Costa Rica based artist Marco Battaglini creates large pastiche paintings that combine a handful of genres, styles, and references. His paintings are often reminiscent of a Renaissance composition and include classicist figures painted alongside more modern imagery like graffitied walls, tattooed bodies, varying artistic allusions like Warhol and Lichtenstein, and other pop culture details. Upon closer inspection of the paintings, it becomes clear that the effect of the compositions reveals spatial and temporal disruptions that limit the interpretation of the paintings’ realities.
According to his Saatchi profile, Battaglini, “invites us to think that in today’s global village, with the ‘democratization’ of culture, the evolution of knowledge, information immediacy, immersed in the heterogeneity, the Patchwork Culture forces us to confront with a need understanding beyond our geographical boundaries of time.” (via hifructose)
American artist Jim Hodges has always had an innate ability to impress ideas of time into commonplace objects, whether using napkins for drawings, silk flowers pinned to walls or collections of broken mirrors. In his work, Untitled (2011), metaphors for nature are again followed by human involvement, allowing for reflection from the smallest material interactions.
Comprised of four boulders which are capped with stainless steel veneers in gold, pink, lavender and blue, Untitled finds each stone arranged into a circular environment that directly invokes the viewer’s sense of space. Light and reflection play a role in the viewing, as colors meld and give the stones a surprising airy and weightless quality. Untitled’s colorswere inspired by Hodges’ travels to India, where Hodges was enamored by the intense use of color, as he describes, “this layering, layering, layering of material, to the point where what’s being covered, its identity, seemed to start being erased by the accumulation of color.”
Scale is equally important to Untitled, and speaks to themes of change and impermanence. The works are quite massive, with each boulder measuring close to six feet in height and collectively weighing almost 90,000 pounds. Collected in Massachusetts, before being brought to a fabricators in Upstate New York, the boulders were chosen specifically because they were carved and moved centuries ago by the glaciers which covered the North American continent. While the weightless quality is provided by the translucent hues, and the permanence of the heavy rocks is insinuated, Hodges deftly reminds us that nothing is immovable or permanent.
First displayed indoors at theGladstone Gallery in New York City, the work was then moved to the Walker Art Center’s outdoor grounds to coincide with the Sculpture Garden’s anniversary, as well as an upcoming retrospective exhibition. Hodges retrospective, Give More Than You Take, is currently on view at the Dallas Museum of Art and extends through January 12th, 2014. The exhibition will then travel to join Untitled (2011) at the Walker Art Center. (via walker art center)
Florentijn Hofman, mostly known for her interactive, cutsey and giant sculptures of children’s toys (ie. Rubber Duck, Max), has created Sunbathing Hare, another eye-catching and adorable installation for everyone to find their inner child with, yet again. It was taken down yesterday Oct.13th, 2013 as it was part of the Netherlands Bilateral Year and the Russian public arts program and was only allowed to be on site for a few months.
With outstretched arms, the over-sized lazy creature suggests a lazy, happy pose, as it lays on the green grass of Hare Island near the St. Peter and St. Paul Fortress in St. Petersburg, Russia. It has contagious vibe; people lie and sit next to it with intentions to relax and forget about their problems for a moment.
Sunbathing Hare measured 15 meters long by 8 meters wide and 2.5 meters high. It was made out of plywood boards, a pink painted nose, eyes, and smile with a touch of charm and humorousness. (via designboom)
“My sculptures cause an uproar, astonishment and put a smile on your face. They give people a break from their daily routines. Passers-by stop in front of them, get off their bicycle and enter into conversation with other spectators. People are making contact with each other again. That is the effect of my sculptures in the public domain.”
I have to admit that one of my guilty pleasures is watching an occasional episode or all day marathon of the tv show Hoarders. Maybe it’s the fact that seeing the chaos in someone else’s life makes me feel better about my own never ending laundry pile. I admit it’s not my finest moment but hey at least it’s not the Jersey Shore.
Given the above confession it should come as no surprise that I was immediately captivated by the series The Art Of Keeping by Argentinian photographer Paula Salishchiker. Since 2011 Salishchiker has been working on this fascinating project documenting the homes of hoarders in the UK. (via feature shoot)
I photograph the houses of people who have difficulty in throwing things away. Their objects help them feel safe, they take their time, they require their care and are there for them. However, they also make their lives difficult, sometimes forcing them out of their own homes, suffocating them with their never ending expansion. – Paula Salishchiker
When I met Jonny Negron at the Small Press Expo two years ago, I had him sign a copy of his book, Negron, for me. Rather than just signing his name, he drew on the back cover, which coincidentally is a large picture of his face. Negron completed his doodle with a lizard tongue, drawn with a gold paint pen. This act of an excessive signature is a metaphor for the type of work that he creates. It’s in your face and unapologetic, as well as being stylish, humorous and at times, scary.
Negron is best known for his comics and propensity for drawing large women. They are extremely curvy and wear crop tops, bikinis, and leggings, or nothing at all. Couples engage in sexual acts, and while often NSFW, the drawings don’t have the same vulgarity of something like an ad for a porn site. In an interview with The Comics Journal, Negron says that he doesn’t fetishize these women, and that he’s gotten a very positive response from women regarding his drawings. He goes on to say, “You go to a magazine stand and half the magazines are the same very thin woman. Beauty is not limited to that kind of person. Anyone can be beautiful. That’s part of the statement I’m trying to make with those drawings.”
Oftentimes, Negron’s work is without context. His characters exist in blank space, and his comics focus on a moment rather than a long passage of time. Negron cites films as an inspiration to his work, using their sense of lighting and stasis as a way to pace his sequential art. Looking at his style of drawing, it’s evident that he enjoys manga and video games, but it is more well rounded than that.
Negron is really active on Tumblr and is constantly listing his work for sale in his online shop. He is also an artist with PictureBox, a small press publisher.
In their series, “Anamorphoses,” French artists Ella and Pitr (Papiers Peintres) transform forgotten, run-down places into colorfully framed spaces that create anamorphic illusions. The duo paints frames onto stairwells, empty rooms, and hallways, giving the normally 2D experience of a frame the depth of 3D. The photographs have to be taken at a particular angle in order to create the desired shot of a figure inside the painted canvas. The outcome is a whimsical portrait that lends playful depth to an otherwise drab and neglected setting. The artists completed these installations and photographs as part of a project for National Dramatic Center of St Etienne. (via my modern met)
The Burqa, full-body cover up worn primarily by Islamic women of faith, has been subject of much controversy for decades, especially in Western societies. Many say that the garment oppresses women, leaving them astray and without a voice in a world were men dominate them.
Selina Roman‘s Burqa Project takes the Burqa and turns its literal meaning around through the medium of photography and visual composition in order to challenge the viewer’s mainstream knowledge of it.
Roman, a former reporter, hopes to offer her audience a different view point, a new way of seeing, she comments on her artist statement.
Although the Burqa is shrouded in religious significance, I take it out of this context in an attempt to explore these other attributes. Instead of showcasing it as an oppressive garment, I place the Burqa in idyllic Florida landscapes to let it float and billow. In turn, it becomes an ephemeral and weightless object removed from its politicized context.
Apart from Roman’s obvious emphasis on the beauty and femininity that these garments project, she also wants to shed light on the qualities that we often forget to acknowledge. There are many interesting characteristics that the Burqa provides to any that wears it- i.e anonymity, security, and power.
Elaine Reicheck is a New York-based artist who uses embroidery to explore conceptual and aesthetic ideas in art. Though she has a background in painting, actually receiving an MFA from Yale in the subject, she began to question her training and wonder what kind of statement she wanted to make with her art. Though she experimented with knitting wool, hand-paining found photographs and other techniques, embroidery emerged as Reicheck’s material of choice. She creates beautiful works on linen using needle and thread.
Though she does quite a bit of her work by hand, Reichek also experiments with computerized sewing. She doesn’t feel this is a shortcut in anyway, as her work is as much about the concept as it is the end result.
There is also an undoubtedly feminist aspect to Reicheck’s work. She attributes it to working with so many male painters during her training. Embroidery, a historically feminine pastime, allows Reichek to explore the same ideas as her male painter counterparts, but, as she says, “if I make them that way, of course their meaning changes, since the meaning of an artwork is always bound with its media and processes and their history.”
Usually selecting a theme to base a series around, Reichek’s latest embroiders consider the myth of Ariadne. Ariadne gave Theseus a ball of thread with which to retrace his steps allowing him to escape the Minotaur’s labyrinth. Reichek created art-historical portraits, many of which contain Araidne’s image, and paired them with quotes from literary sources such as Nietzsche or Catullus.