Paul Fryer’s gripping sculptures and installations share his visions of life, death, science gone mad, and an apocalyptic future.
Who says statistics can’t be fun? UK based illustrator Kotryna Zukauskaite brings paper to life to serve up statistics, with whimsy, in her new project titled “How to Play Statistics.”
Billelis (Billy Bogiatzoglou) is a digital artist, illustrator, and art director currently living in the UK. With an eye for bold contrasts and colors, complex machinery, and the macabre, everything he produces has a hyperreal and futuristic quality. In the series featured here, Billelis has chosen one of his recurring motifs — the skull — and reproduced it 50 times, digitally engraving each one with “key patterns that influenced humanity through the millennia” (Source). Open up his dark, digital sepulcher and you can see skulls marked with patterns resembling Aztec, Greek, Roman, Celtic, and folk designs, as well as geometric patterns and — on a different note — Space Invaders.
Each skull is uniquely sculpted in 3D. Focusing on texture, geometry, and symmetry, Billelis has perfectly enmeshed skeletal anatomy with complex patterns. The effect is both beautiful and haunting — hollowed eyes and fleshless mouths are framed and flowing with undulating lines, giving the skulls a morbidly antique and museum-like quality. This is not the first time Billelis has combined bones and geometry; check out his fascinating Man vs. Nature project for something similar.
American artist Jim Hodges has always had an innate ability to impress ideas of time into commonplace objects, whether using napkins for drawings, silk flowers pinned to walls or collections of broken mirrors. In his work, Untitled (2011), metaphors for nature are again followed by human involvement, allowing for reflection from the smallest material interactions.
Comprised of four boulders which are capped with stainless steel veneers in gold, pink, lavender and blue, Untitled finds each stone arranged into a circular environment that directly invokes the viewer’s sense of space. Light and reflection play a role in the viewing, as colors meld and give the stones a surprising airy and weightless quality. Untitled’s colors were inspired by Hodges’ travels to India, where Hodges was enamored by the intense use of color, as he describes, “this layering, layering, layering of material, to the point where what’s being covered, its identity, seemed to start being erased by the accumulation of color.”
Scale is equally important to Untitled, and speaks to themes of change and impermanence. The works are quite massive, with each boulder measuring close to six feet in height and collectively weighing almost 90,000 pounds. Collected in Massachusetts, before being brought to a fabricators in Upstate New York, the boulders were chosen specifically because they were carved and moved centuries ago by the glaciers which covered the North American continent. While the weightless quality is provided by the translucent hues, and the permanence of the heavy rocks is insinuated, Hodges deftly reminds us that nothing is immovable or permanent.
First displayed indoors at the Gladstone Gallery in New York City, the work was then moved to the Walker Art Center’s outdoor grounds to coincide with the Sculpture Garden’s anniversary, as well as an upcoming retrospective exhibition. Hodges retrospective, Give More Than You Take, is currently on view at the Dallas Museum of Art and extends through January 12th, 2014. The exhibition will then travel to join Untitled (2011) at the Walker Art Center. (via walker art center)
Meghan Smythe is a California-based (Canadian-born) artist who creates expressively disturbing sculptures of crushed flesh and glistening viscera. The muted, peaches-and-cream colors are initially deceiving in their innocence; emerging from the twisted monuments are dismembered and defleshed body parts, shaved down and mashed together. Like a theater of the grotesque, faces gasp from beneath piles of entrails and moldering skulls, and limbs reach and splay in dynamic expressions of violence, love, lust, and tenderness. Much like the contortions of passion and death, the energy rolls throughout the compositions, oscillating between states of vigor and exhaustion. Leah Ollman, having reviewed Smythe’s recent solo show at the Mark Moore Gallery, provided this spot-on description of “Young Becoming” for The Los Angeles Times:
“Limbs are entwined, tongues extended. Clay is rarely, if ever, this carnal. Some of the skin is mannequin-smooth but veined with cracks. Some seep a pink foam or a pale fecal flood. Erotic pleasure plays a part here, but is only one of many competing charges” (Source).
By displaying representations of body parts in surprising (and unsettling) reconfigurations, Smythe brings the charges of pleasure and agony, beauty and squalor to the operating table. Displayed for us are simultaneous births and deaths, made almost indecipherable by the material realities of the body: the fluids, the waste, the mess of living, and the will to survive. In “A Light Culture”, for example, a man with a severed arm and scarred flesh sits quietly, wounded but pensive, while a disembodied hand gropes at his erection. Elsewhere, in “Lunacy”, a decapitated subject grimaces in despair while reaching for his heart. More tenderly still, in “Coupling”, two hands lie adjacent to each other and touch lightly. In moments of both intimacy and horror, Smythe turns the possibilities and limitations of the flesh into sculptures and makes them strangely beautiful.
Da’Niro Elle Brown‘s new collection of wearable sculpture, Lumina, premieres tonight (9/29/12) at Skylab Gallery in Columbus, Ohio. Brown is currently a sophomore at the Columbus College of Art and Design where she studies fine art, dance, and fashion design. After the jump are images of two earlier bodies of work Brown has put out – her Industrial and Natural collections.
Melbourne, Australia based artist Adam Lee’s paintings draw from a wide range of sources, including historical photography, Biblical narratives, natural history and contemporary music, literature and film, in order to investigate aspects of the human condition in relation to ideas of the spiritual and the natural world.
adidas collaborated with a renowned performance artist Marina Abramovic to create a short film for the 2014 FIFA World Cup. Video takes inspiration from Abramovic’s 1978 performance Work Relation and explores the notion of teamwork and parallels between sport and performance.
Same as the original piece, the reenactment features a group of 11 people (a reference to the number of soccer/football players on the field) transporting stones from one side of the court to the other. They are all arranged into three contrasting models: a couple, two individuals and a human chain. By doing so, Abramovic explores the contrast of cooperation and efficiency.
Work Relation was a perfect piece for adidas to pay tribute to its partnership with the 2014 FIFA World Cup. According to Abramovic who appears in the video herself, she sees a broad affinity between sport and performance.
“One similarity that I wanted to highlight in this video is the importance of group collaboration. <…> I believe that it is important to learn from other disciplines in order to bring new life to whatever it is that you do.”
The black and white video was shot by SHOWstudio in the manner of early motion cinematic experiments. All participants are dressed in their personal clothes, however they all wear a white lab coat from Marina Abramovic Institute and adidas’ Samba sneakers. As the performance author explained, the apparel was meant to create a sense of collective experimentation and mute external distractions.