Artist Romain Crelier has transformed the already ornate and beautiful interior of Bellelay Abbey with reflective pools of used motor oil. This unique and unlikely installation is created by pouring pools of motor oil into an extensive and organic-shaped vessel that holds the oil into its form, brilliantly complimenting the architecture. This Swiss Abbey contains intricate and ornate 12th century architecture, including Baroque style monasteries and elaborate stucco paintings. The dark, glossy oil is a stark contrast to the bright, white interior, creating a harsh but remarkable juxtaposition. The already dramatic interior is complimented by this reflective source, mirroring not only its complex architecture, but also the viewer.
Motor oil is not the first thing that comes to mind when you think of an attractive, shiny material. This is definitely not your traditional installation. Normally thought of as a messy material, the deep, sleek liquid creates a deep impact on the viewer, full of mystery and awe. The church is often a place of reflection, where you can go to experience a sense of stillness or tranquility. Crelier furthers this experience by giving you a literal reflective liquid to gaze into while you roam this space. The wonder you might feel by entering such a monumental place is magnified through this installation, moving you to a place of awe. This installation has a seemingly simple concept, but results in an immeasurable effect on the viewer, creating layers of visual possibilities. Romain Crelier’s installation, titled La Mise en Abime, is just one of the incredibly colossal installations the very talented, Swiss artist has under his belt. (via MyModernMet)
Netherlands-based artist John Breed uses a myriad of materials in his work, and mannequin legs and womens’ shoes are on that list. He paints the individual body parts and their accessories, arranging them so they form an eye-catching design from afar. Depending on your vantage point, you might not even realize what you’re looking at. His all-gold piece titled Medusa’s Shoes features the different heels placed closely together so that they collectively resemble the monster’s wild hair instead of separate parts.
Breed’s other large-scale installation, titled Shoe Salon Breuniger, features an undulating, rainbow-colored collection of heels that sprout from a wall. Bent at different angles and cut at various lengths, each can be admired individually for its detail and accessorizing. It looks as though it was eventually installed somewhere with an escalator, like a mall. This candy-coated display seems like the perfect way to bring some fresh artistic air into a space that can seem stale.
“The satisfaction in our work comes from the moment the audience engages with the piece and they forget where they are, who they are, and they discover this new world between nature and technology.” (via This Is Colossal)
Internationally renowned artist Theo Mercier has created an incredible monster of a sculpture made entirely of spaghetti! This textural, monumental piece is around 10 feet tall, and that’s when it is sitting—which is all the time. The spaghetti monster sits upon a small chair that is way too small for him as he stairs sadly down at the ground. Titled Le Solitaire, or, “The Loner,” this creature looks isolated and alone in a world where he is the only spaghetti-creature. Although the colossal sculpture seems very melancholy, Mercier’s work tend to not be without a bit of humor. A monster made of spaghetti is an absurd and silly creation, so why is it so glum? Maybe it is afraid that us humans will eat his spaghetti!
Mercier’s work is often large and textural, as Le Solitaire’s tactile spaghetti-skin begs to be touched. The noodles form an endless series of lines bending and forming across the body of the creature. They imitate scribbles of continuous lines doodled on a piece of paper. A self-taught artist, Mercier is an expert at inducing strong emotions with such a bizarre and surreal sculpture. We cannot help to feel sorry for this dripping, sorrowful beast. Its wide, striking eyes that stare directly at the viewer are also in other works for Mercier’s. His other installations include funny creatures made by adding these same bright eyes onto cars, piles of hay, and even smoke seeping out from a fireplace. This French artist’s unusual and mysterious sculptures give inanimate objects such emotion and personality that steal our hearts and earn our love.
Chinese artist Ye Hongxing tries to bridge the gap between the ideas of East and West; traditional and contemporary; spirituality and commercialization. She plays these different ideas off of each other in her new work called Prajñāpāramitā. This new piece is a reinterpretation of the traditional art form of a Mandala, but made from mass-produced plastic toys, beads and stickers. The title Prajñāpāramitā actually means the Buddhist concept of Perfection of (Transcendent) Wisdom, and is a fitting cynical commentary on just how bizarre our worlds have become, filled with shopping and consuming commodities and objects.
Hongxing’s stickers are otherwise seen as disposable and ephemeral objects—a comment on the disposable nature of contemporary culture. The sheer volume of the stickers echoes the overload of information that we are presented with on a daily basis. (Source)
Based in Beijing, Hongxing is frequently reacting to the ever-changing culture surrounding her, and the pace of which it happens. Using opposing traditions and systems to comment on each other, she draws our attention to our own actions. By methodically placing thousands of plastic, secular, pop-cultural, commercial objects down in a systemic fashion to build a spiritual motif, she brings two very different practices together in a head on collision. We are reminded of the Buddist traditions of meditation and repetition, but instead of being geared toward serenity and peace, this time it is in the name of glitz, glamor and garishness.
Hongxing’s other projects include fusing Chinese and Western artistic practices together – creating luscious oil paintings filled with decorative Chinese porcelain patterns; making marble sculptures of kitschy blow up animal balloons; and layering hundreds of glittery stickers on each other to form surreal, OTT interpretations of modern day life. (Via The Creator’s Project)
A person’s a person, no matter how small! Creating work under the name “Slinkachu,” this artist reminds us to pay attention to the little things in life in his miniature scenes. Photographed in London, Slinkachu constructs clever and irresistibly tiny scenes of people living their lives in the cracks of urban life. One small girl is swinging from a bent weed while other little people are diving off a Popsicle stick to swim in its melting juices. These photographs seem to capture a secret, pocket-sized world that exists right under our noses, reminding us to stop a while and take in our surroundings. This series also includes photographs of the little scenes in its real surroundings, giving it a sense of scale, revealing how small they really are.
These inch-high people are somewhat like the normal-sized urbanite, living in the shadows of tall buildings, just as Slinkachu’s people live in shadow. They are playing, swimming, and horseback riding in a concrete jungle, commenting on our own detachment from nature. However, this does not deter us from searching for it. We create our own nature in the form of city parks, just as Slinkachu’s playful little people find nature in a spilled soda pop, which they hop over like a pond. These hopeful scenes of miniature realities might criticize our separation from the natural world, but humorously point out our optimism and resourcefulness.
An exhibition of Slinkachu’s photographs titled Miniaturesque will be opening March 13th at Andipa Contemporary, located in London.
Even though Judith Schaechter was immersed in her artistic career as a painter, she was drawn to the traditional practice of stained glass window making. She has managed to lift the centuries-old skill into the world of contemporary art by treating it with a new vision. She turns something that is usually associated with stuffy old churches into something macabre, tragic, yet beautiful. Schaechter says she doodles in front of the TV, and in meetings, to come up with a preliminary design, but still works spontaneously and improvises until she reaches the final stage.It seems she is quite happy to let accidents and mishaps guide her hand. She speaks a bit more the art of turning something gruesome and unpleasant into a thing of wonder:
It seems my work is centered on the idea of transforming the wretched into the beautiful in theme as well as design. For me, this means taking what is typically negative — say, unspeakable grief, unbearable sentimentality, or nerve-wracking ambivalence, and representing it in such a way that it is inviting and safe to contemplate and captivating to observe (to avoid ending with preposition) (Source)
Schaechter says glass is the perfect medium to support the conceptual idea of transforming ugly and difficult subjects into radiant, transparent, glowing figures. Ordinary, ‘earthly’ beings are now ‘supernatural’ and elevated.
They seem to be caught in a transitional moment when despair becomes hope or darkness becomes inspiration. They seem poised between the threshold of everyday reality and epiphany, caught between tragedy and comedy. (Source)
She is a firm believer of the power of stained glass windows – and the effect they can have on somebody’s mood. To be further enlightened, see more of her work after the jump.(Via Hi Fructose)