Finding its forms in a combination of drawing, object-making and installation, the work of artist Maggie Haas investigates the lives of unfinished and discarded objects, with a particular interest in construction materials. She was recently awarded a residency at The Lab, in San Francisco, CA—where she has been working primarily with materials she has found at the space. Working with what she is given, Haas uses her transformational powers to great effect: expanding upon everyday materials with her acute sense of color and composition.
Since beginning her residency, Haas has been creating work both from and in the gallery, she has created a series of ever-shifting structures. Using the gallery as both a medium and a platform to create, Haas has used her most recent body of work to explore flux, transition and our relationship to the idea of impermanence. Hovering between blueprint-style drawing and abstraction, her drawings of imagined structures and patterns explore the materiality of paper and ink—while her propped-up structures and object-based art elegantly underline the thesis that everything is in flux, everything can be moved, shifted, collapsed and/or carried away.
Australian artist Buff Diss brings an interesting medium to the spray paint dominated world of street art: tape. Intricately cut and stuck, Buff Diss’ often large scale pieces can be astoundingly complex. Some of his work intentionally interacts, even plays with the surrounding environment. At other times his work seems to reference classical sculpture and painting. However, he consistently works in this peculiar medium. Regarding the reasons for using tape in his process he says:
“The functional or practical nature of tape is one of its best aspects as a medium; you don’t have to walk into a snooty, over-priced art store to find it. The linear quality of tape also makes it a quick medium to work with. Only drawback is looking like you’ve got a stationery fetish when you open your bag.” [via]
Nicolai Howalt‘s Car Crash Studies series ties a post-crash carnage to artistic abstraction, as the photographs of metallic dents and scratches have a true sculptural quality. This contrasts to the chaos of the subject-matter to unveil a fascinating and hidden beauty in destruction.
"Supplying good quality products, serving people with all my heart."
New York artist Kevin Cyr finds beauty in derelict cars and unkempt landscapes. He has always been interested in painting vehicles and scenes that have defined the evolution of the American landscape. A lot of his work has to do with the commemoration of commercial and recreational vehicles barely the signs of over-usage. He enjoys finding the character of these old cars and giving them a portrait-like importance by removing them from their everyday context. I love the way he discusses certain issues with the present lifestyle we lead with a subtle touch of humor.
We’re absolutely loving these clever and graphic billboard alterations by Parisian street artist OX. Not only do they cover up the ugly advertising that we are bombarded with on a daily basis but they also interact with their surroundings in witty visual plays that construct and deconstruct space, depth and optical illusion. (via)
Nicholas Hlobo is a South African artist based in Johannesburg whose work often revolves around the idea of duality, especially as seen in the South African Xhosa culture. The contrast between feminine and masculine sexuality is of special interest to Hlobo, as well as “comfort, shelter, protection, beauty, cleanliness, sacred space, pleasure and fantasy.” An intense collection of work that gracefully explores some of humanity’s founding instincts.
The most daring piece of public art ever commissioned in the UK, Turning the Place Over is artist Richard Wilson’s most radical intervention into architecture to date, turning a building in Liverpool’s city centre literally inside out. It runs in daylight hours, triggered by a light sensor. The piece consists of an 8 metres diameter ovoid cut from the façade of a building in Liverpool city centre and made to oscillate in three dimensions, resting on a giant rotator usually used in the shipping and nuclear industries, it cts as a huge opening and closing ‘window’, offering recurrent glimpses of the interior during its constant cycle during daylight hours. Amazing!
Animal sculptures by Australian artist Natalie Ryan are inspired by taxidermy. While conventional taxidermy practices dictate that she preserve the skin/fur of the animal she is preparing, Ryan instead uses synthetic materials to cover casts of squirrels, bears, and monkeys. Her current portfolio cloaks these animals entirely in blue velvet.
While Ryan’s web presence is limited, her gallery representation, Dianne Tanzer Gallery in Melbourne writes about Ryan’s latest exhibition, Evanescere, stating:
Continuing to explore notions of the cadaver as a secondary form, a shadow of it’s living self, these works depict the internals of animals stripped of their dermis and identifying features. Evanescere looks at the body in a suspended state of disappearing. In conjunction with this, these works also explore the idea of the animal cadaver on display and museology as a resting place. These works combine bodies and elements of the landscape that reference the paradigm of Natural History Museum displays. They seek to question the role the body plays in the Museum and the loss of the individual as it becomes a subject to represent an entire species.
Ryan’s decision to color her work bright blue introduces a contemporary aesthetic to taxidermy. It references the trends of home decor over the past few years, in which loud, unnatural colors are applied to natural objects. When thinking about traditional taxidermy and how it uses real feathers and fur, the artist makes a statement about craft and preservation. The prevailing attitude of culture champions innovation and exploration of the new. Ryan is stripping this practice of its ritual, simply using foam casts and not real animals. She’s chosen a color and material that’s more en vogue. We are drawn to this work because it’s a twist on an old practice. She makes taxidermy fresh rather than just feeling old.