I am very excited about today’s blog posts as I will be writing about a few of my most favorite artists. The first of them being San Francisco based painter, Jennifer Poon. Jennifer creates a fragile and fragmented world that which communicates her personal experiences, race, social identity, sexuality, etc. Her paintings always has a way of having me reflect on my relationship to the world and those around me.
Genetic mutation, cancerous lesions, and other bio abnormalities taking shape in gif illustrations by Spanish group Videogramo. Kind of has, like, a whole Discovery Museum kind of feeling. Some of the gifs take a bit to load, but they’re definitely worth the wait.
Artist Peter Kogler takes ordinary spaces and converts them into optical illusions with little more than paint and projections. His installations completely encompass the gallery room or public space in which they inhabit and cause it to appear warped, stretched, distorted and twisted. These eye-tricking spaces devour the viewer in their endless lines and pattern while they creates a disorienting effect. Each strategically placed line is created by paint, but also sometimes by a projection onto the walls. Because Kogler’s patterns and lines are often on every side of the space, including the ceiling and floor, they create a powerful and overwhelming environment. The wall-to-wall spaces are completely taken over by lined grids, tubes weaving around each other, and swirling scribbles that create funhouse walls.
The settings for Kogler’s elaborate and impressive installations vary from gallery rooms to subway tunnels. One can truly get lost in these complex compositions trailing all over each wall. Each installation is like a beautiful labyrinth that entraps and engulfs the viewer. Kogler’s work uses mostly bold colors like white and black, and sometimes red. This creates a harsh, stark contrast that allows the optical illusion to be more apparent with a highly dramatic feel. The artist’s talent does not only lie in his incredible installations, but also his sculpture and two-dimensional work. His use of geometrics and line is similar in his other work, which makes them look absolutely stunning when they are exhibited within his installations. Kogler’s multifaceted style compliments whichever medium he desires.(via Illusion.scene360)
Chilean artist Santiago Salvador Ascui paints melodic, colorful arrays of pattern-like assembled people. His careful lines, bright use of color, and charmingly hand painted perfection is reminiscent of work from the Mission School movement, specifically the paintings of Margaret Kilgallen and Chris Johanson. While having the playfulness of the “new folk” work of the 1990s, his work is also informed by a strict systematic structure. His pieces function almost as color studies, guiding the eye through the placement of hue, rather than, as most figurative paintings would, narrative. As he falls in and out of saturation, his work sometimes seems to mimic the cycle of the moon. He arranges his figures in sequences, perhaps forming the aesthetic of Josef Frank meets Josef Albers.
Though the work is aesthetically joyful and decorative, his use of repetition and unification through tonality also speaks to a certain aspect of conformity and monotony. He speaks about the work as a pictorial representation of consumer culture. During the digestion of each piece, the viewer cannot help but to see every figure as the same. The patterned pieces create a true sense of identity-less beings; as if to say that everyone is within the same cycle, drawn into the same pattern (if you will), and unlinked to any sense of individuality. However, Santiago Salvador Ascui’s work also draws an important question; when does the need to be different begin to silence the need to be the same? Despite the burden of a plastic society, perhaps the unification of all figures is actually, in a sense, a positive message. (Via The Jealous Curator and Artishock)
Inspired by his southern memories American artist Wayne White intervenes directly on vintage landscape reproductions, penetrating and filling the vintage scenes with three-dimensional words and phrases. Provocative, ironic and sometimes humorous, his work explores cultural and social themes such as vanity, ego or pride.
My parent’s bathroom at the house I first lived in had a full-length mirror behind the sink, which also had a mirror. As soon as I was tall enough to see over the counter, I remember staring at an infinite number of my own reflections bouncing back and forth and I recall the frustration that I could never find where the reflections ended. This is the memory invoked when I saw Beth Campbell’s work for the first time.
Working in a variety of mediums: drawings, sculpture and what she calls “architectural interventions,” Campbell’s body of work toys with perception. Her Potential Future Based on Present Circumstances drawing series maps possible outcomes to present decisions. These were the first works I saw by Campbell and I recall thinking how brilliant, but impossible they were. Like me and my reflection in the mirror, Campbell was trying to make sense of the unrealistic and perhaps impractical idea that we can know what might have been. Their humor and neurosis seemed so quintessentially human to me that I became an instant lover of her work.