When I visited Sweden, one of the things that first struck me was that everyone’s apartments, houses, and public spaces seemed beautifully designed, in this contemporary, bright, cheery and somewhat 50’s/60’s Mr. Men kind of way. There’s a vibe in the air that encourages a similar stlye of living- they do have the highest standard of living in the world. I completely fell in love with this sensibility, the bright and airy floral curtains, vibrant and playful placemats….making your space a joyful one. (Maybe ’cause it’s so cold in the winter.) Ahh, Sweden. Take the wallpaper above, inspired by “an idea to pattern a porcelain mug with crystal glasses and so make it fine for serving celebratory drinks.” Classic! No fuss, just simple, iconcally graphic depictions that encourage you to drink champagne from a mug- you can still live elegantly while avoiding pretension by trying something new! Move over IKEA- check out these lovely designs from the Scandinavian Design Center.
In 1988 at the age of nine Tyson Skross moved with his family from suburban Texas to Geneva, Switzerland. Living there, wedged between the largest, most mysterious lake in Western Europe and the Swiss Alps with their historical relationship with romanticism, he witnessed many unusual natural phenomenon. These incidents, which he refers to as “glitches”, opened his mind to the fallacy of reality and also solidified his deep attachment to indefinite geography.
The installations of Argentine artist Leandro Erlich are known to be visually playful. His most recent installation definitely follows suit. For Dalston House, Erlich constructed a facade of a three story home which lies horizontally on the ground. A giant and cleverly angled mirror gives the facade, and those on it, the appearance of being vertical. Visitors hang from roofs, sit casually perched on ledges, and effortlessly walk down the wall. Also check out Erlich previously here.
Reveling in the small, quiet corners of everyday life, Bay Area photographer Amanda Boe explores themes of isolation, curiosity and mise-en-scene in her strange, stunning work. When looking through images from her series Here and There, it’s easy to let your mind wander into each frame, gently prompted to think about time, place, and what it feels like to be “passing through.” The crisp simplicity of her work is charged with her natural sensibilities as a curious, highly-engaged observer—collecting visual treats as she moves through the world. Boe investigates the places in-between the larger moments of life, and reports back with work that is meditative, personal and poetic.
Funk upon a time, Brian Belott and Jesse Greenberg teamed up to create a two man show for Gallery Loyal in Sweden. I was wondering how to explain the work, but in the press release it says that “Not being able to pin down exactly what these objects are referring to is one of their powers,” so it’s better unexplained. I asked Brian about the power of not knowing and funkiness once, and he explained that working funky meant the difference between drawing inspiration from the sadness of the Blues, or the celebration of George Clinton and Parliment Funkadelic. The work in this show feels like a mash up between the ancient Egyptian religion, which at the time was thought to keep the sun rising, and today’s science fiction; a mythological range from prehistory to the future, it either expands time or contracts it depending on whether you like the Blues or P-Funk.
I’m delighted to feature Stephen Alan Yorke , who has created an exhibit space simply by observing, documenting, and titling changes in one corner of the world. In Bromley, Kent there exists a ledge on Morgan Road – a paneless brick recession – that frames the littered objects left there by passerbys. Stephen has deemed this small walkway moment the Morgan Road Gallery. The artists themselves will forever remain anonymous, but their contributions become works when infused with Stephen’s titles such as The Many Mistresses of Captain Cola (Parts 1 and 11) and The Trident of Lucifer Jr.
Jon Almeda creates miniature glazed ceramics which could easily be misunderstood for a pretend tea set play party, the average size of a piece being 1” scale. He designs cups, pots, tea kettles and bowls that perfectly resemble normal sized items. All the details are there: furrows, textures, handles and lids. In order to attain this meticulousness, he had to come up with the instrument that would allow him to get thorough so he built his very own pottery wheel, which is called “curio wheel”. Despite their fragile appearance, the small ceramics are nonetheless solid and able to resist the high temperature of glaze fusing.
The artist doesn’t seem to care about what’s normal. He prefers to juggle between the extremes; he goes from creating huge ceramics to sculpting macro pieces. The time he spends on doing so is more enjoyable. He compares this time to a meditation cession where he can focus on the creation and nothing else.
Jon Almeda’s inspirations are soothing and flowy. He says he likes to drift away thinking of calm dark waters and luscious flora from places where he spends most of his time. His creativity seems to be coming when his mind is somewhere else, daydreaming and meditating when his hands create beautiful little gems.
The installations of Katharina Grosse are disorienting in scale, color, and material. Her use of color is wild bordering on violent. Brightly colored paint is sprayed over any surface the artist pleases, from the floor to walls and windows. Huge heaps of painted dirt fill the gallery space transforming the space from an architectural to a geological one. The dirt, paint, and various objects seem to intentionally undermine the white box that houses the installation. Her installations raucously question the very space they inhabit by allowing visitors experience it in a transformative way.