Sam Burford lives and works in London. Inspired by such films as Star Wars and Blade Runner he creates photographic work in multiple media that encapsulate entire films within them. Take for example his sculpture made out of jesmonite that consists of a time-lapse photograph of Star Wars IV transformed into a surface relief. The film is condensed into an abstract pattern and presented as a three dimensional sculpture. In another piece a time-lapse photographic detail from Blade Runner is highlighted on hand printed film and allowed to curl for a dimensional effect. With his work he serves to reveal the optical patterns inherent in the moving image that can be captured with modern technology.
Australian sculptor, Paul Kaptein creates unusual but skillful wooden sculptures that question our ability to look past missing pieces in the bigger picture. Kaptein, interested in the Buddhist term sunyata (Sanskrit word for ideas of emptiness as a way to achieve wholeness), integrates (and questions) notions of substance, emptiness, and temporality into his highly skilled pieces of wooden work.
By seamlessly incorporating empty gaps (usually long empty rectangles) into busts and entire recreations of human bodies, Kaptein imposes the viewer with questions as to why these pieces are missing. The simple fact that viewers will directly and promptly question this characteristic first, further enables Kaptein’s interest in challenging the viewer’s resistance, and/or apprehension to accept something that is not complete. The main idea here relies on getting the spectator to react to Kaptein’s work for what it is: seamless, beautiful wooden sculptures that happen to be missing a piece or two.
It can also be said that these gaps are indicative of conceptions of time:
I’m exploring the notion of the now as a remix of past and future potentialities. This facilitates a renegotiation of perceptual truths resulting in an expression of things not quite truth, yet not quite fiction.
Michael Grab creates his own version of land art by balancing rocks in seemingly impossible ways. Using a learned technique involving patience and a sense of balance Grab finds the process therapeutic and meditative. Grab refers to the work as “gravity glue” and says of the work, “Through witnessing what this art has done for me personally over years of practice, my vision grows more and more to encourage others to seek their own “still-point” or inner silence…This art allows one to freely be themselves, manifesting their own particular vibration into a 3D world.”
Grab believes that stone balancing teaches the practitioner lessons through silence. Using language that describes the benefits of self-realization through meditation Grab discusses stone balancing as a spiritual experience. He describes how the fundamental element in balancing is finding a kind of “tripod” for the rock to stand on. Explaining how each rock requires examination to discover the point of balance, Grab says that the biggest challenge is overcoming doubt. Both honoring nature and the importance of time spent by himself Grab believes that the ephemeral nature of the balance encourages contemplations of non-attachment, beauty and even death.
Grab is available for workshops and live performances. Check his website for any upcoming exhibitions so that you can see his process live.
Well folks another year of Miami Basel is behind us and as usual there was an explosive mix of parties, artworks, and art stars running circles in the fine city of Miami. The international week long event attracted art lovers from around the world and left many having to make the important decisions of which fair to go to during the day and what party to make an appearance at in the evening.
With all the attractions and distractions during the week the standout party of the week had to be the launch of flannel drenched photographer Terry Richardson’s new book Terrywood. Hosted by Disaronno and GQ at The Standard, this party was the go to party of the week. We’ve compiled some of our favorite artworks from Basel after the jump and a few choice photos from Richardson’s book release. See you next year Miami!
I’m off today for a 10 day trip to the mid-east to take part in the Sharjah Biennial. I’ll be documenting my travels in hope of giving everyone a sneak peak into the Biennial as well as Art Dubai which takes place over the same weekend.
With a 6 hour layover at London Heathrow, I decided to do a bit of digging for images or videos about the Biennial but so far the above video is the only thing that i’ve uncovered. It doesn’t say much of anything about the Biennial itself so it will have to do until I actually land in Dubai.
In January 26,2012 we posted about NYC based artist Akira Horikawa’s 1000 Drawing Project. Then, he was almost half way done with the challenge; today, we can say that he is finished.
For the past six years, Horikawa has been posting on his Tumblr in hopes that he could, in some way, catalogue his “happenings, dreams and emotions.” In pocket-sized sketchbooks, he effectively but weirdly tries to evaluate his thoughts, values and experiences through simple but insightful and humorous drawings which topics range from sex and love, to existential questioning and everything else in between.
You can visit his Tumblr blog, where you will find the rest of his drawings!
“Over the course of this project, I have identified plastic waste from fifty nations on six continents that have washed ashore along the coast of Sian Ka’an. I have used this international debris to create color-based, site-specific sculptures. Conflating the hand of man and nature, at times I distribute the objects the way the waves would; at other times, the plastic takes on the shape of algae, roots, rivers, or fruit, reflecting the infiltration of plastics into the natural environment.”
(via This Is Colossal)
David R Harper’s artwork is about the projection or imposition of meaning on an object, especially concerning memorial in death. He embroiders over taxidermy animals on prints of still life paintings from the 18th century. He sees the dead animals as a human way of addressing mortality; feeling empathy for the dead animal, but also as a way of avoiding grappling with our own inevitable demise. The embroidery creates a void or emptiness, especially literal in the white thread, and more dynamic but equally vacant with the use of green patterning in The Fall. Thread operates in most cases as a cold medium and Harper employs it extremely effectively in combination with his meticulous technique.
His most ambitious work is titled I Tried, and I Tried, and I Tried, presumably a quasi-reference to the Rolling Stones song (I Can’t Get No) Satisfaction, as well as Napoleon’s conquests. Harper embroiders the entire horse of David’s Napoleon Crossing the Alps. In the original artwork the horse is mostly white with black on its tail and head, where Harper creates a gradient that transforms from black to light grey. What is truly incredible is that this process doesn’t flatten the horse; it retains its form in the sculpting of the flow of the thread. The beast becomes much more powerful and haunting
Art Info has a great slideshow that compares Harper’s sculpture and embroidery work to other well-known artists. See it here.