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.
When Isaac Tobin is not working as a senior designer for University of Chicago Press or playing with type design, then he is whipping up some pretty phenomenal collages with minimal resources. Each piece remind us that cutting back and holding the line is just as important as drawing it. His seemingly simple use of familiar and found paper products matched with sporadic vintage text and condensed doodling presents an accessible everyday charm that inspires affordable creativity.
Roxy Radulescu lives and works in Los Angeles, CA. In addition to her many graphic design projects she is currently working on a series entitled Movies In Color in which she sheds light on the color composition found within single frames of famous films. Not only does deconstructing frames from a film like 2001: A Space Odyssey help to reveal a gorgeous color spectrum, it also highlights the masterful Cinematographer responsible for framing and shooting the picture. In her own words it is ” …a pursuit that showcases the relationship between color, cinematography, set design, and production design. Overall, it is a study of color in films, but has other uses and applications. One of the goals is to give artists color palettes they can use in paintings, films, videos, graphic design, and other pursuits. I search for stills that are compositionally interesting as well as rich in color. I use the help of a color generator to get a very basic range of swatches. Then I piece together the general palette from that and other colors I think are prominent or worth including from the still.”
You may have already seen Luke Lucas’ typography work, but weren’t aware of it; he’s created designs for companies like Target, Nestlé, The New York Times, and Barnes & Noble. He’s also done work for exhibitions and creates his own fonts. Some of the more humorous and elaborate text designs are reminiscent of Wayne White’s word paintings. Of his work, Lucas writes, “I love that the same word, passage or even letter can be treated in bunch of different ways and embody entirely different meanings… That and through subtleties like a slight shift in line weight, the elongation of a tail or the arc you use, a letter can go from contemporary to traditional or happy to sad in a single stroke…”
Anna Ter Haar is interested in forms that drip and suggest malleability. Whether she applies this idea to furniture or fashion accessories, the effect is similar: the viewer becomes immediately aware of the impermanence of the objects that she transforms, while at the same time aware that the ultimate practicality of the objects is not entirely lost. She primarily uses paint, wax, and glass, substances that become their most malleable when heat is applied. Her work also captures moments in time; her glass and chair sculptures seem to be caught mid-movement and mid-transformation.
Yuko Takada Keller creates detailed and intricate sculptures out of paper. Since 1996, she has been using small triangular pieces to create her designs, which she says “symbolizes something like a molecule.” Her work is inspired by dreams she’s had, and her delicate, cascading designs resonate with ethereality. She claims her work has also evolved over time since she’s realized the connection between the thin delicacy of the paper and skin membranes. From her website,
“Tracing paper has a transparency and an untransparency.
I’m interested in how tracing paper is like a skin membrane.
The skin membrane lies between dream and reality.
The skin membrane lies between consciousness and behavior.
The skin membrane is there when life is born.
The skin membrane is part of a human being.
I want to represent the space that people are aware of
The skin membrane is unconsciousness.”
Londoner Petra Storrs is not just a set, prop, and costume/fashion designer– she’s an artist who collaborates with performers to transcend ideas beyond the ephemeral and into a sturdy cult of fantasy. The “reflective mirror dress” she designed for Paloma Faith, for example, not only sharpens the singer’s playful theatrical identity, but further investigates this concept of “the gaze”. In Dazed and Confused Magazine, Faith elaborates on the intention, “Obviously, as a performer, I am normally the observed, but I wanted to flip that dynamic around and make the audience the focus.” Storrs response, of course, was to whip up a garment that literally does just that.
But it’s not just creative camaraderie that gets Storrs’ juices flowing– she also finds inspiration from everyday objects and history, or everyday objects that hold history such as . . . tea. Camellia & the Rabbit, her latest design endeavor (collected here), involves performance artist Rachel Snider, who uses “tea as a central motif/metaphor” and a narrative “like sea shanties” to interweave “historical facts and stories of tea”– thus, evoking our own personal relationship to this British afternoon tradition.