Roman Klonek has a soft spot for old fashioned cartoons, especially east european styled prints that sit somewhere between folk art, pop, and propaganda graphics. In the 90s he studied Graphic Arts in Duesseldorf and discovered a passion for woodblock printing. For the last 10 years he has been creating posters with a wide range of whimsical creatures, mostly half animal/half human, preferential in awkward situations.
Extremely detailed machines made out of cardboard. Australian artist Daniel Agdag creates directly with his hands and scalpel. The industrial machineries he imagines and makes are a mean to raise consciousness on how human beings are powerless and ignorant over the machines they use daily.
In the ‘Principles of Aerodynamics’ series, Daniel Agdag demonstrates his ability to produce an intricate sculpture using just his imagination and memories he collects from details on architectural elements like buildings or monuments. He doesn’t sketch anything before diving for hours into his work. His process is described as ‘Sketching with Cardboard’. He conceives a hot air balloon, reel-to-reel recorder and a radar-dish without planning. The purpose remains the same : to entice the viewer’s curiosity and to generate a reaction.
The artist’s subject matter places individuals in a position of uncertainty. The machines that we use daily are complex and we tend to forget it. Furthermore, we might forget in the process that we are being helped by those machines, and that without them we could no longer pursue our effortless life. Daniel Agdad’s examination of the effect machines have on us is reminiscent of artist Jean Tinguely’s purpose. By building creative machines from garbage and found objects he ‘aimed to satirize the fallibility and unpredictability of machines and our reliance on them’. Daniel Adgad, by manipulating a simple material like a cardboard attempts to freeze time and the world we are living in. And reconnect the viewer with what he is actually capable of achieving thanks to the use of complicated machines.
C E R A S O L I gallery is pleased to present a pair of exhibitions by two artists producing graphically bold works that blur the distinctions between the natural and synthetic worlds: David O’Brien: ‘Explosions in a Mental Sky’ in Gallery One and Tofer Chin: ‘Double Dip’ in Gallery Two.
Opens March 14, 2009, and remains on view through April 15, 2009. Opening reception is Saturday, March 14, from 6 – 9pm.
The altered visions of Lori Nix have led to the creation of transfixing dioramas, which she photographs to look like reality. Often building an entire scene around one object or piece she finds compelling, these worlds are pain-stakingly intricate. The body of work featured, City, offers glances into a post-apocalyptic city, one devoid of human life and beyond collapse. Vegetation and foliage crawl into the scenes, taking over the man-made aspects. Debris everywhere, the rooms appear untouched from how they were before. All the details and minutae indicating human life is there, strewn about.
The dioramas are a time-consuming creation; Nix spends about seven months constructing and photographing a single work. Each diorama is built only to be photographed from a single angle, and she controls and manipulates all of the lighting until she arrives at her desired outcome. A film purist, Nix shoots on an 8×10 large format camera, allowing her to make massive prints of her work.
“Since my earliest days I have always worked with fabrication, either through darkroom manipulations or even room sized installations. My strength lies in my ability to build and construct my world rather than seek out an existing world. Inspiration comes from reading the daily newspaper The New York Times, science fiction paperbacks and magazine articles. I get most of my ideas during my morning subway commute from Brooklyn to Manhattan to go to my day job. Something about the morning light, the rocking of the subway, seeing the cityscape pass by opens my mind up to inspiration.”
Bay Area-based printmaker Amber Fawn Keig‘s works on paper are a collection of colored pencil, gouache and lithographic prints—pulled together under the cohesive investigation of memory. The likenesses scratched out in her careful, stylistic black-and-white prints have the visually-loaded tinge of early 1990’s Americana. Keig usually works with imagery of her friends and family to create these works, although the narratives expressed are somewhat vague and seemingly fictional.
If anything, the litho prints pull the viewer in for a moment of intense technical examination, to look closely at Keig’s tiny, expert strokes, and to take in her careful thematic twists and turns, often embedded in the layered images she pulls together. While the black-and-white works stand well on their own, they’re complimented perfectly by the fluid, intuitive colorwork of her painted and pencil-drawn works. THe moments where the two mediums intersect are the most interesting, but each part of Keig’s current series seems to feed well into the same conceptual vein. While the scale is small, the subject matter is quite curious, and these works carry a kind of welcome, yet weary hominess in their portrayal of contemporary American experience.
Nicholas Kashian’s abstractions.
“I feel it is not important, can be even detrimental, to conceive of, or predict outcomes in the studio: accidents, chance occurrences and reaction will direct the coarse of the work. What is important is to be present, to be a sensitive, sincere, focused, open and as powerful as possible. The work is thus finished when either it says it’s done or I abandon it and take to working on something new.
In my recent work, I am moving away from image based painting and drawing towards more ambiguous, blatantly abstract and open-ended works that seem to want to define painting as a pure, visual language.”
Fashion photographer Per Zennstrom & 3D artist Torsten Weese collaborate on a multimedia project, White Noise Shores, that juxtaposes 3D technology with old-school photography in order to create sculpture compositions.
These beautiful shots resemble human bodies that mesh with what seems to be the digital fabric of what makes the basic 3D animation. The stunning compositions are strictly rendered in neutral colors and, at times, its vague composition is reminiscent of early abstraction (in that it is not fully abstract since it is somewhat figurative).
After the real-life photoshoot, the 40-50 still frames captured were uploaded into the free AutoDesk 123D Catch software which allows anyone with an internet connection to create real 3D models of virtually any object. The software stitches the images together and produces a 3D model in about 30 minutes.
The model acquired through the AutoDesk was then“sculpted by hand” in Sculptris to refine and enhance the digital sculpture. The next step was to hand the model over to Thorsten Japser Weese and his team at Recom-CGI for processing and editing. The camera flight and the rendering for the ANIMATION is done inf VRED professional and the passes were comped in NUKE and got little FX in After Effects. The team at Recom rendered a number of stills, video and 3D models which were then brought back to Per Zennstrom for final editing in Premiere and After Effects.
(via Eternal Optimist)