Dexter Fernandez bravely experiments with images culled from adult magazines and puts a new spin on them by adding layers of mixed media on the repainted images. Thus, he only hints at their original context, as he turns them into nearly abstract configurations, especially when viewed from a distance. Fernandez is not afraid to say, “Art is porn, and porn is art,” not drawing a line between what is acceptable and what is taboo. To him, both aim to entertain and satisfy the senses.
The beautiful paintings of Eric Zener explore the great unknown beneath the water’s surface. Some of his underwater images are haunting, while others feel like an endless summer vacation. Either way his art will leave you anything but dry.
Within the setting of his captured vistas Vasilis Avramidis typically paints an arrangement of symbolic motifs, rendered in a way to be suggestive of neglect. These depicted scenes and objects are overgrown with moss and ivy, alluding to an overriding sense of decay that the paintings’ inhabitants desire to control and maintain. These characters are gardeners, keepers of sites, land and buildings. They are the caretakers.
The paintings express a repetition of varying hues of green, a reference to the duality between sickness and growth and how the land eventually reclaims everything that sits upon it. Objects being imbued with foliage confirm these concepts of the ongoing and endless conflict between the forces of destruction and the forces of philosophical cultivation. This force of nature against man-made structures and ideologies not only conveys a relentless struggle but also comments on the history of art and architecture being overwritten and unearthed with the passing of time.
Although most of America (currently enduring one of the worst winter cold snaps in nearly two decades) would like to ignore this fact in for favor of bundled layers and heated blankets, sometimes even the dire cold, snow and ice can provide the tools and inspiration for those who brave it’s elements. Famed land and installation artist Andy Goldsworthy (previously here and here) has often utilized ice, frost, snow and frozen earth to create his trademark land interventions. And rather than avoiding the elements, Goldsworthy is only able to create these delicate and precise sculptures by embracing the cold.
In Goldsworthy’s 2004 documentary, Rivers & Tides, several scenes document the difficulty in attempting to harness the cold’s elements. One scene shows the artist, braving the winter elements for hours at a time in finger-less gloves (so as to be able to properly feel and hold the materials) fusing together icicle chunks together with warm water, holding them in place while they freeze together into naturally-made though unnatural shapes. The smallest temperature changes, light, and even chance cause the ice sculpture to collapse, repeatedly, which is all part of Goldsworthy’s process. Says the artist, “Movement, change, light, growth and decay are the lifeblood of nature, the energies that I try to tap through my work. I need the shock of touch, the resistance of place, materials and weather, the earth as my source. Nature is in a state of change and that change is the key to understanding. I want my art to be sensitive and alert to changes in material, season and weather. Each work grows, stays, decays. Process and decay are implicit. Transience in my work reflects what I find in nature.”
Goldsworthy’s process is only captured through the use of photographs, and the often detailed notes (below) which the artist uses to document the difficulties and triumphs of each individual piece.
With a fabulous inaugural exhibition under his belt, Andres Guerrero prepares to unleash another round of seriously fly to look at pieces tonight @ Guerrero Gallery! Just look at this handsome lineup he’s assembled; Adam Wallacavage, Albert Reyes, Alexis Mackenzie, Andy Diaz Hope, Brian Cooper, Chris Yormick, Cody Hoyt, Cody Hudson (above), Frohawk Two-Feathers, Greg Lamarche, Jacob Whibley, James Hopkins, James Marshall, Jay Howell, Jon Bocksel, KC Ortiz, Kelsey Brookes, Michael Rea, Michael Swaney, Mike Davis, Ryan Jaenke, Scott Anderson, Ted Pushinsky. Preview images below…..
Italian artist Christian Zanotto makes use of photography and of a variety of software’s in order to build a scene which is completely virtual and three-dimensional, to which he gives body with figures and objects (and inside of which one can travel virtually).
The digital works are materialized on crystal sheets, suitably treated, by means of the technique of transferring the digital image through a process of photographic exposure.
The plastic-sculptural result is of great impact, the great panes of glass, framed, become mirrors and thresholds onto a world which, although omnipresent and alive, rarely shows itself so directly, a deep and veiled universe of the human psyche. The “Iconography” of these works is semi-religious, not from adherence, but from the fact that it moves at its side in order to carry out a philosophic-artistic investigation into the icons created by man for his own beliefs, which in fact are clearly shown to us through these paintings in their nature as machinery, mechanisms which human beings have undertaken to build and develop using for their material their fears, hopes and happiness.
Artist and designer Fabrice Le Nezet‘s series Measure precariously positions concrete blocks. Using metal tubing, Le Nezet supports the concrete in way that makes the industrial materials seem nearly organic. The brightly colored pipes cling to the concrete like webs. His intention with the work was to make the materials and its weight easily felt. He says:
“I worked here on a physical representation of the idea of measure. The objective was to ‘materialize’ tension in a sense, to make the notions of weight, distance and angle palpable…This work lies in the context of my search for purification around raw materials such as concrete and metal. This is why I played with simple shapes which catch light and transcend the volume structure.”
Performance artist Millie Brown uses her body in an uncomfortable way in order to create bright splashes of color on canvas (and sometimes clothes and people). Brown mixes colors into soy milk before regurgitating the milk onto her preferred canvas, akin to the drip-color style of Jackson Pollock. The artist first began experimenting with this method in 2005, and has since performed this act in many places, including for Lady Gaga’s 2006 video, “Excorist Interlude.” Brown, a vegan, only performs this body-exhaustive piece once per month. She fasts for 2 days before each performance so that her stomach is empty and her regurgitations purely the color of the milk she’s ingested; she can drink anywhere from one pint to four liters of liquid depending on the type of performance. The result of her performances are works of bright colors that are not obviously the products of puking.
Responses to her work have varied, ranging from laughing to crying, declarations of love, and even death threats, but Brown maintains that art is supposed to inspire powerful emotions in people. “I have an inherent desire to push my own boundaries within my art… By creating art from the very depths of my own physical being I am able to challenge people’s perception of beauty, expressing raw elements of human nature and in turn challenging myself both physically and mentally.” (via daily mail)