With his work engulfed in geometric shape, the artist known as “Moneyless” creates infinite patterns of triangles and circles that seems to multiply endlessly. The Italian artist having talent in both two and three-dimensional work, his murals and paintings on wood are cosmic bound, mesmerizing and hypnotizing you with its fluid shapes. Originally a street artist, his influences from graffiti is apparent in his work on walls, with their bold color schemes and intense movement across the spaces they inhabit. This breakdown of text based graffiti into more non-representational, abstracted forms and shapes allows for more contextual freedom.
These murals and wall pieces are reminiscent of a kaleidoscope or a Spiro graph, with repetitive circles turning his compositions into large-scale Slinkies. Moneyless’s works on wood contain the same depth and intricacy created from his geometric perception, with an excellent eye on negative space. Staring into these works will have you lost in their unbelievable intricacy and rhythm. Each line is so thin and delicate, but make up a larger part of the stronger whole. This series is brilliantly symmetrical, forming a central focal point that pulls us into the space. The artist sees the triangle shape as the root to life, making up our existence along with everything around us. The reoccurring theme of geometry represents the foundation of life itself.
The street art and murals of artist Okuda San Miguel drip with color and burst with energy, until they are no longer held on a brick wall, but spilling out into real life, in three-dimensional form. The Madrid-based artist uses a pop surrealist style to create large scale murals that transform public spaces into places of geometric, vibrant color and imagery. His work is so incredibly stunning, that it is almost as if the street walls cannot contain them. Public works like his painted phone booth contain an element that explodes from the piece. Color drips from the phone booth, fusing Okuda’s work with the real world. He often transforms his murals into three dimensional sculptures, creating an even more dynamic and captivating piece. As if Okuda’s mural that resembles a multicolored starburst didn’t demand our attention enough, he has a sculpture piece that brings the mural into the third dimension.
Okuda’s beautifully fractured, geometric style is applied to murals, street art, smaller scale paintings, and sculptures. Whichever medium the artist so chooses, he creates works that are both mesermizing and transfixing. His paintings often use similar imagery, such as velumptuous, nude bodies, animal heads, and skulls. A fascinating juxtoposition is formed when certain subjects of Okuda’s paintings are covered in colorful shapes, while others have a smoother texture rendered in black and white. It is interesting that often the face or head will be full of color, while the more organic forms such as a nude body or a tree branch will be absent of it. Okuda portrays what lies underneath the bright shapes as monochromatic forms, exposing our sameness and human connection below our exteriors.
Jason Bard Yarmosky’sElder Kinder pays homage to the idea that age is not a deterrent to living fully, but rather a springboard for exploration. His paintings examine the relationship between the limitations of social norms and the freedom to explore, particularly the juxtaposition between the young and old. The carefree nature that is associated with youth often gives way to borders and boundaries placed on adult behavior. As we transition from adult to elderly, these raw freedoms often reemerge. As a child you learn to walk; later in life we learn to unwalk, literally and metaphorically. However, the dreams of the young, often sublimated by the years, never really disappear.
“I choose to explore this theme with two people very close to me, my eighty-four year old grandparents. The process of aging has always intrigued me. The lack of permanence in life and the inevitability of aging has always been on my mind growing up. I am also interested in how people, in both mind and body, respond to the passage of time. As Madeleine L’Engle said, “The great thing about getting older is that you don’t lose all the other ages you’ve been.”
The resulting paintings capture the intersection of the battered body and the vibrant soul. The images in this series can be seen as either humiliating or empowering. The pessimist sees the images through the lens of shame and vulnerability, weighed down by social convention. The optimist sees a sense of liberation, where an adolescent’s playfulness and the freedom to dream complement the wisdom of old age.”
…These visions were frozen in a time capsule on Gallifrey, only to be unearthed when the time and relative dimension in space felt right. Opened in 2012, the images resembled paintings like Michael Bevilacqua’s layered chrome and black attack, Chris Bors’s post-pop pseudo-propaganda, David Humphrey’s surreal suburban wet dreams, Ketta Ioannidou’s chaotic spiraling vegetation, Todd James’s bright cartoons from our Id, Allison Schulnik’s luscious thick impasto, Aaron Zimmerman intricate fever dreams and Jeremiah Teipen’s psychedelic sexual video.
NYC artistic heavyweight Chris Bors curated Spacegrass, a group show at Bloom Projects in New York (95 East 7th Street, downstairs) opening September 8th. The exhibition features works from a couple B/D favs including Allison Schulnik, Todd James, and Aaron Zimmerman. Check out some preview shots after the jump.
Byoungho Kim‘s The Progression of Silence engages sight and sound, using an aesthetically and aurally pleasing repetition of bells. A site-specific installation, Kim constructed the massive work from brass, piezo, signal wire and a sound controller, to hang in the spiral stair case of the Johnnie Walker House, an arts exhibition space opened in 2013 buy the famous whisky distiller. The piece hangs from the roof of the building down to the floor, engaging the entirety of the architecture, and with sound, the people inside the building. Says Kim, “One of the “materials” I like to use is sound. The essence of sound is the vibrations of frequency, and these vibrations are often seen as geometric patterns to the eye. Through the process of changing these geometric patterns, namely modulation, they become sounds for the artworks.”
Kim fully explains his process, “My work is an approach toward the rationality that was spontaneously generated with the progression of civilization such as systems, standards and modules. The unitized and systemized material/immaterial elements become the material of my work. The output created from my materials poses questions on the essence of life as well as being a study on human nature.” (via myampgoesto11)
An artist of his time, Ryuta Amae is a clever manipulator of images. Could his great, peaceful photography evoke – in the form of vast, luxurious residences or of a Family Robinson type house swamped by palm trees – Paradise, Eden conquered at last and peace for civilisation ? This image of rest is deceiving. For the images here are the result of sage elaborations, of digital crossbreeding and hybrids. From these creations of various all sorts, the reference is the occident’s imagination of happiness, one might as well call it the sublime by default, the coming constantly delayed, condemning us to contemplate beautiful, empty images. «I create a copy, an archetypical image,» the artist explains, «my photo is only a virtual memory.» A skilful way of uniting reality and the imaginary, giving them a connection and a tension, a reactivating of that problem which has always been attached to the image : illusion. -Paul Ardenne
Yusuke Ishikawa captures “life” in the shining and dazzling facets of his paintings. I’ve always been fascinated with diamonds and crystals and find myself spending hours on the internet just looking at them for no particular reason (it’s not because I’m a girl). There’s something about the hard edges in these paintings that look perfect to the eye but you know that they could never be as precise as the real thing- the element of possible human error and uncertainty makes these paintings soft and interesting as well as beautiful.