Elisa Strozyk is a unconventional textile designer. Instead of fabric, she uses wood to construct rugs, carpets, and blankets. While we often think of wood as rigid surface, her work breaks this convention and transforms it into something much cozier. Elisa’s textile art acts like fabric. They easily conform to a surface and can bunch together, allowing something or someone to be wrapped up in wood.
Each piece is comprised of tiny shapes, variations of triangles and squares. Paired together they make tessellations, or the tiling of shapes to insure there are no gaps between them. Tessellations can be in 2D or in Elisa’s case, 3D. The general idea is that shapes are used to stack and fill space.
These textiles are meant to have us consider a new perspective on material. They challenge our notions of what is possible out of something like wood. Elisa’s textiles can be functional or art object. They can be used as a blanket or on the floor as a rug. But, depending on the design, context, and manipulation of shapes, they can be a sculpture, too.
Elisa gives more insight to her work, writing:
The world around us is becoming increasingly immaterial. We are now used to write emails instead of letters, to pay online, to download music and touch virtual buttons on touch screens. We live in a society of images, a visual culture full of colours, advertisements, television and the internet. There is not much left to feel. Giving importance to surfaces that are desirable to touch can reconnect us with the material world and enhance the emotional value of an object.
“Wooden Textiles” convey a new tactile experience. We are used to experience wood as a hard material; we know the feeling of walking across wooden floors, to touch a wooden tabletop or to feel the bark of a tree. But we usually don’t experience a wooden surface which can be manipulated by touch.
Text art seems to be popping up everywhere these days in a multitude of diverse forms, although the use of text in art is inarguably not a new movement. However, when it comes to using words in visual art, several artists of different ages and sub-genres have found ways to burn their words into our brains. The pieces featured here have real stay-power. Whether the artist employs a blinking pattern between words, such as Bruce Nauman does, or draws rawly from their cultural background and related personal experience, such as Glenn Ligon and Patrick Martinez, these works deliver a very contemporary message. With simple language, and a sometimes poetic-sometimes brash- sense of honesty, these neon text-based works transcend many other works of text based art made today. Artists featured here include: Bruce Nauman, Patrick Martinez, Tracey Emin, Jill Magid, Glenn Ligon, Robert Montgomery and Jung Lee. The works speak for themselves- yet we encourage you to read between the lines.
Ellen Jantzen‘s newest photoseries, Disturbing The Spirits, explores the photographers recent interest in the healing power of nature. In her series’ statement, the St. Louis-born photographer questions, “As human actions impact the natural environment, can artists heal nature? Does art bring “special powers” to the table? If so, what are they? What is ‘art’? What is ‘nature’? What needs healing?”
Focusing on the cameras ability to record fleeting elements of natural elements, Jantzen hopes to bring attention and connection to our environment, often represented in the series by trees. The artist explains, “In “Disturbing the Spirits” I am using imagery to convey my feelings about the state of nature, the nature of trees, and how to express their connection to past, present and future.” The added element of digital manipulation, pulling the image into sheets of linear veils both obscures the focus, yet creates an alluring, gossamer magnetism.Jantzen continues, “By obscuring a portion of the image through a veil, I strive to heighten the remaining reality through discovery and reflection.” The work is made more convincing by using these digital aftereffects, bringing attention to the necessary connection (and beauty) possible when both human and nature coexist.
Although many of the photos present human-altered versions of bucolic landscapes, forests and watery reflections, Jantzen’s work does not seem to say that the natural world is perfection. Rather, the images she depicts are impermanent, and simply reconnecting with nature is not a remedy to our human condition. Instead, the transience (if respected and protected) is the beauty, and will continue to regenerate forever if allowed. Jantzen acknowledges this, stating “(trees) are seen as powerful symbols of growth, decay and resurrection….a tree’s longevity can lull us into a false sense of immortality. It is this very impermanence that I long to understand through my photographic explorations. There is an ineffable natural beauty…. too great to be expressed or described in words.“ (via lancia trendvisions)
The short, but sweet set featured songs from his debut LP including “The One Eyed King”, “Chameleon”, “The Ballad of Little Jean”, and my personal favorite, “Clear The Air”. The show echoed the album’s fuzzy, but highly psychedelic feel that had the crowd swaying from the very first beat. I’ll be looking forward to hearing what he has up his sleeve for the next record, but in the meantime NPR just released a video for his newest single, “The End Of August” that you can watch here.
Jacco is currently on tour with the Allah-Las and you can catch both bands at The Chapel in San Francisco tomorrow night, Saturday October 5th. Enjoy the video for his song, “Clear The Air” and check out dates for the rest of his US tour as well as his jaunt across Europe that will last through the end of the year.
In his new book, Across the Ravaged Land,photographer Nick Brandt features petrified animal remains found along a lake in Northern Tanzania that contains lethal levels of alkaline.
Brandt explains, “I unexpectedly found the creatures – all manner of birds and bats – washed up along the shoreline of Lake Natron in Northern Tanzania. No-one knows for certain exactly how they die, but it appears that the extreme reflective nature of the lake’s surface confuses them, and like birds crashing into plate glass windows, they crash into the lake. The water has an extremely high soda and salt content, so high that it would strip the ink off my Kodak film boxes within a few seconds. The soda and salt causes the creatures to calcify, perfectly preserved, as they dry.
I took these creatures as I found them on the shoreline, and then placed them in ‘living’ positions, bringing them back to ‘life’, as it were. Reanimated, alive again in death.” (via gizmondo)
Uta Barth uses photography to capture her own personal dreamy moments with light, and in doing so, exposes its environmental power over our solitude and romance . . . or romance with solitude.
As a viewer, I find myself drawn to the window, the curtain, and the wall in each piece, not only because it’s illuminated accordingly with sharp visceral attention, but also because I’m intrigued with how the mundane awakens. It feels childlike, reminiscient of a world without technology and other busy distractions. Ironically, or maybe not so, it also feels wise– close to death. There’s drama in the little details as the hand pulls back the curtain or the camera approaches the glow. It’s not so much about being a voyeur as it is about being here and being still– sharing the space where light opens into mood and reflection.
Of her work, Barth notes, “In most photographs the subject and the content are one and the same thing. My work is first and foremost about perception.”
To say these pieces are only about composition: space or pattern, would be to ignore the aura around the intention of these images, which are all shot inside her home– there’s a depth that resonates with an almost intrinsic documentary feeling. Unlike James Turrell, she does not appear to be mathematically immersing us in the immediate moment of light and awareness; instead, she’s quoting from the lightness in her own life, and we are privy enough to bear witness.
Will Hutnick is a Brooklyn-based artist who works in painting, sculpture and installation. Incorporating acrylic, oil, ink, spray paint, tape and found objects into his work Hutnick creates works on paper that oscillate between being two dimensional and three dimensional. Using conventional materials in unconventional ways Hutnick changes the rules of painting. Using tape as his paint and paint as his sculpture, Hutnick manages to muddy materials while maintaining brilliance in color. Indeed, Hutnick has an amazing eye for color. And he uses it to generate narritive. With titles like, Marble Madness, Not So Secret Garden, and What Do You Call Those Things With The Wooden Beads And The Crazy Tracks?, Hutnick’s explosions of color become stories, emotions and sensations.
There is a fun to Hutnick’s works as well. The paintings are bright and beautiful, but there is a sense of humor to his work. His “balancing works,” involve late night sessions at the studio stacking any found object to the point of instability. Eventually, the ephemeral sculptures topple to the ground. Often, Hutnick was the only one to witness their existence at all.
Lora Zombie‘s watercolors may look familiar: the Russian artist amassed a large internet following on sites like Threadless before recently branching out into the gallery scene. Inspired by music, street art, grunge, pop culture, and the color palette of Lisa Frank, Zombie creates these bright, youthful, and edgy watercolor scenes. Her work is comprised of a multitude of references that can be fun, gritty, absurd, or counter cultural, but each tells a story with fairy tale dimensions.
You can watch a video of Zombie in New York City for her “Blue Bird Lobotomy” show in November 2012 here. You can purchase prints of her work here. (via lustik)