Victoria Wagner is an artist who is fascinated by unlikely pairings. Her set of gem-like sculptures called Woodrocks are comprised of wood and decorated with color, as she explains, “My eye generally and naturally tends toward tessellation and pattern, seeking a rhythm that mimics regular pulse. On the one hand, visual order provides a place for the senses to rest, while color relationships create problems for the brain to solve. I like this simultaneity.” The natural material and the unnatural oil pigments combine to create a precious object that’s small enough to be held comfortably.
Woodrocks serve as an iconic reference to the downed tree. They’re salvaged from local materials and painted to follow organic growth patterns and feature gradient spectrums.These sculptures were influenced by two books that Wagner read: The Golden Bough by Sir James Frazer and The Secret Life of Plants by Peter Tompkins and Christopher Bird. “Both pseudoscientific works that examine sentience among carbon-based life forms and human revelation, practical and metaphysical,” she explains. “Both books forced a recognition in my life-of my own personal reverence for the trees being downed in the forest surrounding my studio.” The result? Woodrocks.
As part of our ongoing partnership with Dailyserving, Beautiful/Decay is sharing Marilyn Goh’s article on Rob McLeod.
Even fanatic football fans would be hard-pressed to remember a Glaswegian football team called Partick Thistle, a perpetual underdog in First Division Scottish Football League that’s oft-joked about because of their non-winning ways. Getting behind a team that tries every week but gets nowhere requires no small measure of faith, an action probably synonymous with holding out hope in the long term for that which may never materialise. Supporting Partick Thistle is a show that utilizes the metaphor of supporting a losing football team that is akin to the nature and process of painting, a medium which Glasgow-born artist Robert McLeod believes most people think should be dead and buried.
McLeod’s hardly naive about this realm – he recognizes all too well the usefulness of painting in what he does – yet he remains a steadfast bearer of its gilded history and value, practicing it, then teaching it. He came to New Zealand 40 years ago wanting to continue where abstract artists such as Willem de Kooning and Alan Davie left off, looking to break away from the rigid formality of his art training in Glasgow. But after 30 years of studying minimalism and abstract expressionism, McLeod noticed a part of Micky Mouse’s ears in an abstract work and turned his practice to exploring the figurative. Most of the work in this show comes from the past decade, comprising mostly three-dimensional paintings on plywood, where layered forms and colour combine to create a motley crew of cartoonish figures that are loud, grotesque and irreverent.
Austin Irving’s current exhibit, Portals, at Curio by AFN truly lives up to its name. Her pictures taken on medium and large format cameras seem like entranceways to secret headquarters or the opening images to an epic film. And no piece emitted that cinematic feeling more, then one taken right in the middle of a natural cave formation that was mounted onto a light-box. The color and shading of the rocks, which was amplified by the backlight, made the work seem 3 dimensional. It was almost like you could walk inside of the piece and hear the water actually dripping from the stalactites onto the floor. My advice is to start collecting Austin’s work now, before it’s totally out of reach.
American Juggalo is a look at the often mocked and misunderstood subculture of Juggalos, hardcore Insane Clown Posse fans who meet once a year for four days at The Gathering of the Juggalos. Very Ape Productions went to The Gathering of the Juggalos and let the Juggalos speak their minds. Watch the full documentary after the jump.
It’s obvious that sharp blades have carved canyons through the mind of New York artist Gavin Kenyon. His axes, swords, and knives have a way of taking on strangely organic characteristics, and I really like how the pieces attack the space where they are installed. The world of metal sculpture can be dominated by machismo, so I find it interesting that these sculptures appear dangerous and destructive, while being somewhat goofy at the same time.
Alexandra Bellissimo’s body of work strongly revolves around the theory of “making” pictures instead of simply, “taking” pictures. She often incorporates collaging techniques, as well as digital manipulation to create each surreal photograph. The subjects of Alexandra’s photographs are influenced through her observations of social, gender and psychological issues in our culture .