Brooklyn based artist Lala Abaddon creates a series of “glitch” like works via intricately weaving printed images. The artist uses a complex and time costuming technique. She beings by creating large format prints, employing tradition analog methods. She then sizes the prints down by making strips of each one by cutting them by hand. Next, through meticulous and calculated pairings, she weaves her prints to become something entirely new and undoubtedly unique. In her artist statement she notes that each pattern is “designed to convey a specific feeling, eventually leaving us with images within images and compelling the viewer to experience alternate realities or states of being.” Her work is inherently postmodern and does indeed achieve a state of “alternate reality.” The artist pulls her techniques and aesthetic from drastically different time periods, traditions, and methods; the ancient technique of weaving, the sort of modern yet now, arguably, outdated, process of using an analog mode of printing, which all add up to create what resembles a digitized image. Her work acts a a sort of pastiche, which, by nature, results in a undoubtedly contemporary notion of experience and existence. She explains;
“This process can take months depending on the complexity of the images and weave structures.Many times her work is mistaken for a digital manipulation, and the discovery of it’s true nature by the viewer is integral to the understanding of her process and purpose; to disrupt order, reconstruct historical notions of photography and weaving, and challenge what it means to create something solely for the purpose of creation.”
Blair Whiteford lives and works in New York. His fragmented paintings blur the line between figuration and abstract expressionism like the Bay Area Figurative Movement in the 1950’s. In his own words, “I am interested in the way that a body interacts with its surroundings. The images that I create depict bodies and spaces that are constantly being altered by a hypothetical understanding of the space that the figures are experiencing. While creating my recent body of work I have been particularly interested in the space that exists in between non-objective abstraction and representation, allowing the two to transform into one another throughout the paintings.”
French photographer David Bertram’s latest group of images are portraits of self-portraits, Claytime presents people who were asked to model their own faces out of clay.
“The Art of the portrait is often associated with the idea that the eyes of the pictured person are a window on his soul, his inner truth. Only eyes can really say that much ? This question is the basis of the work that is presented here, which offers a more psychological than physical lighting of each subject. I got inspired by an psychology exercise that involves asking the patient to model his own face out of a piece of clay, to unconsciouly reveal his own traits, its complex, its fears, in short, his psychic identity to his analyst.
This playful exercise gave its name to the series, Claytime, which presents different people all having modeled their own faces in clay. Despite differing modeling abilities, their faces are in some cases, rough, in other perfectly crafted, but always revealing.
In a second step, I photographed these people, inside their homes, within a framework that defines them both personally and socially, and offers several clues about their personalities. Subsequently, a photo montage allowed me to replace their “real” faces by their mental projections in clay. Once placed on the shoulders, the head of clay either contrasts with the body which receives it, or rather is an almost organic extension of this body, mysteriously revealing the forces that espouse or oppose in the person’s mind, the game between subjective and objective acting as a revelator of the soul… A kind of X-ray of the mind. I chose to light those pictures in a rather painting mood and often privileged static poses in order to give each portrait the expression of an ancient statue, frozen in time as the remains of a personality, memory of the real identity, the one that never changes.”
Catching and throwing light from all the right angles, the peculiar, prismatic acrylic pieces from sculptor Phillip Low look like something from outer space. Tip-toeing on the line between art and design, these objects make excellent use of the medium—giving a sense of weight, depth and cellophane-like luminosity to the dense material. The expertly carved shapes combine crystal-like angles and precise areas of coloration to create a series of constantly-shifting reflections that use simple daylight to dazzling effect.
These amazing sculptures are unbelievably crafted entirely out of wood, then painted. Tom Eckert uses traditional processes to create these works, mostly out of basswood, linden, and limewood, then applies waterborne lacquer using paint brushes and spray guns. Concealment and mystery form a large part of his work, indicated by his portrayal of shrouded items. Eckert: “Since childhood, I have been curious about and amused by mistaken impressions of reality presented as part of my visual experiences. One of my earliest recollections, on a car trip, was my perception of the wet, slick highway ahead that turned out to be an illusion, a mirage. The revelation that I was fooled, visually and intellectually tricked, stuck with me. This visual deception is now the basis for my creative direction.”
English ceramist Beccy Ridsdel has worked as ceramics technician at York College for nearly 10 years and recently discovered her love of bone china and porcelain. Her latest work is an installation set up as an interrupted laboratory experiment – ceramics being dissected, like an autopsy, to find out what lays beneath the surface. This dinnerware cruelty/beautification was inspired by her mother, who is also a ceramist!
Most people know Jeremy Mora via his gallery space POV Evolving but Jeremy is also an amazing sculptor. He recently headed to Lisboa, Portugal for a “larger than life” show at Zaum Projects featuring hundreds of sculptures.
Jeremy primarily works in sculpture creating miniature worlds out of everyday debris. Each piece is like a small planet, inhabiting tiny people going about their everyday life in a world built out of styrofoam, paint, and wood.
Congrats on a great show Jeremy! Wish I could have seen it in person.