nezet‘s series Measure precariously positions concrete blocks. Using metal tubing, Le Nezet supports the concrete in way that makes the industrial materials seem nearly organic. The brightly colored pipes cling to the concrete like webs. His intention with the work was to make the materials and its weight easily felt. He says:
“I worked here on a physical representation of the idea of measure. The objective was to ‘materialize’ tension in a sense, to make the notions of weight, distance and angle palpable…This work lies in the context of my search for purification around raw materials such as concrete and metal. This is why I played with simple shapes which catch light and transcend the volume structure.”
New York artist James Clar lived in the globalized city of Dubai from 2007-2012 where he was immersed in the arts and culture scene. Fueled by an interest in visual media communication, this experience and the larger themes of globalism, nationalism, and pop culture are apparent in his work. Clar’s light-based installations address the boundaries of technology and the way that it creates and limits new communications within our culture. Some of his work uses light more directly than others, but they all respond to the relationship of light with its surroundings. Clar’s line or geometric-based designs reflect the connections and networks that abound in our culture. His manipulation of this technology expresses the softness of light and the hardness of the forms that contain it.
Beth Galton‘s series Cut Food is a side of food photography rarely seen – the inside. Galton is a prolific photographer specializing in food. While she works primarily in advertising and commercial photography, Cut Food is one of several conceptual projects from Galton. The series captures common foods, though some not so commonly sliced in half. Canned soups and a cup of coffee seem to rest perfectly in half of a container. In order to catch some of these Galton replaced the liquids in the foods with a gelatin.
To suggest that David Adey builds art from recycled materials would be an understatement. He develops intricate patterns from previous design work. Each celebrity limb or fashion savvy lip is delicately cut out, then pinned and pieced together on a foam board, without any digitalized color manipulation; he does, however, use a Google search to locate the parts for his palette and develop an arrangement.
His process, Adey admits, is terribly methodical, time consuming, and detail oriented, however, this is exactly the point. He states, “For me as an artist, it’s a matter of developing or choosing your own constraints. Finding them and embracing them as a tool to make the work.” Echoing a similar sentiment put forth by the father of design himself, Charles Eames, Adey continues: “Without constraints, you don’t have anything. That’s the whole design process — working within constraints.”
These aren’t your typical vinyl records. Actually, they’re not vinyl at all. Amanda Ghassaei seems to have perfectly situated herself between being a scientist and artist. This project illustrates that well. For it Ghassaei uses a laser to burn grooves into a variety of materials such as wood, acrylic, and paper. The grooves are about two times larger than they would be on a regular record. However, these DIY records are still entirely playable. Check out the video after the jump to see her laser-cut records in action.
Whether David Mesguich is creating sculptures or painting with watercolors, he maintains a basic color palette, heavy in contrasting blacks, whites, greys, and tones of sepia. His geometric sculptures of faces and people look like they were printed from a 3D printer. This conception gives his figures a digital effect that, when paired with the size, gaze, warp effects, or placement of them, has the potential to unsettle a viewer. This effect is even more pronounced when considered alongside Mesguich’s cardboard CCTV camera sculptures,100 of which he placed in various locations around Marseille. This idea of surveillance is even depicted throughout his watercolor paintings that represent scenes of city life, usually related to mobility and movement. Mesguich’s work seeks to challenge “modes of control” by addressing the “transparency of windows and shadows.”
Whether or not Yochai Matos is creating an installation to view inside or outside a studio space, he pays careful attention to the way light creates an atmosphere. For his indoor installations, existing studio light can make his work appear more ethereal, something to which “You Are a Saint” affirms. His work sometimes directly addresses the absence/presence of light, as in his outdoor installations “Landscape” and “Flame (Gate).” Because the perception of his work changes with the amount of light available for any installation, the experience of his work is as fluid as the experience of natural or artificial light in any given environment.
With a background in craftsmanship and carpentry, Jan Reymond creates sculptures by recycling discarded objects. His most well-known installations are made of books. Even in his smaller scale work with furniture, his eye for architectural design is apparent. He’s also created large scale designs made out of discarded cell phones. In addition to this installation work, he crafts furniture and other domestic objects with an eye for practicality and aesthetic pleasure. His work asks us to consider the boundary between functional and non-functional artwork.