Trey Speegle just opened Good Luck With That, a solo show at Benrimon Contemporary in Manhattan. Speegle plays with familiar paint-by-number formulas in semi-abstract works full of color and personal significance. A few works in the show feature silhouetted horses among other elements that exist within a recognizable context, but the real star here is the artist’s subdued, flat application of color. The show will be up until October 20th, so if you’re out here, be sure to roll through.
Dutch designer Jolan van der Wiel creates unusual ceramic sculptures using the conflicting properties of metallic clay and magnets. His latest project “Magnetism Meets Architecture” features a number of fantastic gravity-defying architectural models and explores the possibility of using magnetism in architecture.
The process of making such sculptures starts by mixing clay with water to create a slip, a mixture with the consistency of cream. Then he adds metallic powder like iron with the ratio typically being 90% clay, 10% metal. The whole blend is then transferred to a nozzle similar to the one confectioners use for cake icing. Carefully building layer after layer, van der Wiel allows surrounding magnets to pull them into various shapes resembling a drip sand castle (passing a magnetic field through the material provides an opposing force to gravity, thus the clay is pulled upwards and suspends in its place).
Van der Wiel is fascinated with the idea of using magnetism in architecture.
“I’m drawn to the idea that the force would make the final design of the building – architects would only have to think about the rough shape and a natural force would do the rest. This would create a totally different architectural field.”
According to the artist, he got the inspiration from Catalan architect Gaudi who used gravity to calculate the final shape of his famous building La Sagrada Familia: “I thought, what if he had the power to turn off the gravitation field for a while? Then he could have made the building straight up.” (via Wired)
I first encountered Russian artist Svetlana Petrova’s renderings of classic paintings, modified to include her very large, fat cat, a couple of years ago. I was pleasantly surprised to find the artist is still re-creating paintings, and that her work has recently become a part of a gallery show in Abingdon, England.
Petrova’s mother died in 2008, leaving her cat, Zarathustra, behind. She claims her mother spoiled the cat, contributing to Zarathustra’s large stature. Petrova was very depressed after her mother’s death and wasn’t able to make art until a friend suggested she create an art project using the cat, and thus, Fat Cat Art was born.
Petrova says, “I’m a professional artist, and I was fond of Internet memes, and I thought maybe I can make an Internet meme who would at the same time [be] a work of art. And I did this.” But her confidence in her work was at first met with some hesitation. “I thought that I could hold an exhibition, but gallery owners said: ‘This is not art, this is just cats.’ I asked: ‘Why is a shark in the formaldehyde art, but and a cat in a classic painting is not art?’ Nobody could give me an answer, and these people began to avoid me saying that I am mad.” Eventually, though, her cat art won the hearts of the gallery in the UK.
Petrova has been most recently inserting her cat into movies, and she welcomes suggestions for fat cat placements via her Twitter, or the project’s website, whose disclaimer reads: “We are real. All the artworks at this site are real. Nobody’s opinion about Us, Our art or this site will ever disturb Our suprematism.” (via archie mcphee and huffington post)
Ernesto Neto’s installations ache of a strange dreamy womb I’m sleepwalking towards, one that promises 100 years of hibernation, an extended respite that is sensually comforting and yet also terrifying claustrophobic. It’s a peculiar feeling– a mushy feeling, a propelling and repulsive feeling, or push and pull, that I can’t stop leaning into.
I am not my body, yet I am my body.
Unintentionally echoing motifs in David Cronenberg’s psychological horror films, Neto’s “beyond abstract minimalism” worlds seem to confront the dysfunctional relationship we have with our internal and external selves, and the weeping orifices that connect us to one another on a physical and emotional level. Each path is carved viscerally, interactively– ideally, playfully, but admittedly, horrifyingly in our own image, resembling internal organs and wads of flesh and goo. We are attracted to this, and this attraction is disturbing.
Of his work, and perhaps of this feeling I’m describing, in an interview with Bill Arning, Neto states, “Do you understand the word sacanagem? It’s a Portuguese word that does not translate well. It is beyond flirting. It’s after that, in that moment when both of your faces change into something else because the erotic charge is so high, when your bodies move towards each other. I wanted the work to manifest sacanagem without talking about it. It’s all subtextual. My work is first and foremost a contemporary sculpture; it speaks of the finite and the infinite, of the macroscopic and the microscopic, the internal and external, by the masculine and feminine powers, but sex is like a snake, it slithers through everything.”
Genevieve Blais, a photographer based in Toronto, borrows imagery from classic art history paintings to unpack sexual politics relative to today’s contemporary palate.
Of her intention, Blais states, “The aesthetic/topical dissonance aims to elicit an uneasy response in order to subvert the implicit authority and sanctity of the icon.”
The result confronts and critiques art culture by sitting in an uneasy space between not only imagery, but also mediums– cameras and brushes, forcing us to clearly see the model as the true determinant– a staged powerful variant that has been with us since Caravaggio’s rule, humanizing the myth.
Kaeleen Wescoat-O’Neill has recently been working on series based on mugshots from her hometown in Florida. She recently flew out of Art Center with a Bachelor of Fine Art. Her work has a beautiful air, like Elizabeth Peyton or Alex Katz, but offers something uniquely her own.
This is probably the best short film I have ever seen using only a camera phone. Director Thomas Hilland was asked to make the most out of Nokia N8’s smartphone camera. If the quality of the film doesn’t do it for you, I know I especially enjoyed the rotund men running around in costumes, battling each other with remote controlled dragonflies. Music was by the British band, Kap Bambino.
Gorgeous sculptures that uses mirrors to force nature into interrupting itself. I see tons of art on Flickr sites that do the same thing but with Photoshop and Googled nature images, (don’t get me wrong, I like those too) but this the real thing! I can’t find very much information on the artist duo- I’m assuming they were husband and wife or something… Wiki search rewarded me this: Francisco Infante-Arana formed an artists’ collective known as the Movement Group & continues to be one of the premier Russian avant-garde artists. “Nonna Gorunova” yielded me results only in the context of Francisco. It would be great if any of you readers can shed more light on them! You can find more of their work on this LiveJournal photo community.