The Street Hands project is the brainchild of Spanish artists Octavi Serra, Mateu Targa, Daniel Llugany and Pau Garcia who created the site specific installations as commentary on Spain’s political and economic climate. The plaster cast hands are placed throughout the city reminding passerby’s that uncertainty, danger and turmoil could be right around the corner unless they do something about it. The result is a poetic and poignant reminder of life’s daily challenges and that our future sometimes is best dealt by our own hands.
Watch a short video about the project as well as the artists in action after the jump. (via)
Scott Carter creates site specific installations in which all of the objects are constructed from the surrounding walls and floors. “Scott Carter is influenced by the experience of living amongst mass produced materials, spaces and objects that are inherent in contemporary architecture and design. His work manifests as immersive installations and interactive objects that facilitate subtle shifts in value and attempt to redefine utility in relation to everyday experiences. His practice parallels contemporary discourse in art, design, architecture and sound. In short, Carter’s process is undoubtedly unique: upon entering the exhibition space, Carter’s methods are both performative and sculptural: he reshapes the contemporary gallery space by literally excavating sections of the gallery drywall (or floor) and reconstructing a new sculpture or installation from those pieces. Carter’s work is derived from a tactile sense for materials. Through the process of examining materials and their function, he attempts to assert alternate meaning in the built environment and through this act, reveals subtle idiosyncrasies that coincide with the physicality of domestic life. These interventions, ultimately, amount to concise, playful and creative critiques of the way we experience space and the items that inhabit them.” (via)
The installations of Carly Fisher may at first appear to be trash strewn galleries. However, closer inspection reveals that none of the items are actual garbage. Rather, Fisher carefully recreates litter from little more than paper and glue. The meticulous attention she gives to sculpting trash replicas, so to say, may seem odd. However, the familiar international name brands dotting the gallery floor raise the question: do these corporations possibly give the same meticulous attention to the branding of litter as Fischer? As one of her gallery statements puts it, “Perhaps there is a marketing edge to trash?”
Artist Fabian Oefner has a strange way of painting. For this series a rod is covered in various colors of acrylic paint. The rods is connected to an electric drill which in turn is connected to a sensor that activates a camera flash lasting only 1/40,000 of a second. The moment the paint begins to be flung in all directions off the rod (according to Oefner, one millisecond, to be exact, after the rod begins spinning) is caught by the carefully timed flash. An instantaneous hurricane of color is frozen in midair capturing a structure that only exists for a fraction of a second. [via]
Jack Henry lives and works in New York. Using resin, cement, and found objects he creates cast pillars of discarded debris surrounded by swirls of color. In his own words: “I appropriate discarded objects seen by the roadside to create monuments to post-industrial America. The selection process is focused on man-made objects and structures such as: dilapidated houses, roadside memorials, tattered billboards, and other discarded materials. Each object is reinterpreted and presented as an artifact or a natural history museum model of something pulled from the contemporary landscape.The purpose is to evoke a sense of wonder from the banal byproducts of our failed but once successful modern society. Instead of merely pushing these man-made items into the peripheral of our everyday routine, I recreate the curiosities that happen when they depart from contact with people to move, decay, and harbor with other items to create monuments to cultural disaffection. “
Inventor and designer Oliver Show belives that there just isn’t enough public seating in Hamburg, Germany. So instead of complaining and whining about it he took it upon himself to come up with a simple solution to one of lifes most annoying problems. With the help of bright colored and inexpensive padded piping Mr.Show created playful seating all around the city using pre-existing structures as support. The result is a fun and playful take on one of a kind urban furniture that makes us think “why didn’t I come up with that.” (via)
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We’ve been long time fans of Wendell Gladstone’s work since we first featured him in Beautiful/Decay Magazine Issue: T. Last week Wendell opened “Cave to the Grave”, a solo exhibition of new paintings at Kravets/Wehby Gallery in NYC.
In Cave to the Grave, Wendell Gladstone debuts a new series of paintings that depict the life of a man from his youth through his death. Referencing the allegory of Plato’s cave, the story begins with a boy immersed in darkness and continues to trace the boys’ life after he emerges from behind the curtain. Gladstone uses a collage sensibility by mining ideas and images to create his own fabricated myths. His paint handling is also diverse, a wide range of techniques are employed from very thick geometric hard edge areas, to subtle mists of airbrush, to organic veils of transparent stained color.
As part of our ongoing partnership with Feature Shoot, Beautiful/Decay is sharing Amanda Gorence’s article on Chi Lei.
Red Star Motel is the clever, action-packed series by Beijing photographer Chi Lei, “Chili”, that reads like an unraveling drama brimming with sex, drugs, murder and chaos. Each scene is set in an identical divey Beijing motel room where Chili supplies us with plenty of voyeuristic moments to witness. The images are linked together through subtle visual clues that have been woven throughout, encouraging the viewer to take part and piece together the story.