Lindberg’s process-intensive pieces are minor monuments to control, elegance, and more than a little patience on the part of their creator. The finest work in the show is a 35-foot long fiber installation suspended between two adjoining walls in the main gallery. zip drawing (2012) consists of thousands of strands of Egyptian cotton thread strung so close together that they become swarming densities of floating color. The shimmering effect of light bouncing off the tightly strung fiber is gorgeous, but it can also have a dizzying, almost epileptic effect depending on how your eye receives the work at a given moment. Painting, drawing, and color theory are natural touchstones for the piece, but so is the notion of “suturing,” a concept traditionally associated with film that describes the mental process by which a succession of individual static images are experienced as a seamless, flowing visual event in the eye of the viewer. The thread can operate in the same way, coalescing into an airy mist, or the effect can be ruptured by the blurred staccato of a thousand tiny filaments.
Tony Cragg is truly a master of materials. Moving effortlessly between plastic, wood, bronze, glass, and found materials Cragg as been creating groundbreaking formal sculptures since the early 70’s. Perhaps one of the most skilled sculptors of the last Century Cragg is an artist whose work keeps pushing the boundaries even at the age of 63.
Jesse McManus is pure speed. His skills are frightening. His beautiful line work captures demented children, gremlins, goblins, cats, and very often knives, or just pointy tools in general, with an incredibly demented precision. Listen to his interview on Inkstuds, read some comics, tumble alongside him, and/or tweet at him.
In Lee Griggs’ pictures, each face has a different shape yet the same human features. The Madrid-based artist is playing with distorted skin and exaggerated stretches by using 3D scans. He is a digital sculptor not afraid to shock. The renderings appear bizarre yet close to reality and open the door to multiple interrogations.
The artist creates his faces by using Arnold for Maya, a program allowing subjects to be twisted and contorted digitally. In his series ‘Deformations’ he uses Maya to deform and Arnold to apply shade and light. The purpose of Lee Griggs is only empirical. Never knowing where his experiments on his software will lead him; he keeps on adjusting, erasing and reapplying the tools on the portraits indefinitely.
The final result is intriguing, the features of the faces are kept as close to reality as possible. The wrinkles, eyebrows, expression of the eyes and the skin tone remain intact. But the character’s expressions are dead serious. The duality between the exaggeration of the faces’ shapes and the stern looks demonstrate the artist’s will to communicate irony and to question the meaning of norms. By creating realistic looking anamorphic portraits Lee Griggs creates a space for introspection. (via Sweet Station)
Dutch artists Thomas voor ‘t Hekke and Bas van Oerle make up the duo known as Front 404. While their work varies in medium it is consistent in being humorously subversive. For example, their project Plantmines is a sort of landmine that is constructive rather than destructive. Unaware passersby step on and discharge the plant mine sending colored powder and confetti into the air. More importantly, though, the confetti contains flower seeds that are intended to eventually grow at the site of the “blast”. The duo says of the project:
“You’ve stepped on a Plantmine, and the explosion of flower confetti serves as an instant party to celebrate that you live in a country where you don’t have to worry about stepping on a real landmine. The flower confetti contains flower seeds, to create a permanent happy and colourful spot in the place of the plantmine explosion.”
Check out the video to see a Plantmine or two blow up.
I’m absolutely loving Nike Savvas’ brilliant installation Atomic: Full Of Love, Full Of Love which is created with thousands of suspended
bouncy balls organized in a hyperspectrum of colors. Created in 2005 this piece is a rainbow-brite labryinth of color that I’d love to get lost in for hours and hours. (via colosal & jobs wife)
KHUAN+KTRON is a three person design studio based in Belgium, though its members come from all over – Japan, Russia, and, uh, Belgium. Their varying backgrounds is clearly a boon to their work, which shows a lot of influences. Actually, KHUAN+KTRON have helpfully listed some of these influences on their site, so we don’t have to guess at what they are – medieval torture techniques, people with monstrous sideburns (not counting women), and free jazz are just a few. Check out the full list on their site!