Fiona Curran lives and works in London. From her artist statement: “Fiona Curran’s paintings, installations and assemblages explore the impact of new digital technologies on our experience of landscape space. The works reveal a recurring utopian impulse, formal idealism and sense of escapism that registers in a palette borrowed from the computer screen and advertising. There’s a sense of spatial precariousness at work as objects and forms are broken down and reassembled. Paintings break away from their frames becoming sculptures and existing works are re-placed and dis-located through new configurations and assemblages of value. Splinters of the natural world appear in the use of hardwoods and veneers alongside plastics, fabric, hand-stitched fragments and found images. Formal compositions explore how angles contend with and counterbalance one another in shifting spatial planes. The titles of the works often give a further clue to their origin in this push-pull between fragmentation and ambiguity, loss and longing where all is not quite as it should be in the bright and beautiful image-world we inhabit.”
Restrepo is one of the many stories to come out of our endless war with afghanistan. The movie spends one year in the most dangerous valley in Afghanistan where death is a daily threat. It’s brutally honest, sad, and poignant. Go see it at your local art house theater.
I think I found my new theme song, courtesy of Das Racist.
Artist Harry Roseman takes the ubiquitous material known as plywood and with careful cuts and placement, creates the illusion that this rigid material is pliable. The large pieces include “folds” that make them look as though they are textiles. Roseman uses a single piece of wood and mismatches its grain to break up the visual monotony; it fools us into think that there’s a back and a front to this “fabric.” The rigidity is reminiscent of a plastic camping tarp, but it’s still impressive at how, with relatively few cuts, the pieces are believeable as something other than what they’re made of.
These sort of observations and overall sentiment is part of what Roseman is trying to achieve in his sculptures, writing:
The subjects of my work are the bend of a curve, the conjunction of edges, the turn of a fold, the weight and nature of objects, the conjunction of idea and object, the way an idea sits in an object and next to an object and the way surface can obscure and also reveal. One of my aims is to close the distance between thinking, looking and making, to the point where it is hard to tell the difference.
With an interest in merging consumer culture and fine art practices, Norwegian photographer Vilde Rolfsen takes the most ubiquitous piece of global consumerism, a plastic grocery bag, and creates a series of photographs that, with the assistance of modified lighting and colored cardboard, showcase a an ephemeral landscape, reminiscent of snowscapes or dancing oceans. The plastic bags used for this project were all sourced from the street; this is a very minor but important fact that underlines Rolfsen’s ultimate mission:
My findings have showed me that people take everyday objects for granted, for example a plastic bag or a Brillo pad. You use them for a couple of things, carry your groceries or scrub your dishes. By removing the objects from their original function, I am forcing the viewer to look at the object as an aesthetic thing rather than a useful thing. I challenge society’s perceptions of everyday objects, because these objects are of such normality they become surreal in a photograph.
After being a commerical photographer for the past 20 years, Christian Chaize came to discover a specific stretch of coast in Portugal that both revolutionized his life and his subject of photography. He has been photographing this same stretch obsessively since he found it on vacation in 2004. His series is haunting and lovely, each piece beautifully treated and composed- focused on time and space.
Originally from France, graphic designer Jean Julien lives in London. Julien designed “Le Nid”, a bar in the shape of a bird, which stretches 40 meters and sits on the top floor at the Tour de Bretagne in Nantes, France. It’s clear that lots of thought went into this detailed project. The bird’s eyes blink, and chairs are shaped as eggs. (via)