Brooklyn-based photographer Marco Scozzaro creates Mirror Neurons, a straight- forwards series of photographs that capture the bodies of men and women wearing nude tights. You might be thinking that this project is kind of pointless, but in actuality it isn’t. Scozzaro’s clever ways of conceptualizing his pieces challenge the viewer to think outside the box and ultimately reach various conclusions at once.
Scozzaro began his project by photographing a series of nudes in front of a neutral background and had the models wear a pair of skin color tights as a metaphor for conformism. As the project developed (and gave it a name), Scozzaro started thinking about the motives behind his artistic choices.
Mirrors Neurons a family of neural cells considered to be the neurological base of imitation. I used this scientific element as a starting point to reflect on how different people follow the same way of thinking. It’s a projection on personal feelings such as solitude, detachment, shyness and the urge to connect with others.—Marco Scozzaro
Like in most of his projects, Scozzaro’s subtle but powerful and beautiful images allow for different layers of interpretation. In this specific case, we can take the nude tights as a symbol that simultaneously represents ideas of oppression and vulnerability. His interesting way of transferring concepts into these carefully arranged portraits extends its topic to a broader range of issues including identity, gender, and relationships. (via Feature Shoot)
San Francisco based artist Ryan De La Hoz has expanded upon his ink and paper cut practice to include laser cut sculptures made with hand manipulated found imagery, textile works, and pieces made from custom fabricated puzzles that have been meticulously disassembled and rearranged to form dynamic compositions. This new media is presented along with his signature hand cut paper and ink works for the first time in his new solo exhibition What New Mystery Is This at RVCA SF. The exhibition presents a fractured alternate history where statues warp and pulsate alongside dizzying Op-Art. The exhibition is on view daily 11 – 7 through May 25th at RVCA | VASF 1485 Haight St San Francisco, CA 94117. Photos: Sami Naffziger.
While sitting under a chair, fifteen toy guns shoot at irregular intervals into the void. The sound is loud, oppressant and the feeling intense. Jonathan Moore has us caught in the real time firing of drone strikes by the US military. The information is then printed in a receipt next to the installation informing of the date, time, location, number of death forecasted and actual number of death.
The “Artificial Killing Machine” interactive installation is built out of a printer, motors, toy cap guns, batteries and a control electronics which accesses every five minutes the public database of the US military drone strikes. The materialized data is allowed to accumulate in perpetuity or until the life cycle of either the database or machine ends. At first, the installation doesn’t appear frightening, its painted in white, symbol of innocence. The sound, however, is what starts to make the experience difficult. It becomes almost unbearable once the purpose of the art piece is understood. (For a better understanding please watch the video below).
Visual artist Jonathan Moore interacts with powerful significant data in order to question war, technology improvement and perception of death. He places statistics and data in a context that gives the opportunity to realize what is actually happening. The means used are playful and familiar, the toy cap guns and the receipts put us in an intimate territory; making the rest of the experience harsh and uncomfortable. (via Supersonicart)
photographer Chris Wiley‘s deceptively simple, minimal and highly composed photographs document the small pieces of our landscape that we overlook each and everyday. If Rhothko took photos they would probably look something like this.
At times called ‘performative sculpture’ Swiss artist Victorine Müller combines sculpture and performance art to intriguing effect. Her large but airy PVC sculptures stand ghost-like, glowing in the light and disappearing in the shadows. Müller herself sits or stands peacefully inside the sculpture. The title of her most recent exhibit “Wild at Heart” sheds some light onto her work. Müller temporarily inhabits the inside of an animal – the guts, the heart, the womb, the soul. Though simple, each performance connects easily with the viewers communicating, as Müller says “something that is not said and cannot be said, but that is.”
Dearraindrop is an artist collective. I can’t figure out how many members it has, but I know one is Joe Grillo. They make clothing with tons of optically intense patches and knitting. Seeing one is basically like looking through a prism at an optical illusion of a lava lamp. They also do seriously colorful installations and paintings.
Los Angeles has always held a special place in the hearts and minds of Americans, but for most it exists in an almost fictional capacity. Hollywood isn’t a real place – it’s a postcard, a huge sign on the side of a mountain bracketed with strategically placed palm tree silhouettes. Certainly not a place to call home, but for artist Justin John Greene that’s exactly what it is. Hollywood is a part of his heritage, and the work reflects that. Born and raised in the Los Angeles area, Greene’s work is strongly imbued with the history of the most romanticized industry in American culture. In his most recent solo show at Actual Size (an exhibition space he co-runs in the Chinatown gallery district of east L.A.) the influence of the film industry is in full focus. You Oughta Be In Pictures is a comprehensive installation that utilizes painting, sculpture, and video to create a truly immersive experience for the viewer. Installation may seem like a bit of a leap from Greene’s primarily two dimensional practice, but a closer look into the artist’s process bridges the gap seamlessly. His work is a distinctly enjoyable blend of sly historical references, direct compositional tactics, and cleverly applied humor. If you have the opportunity to see the work in person I strongly encourage you to do so.