Dutch artist Michiel Schuurman creates designs in which typography fully replaces the need for imagery with his high-contrast, intricately patterned pieces. Schuurman’s mind-bending work might be straining my little eyeballs, but in the best sort of way. Like, whatever is wrong with my vision is not something I want to get fixed, which, is great because I don’t exactly have insurance anyway. Schuurman’s vision is a fantastic, technicolor trip down the rabbit hole. With an amazing attention to detail, he designs down to the pixel.
When creating his reinterpretations of Technicolor masterpiece The Wizard Of Oz, German artist Dennis Neuschaefer-Rube didn’t limit himself to a singular medium. Dabbling in video manipulation, installation and printed ephemera, his “experiment” exists as a deep dive into what happens when the artist points the focus away from narrative, and instead zeroes in on visual velocity. He chooses to takes a step back, and re-imagines the film as a series of frames—laid side-by-side in a technique he refers to as “stilling film.”
In this 2-minute preview of Neuschaefer-Rube’s video piece, you can see hundreds of copies of the film, playing simultaneously in a hypnotic wave of color fluctuation. In the exhibited form, this work is accompanied by a printed version of the investigation, a singular film still, and a large (somewhat ominous) black box designed for viewing. Neuschaefer-Rube’s ability to steer the viewer’s attention from piece to piece is masterful, with each element of the experiment hitting just the right notes—perhaps making a slight nod to the Great and Powerful himself.
Jeff Faerber’s naughty painting series based on traditional Japanese Shunga prints capture the look of the original prints but update it with western figures and modern day gadgets, products, and food. It’s truly modern shunga.
Artist Ivan Puig likes for his work to surprise and amaze, and two of his series, Fed Up and Artificial Growth do just that. Using a car and chair, respectively, he gives the illusion that these very solid, massive objects have sunken into the ground, as if they are in quicksand. The preciseness of Puig’s work and the fact that he’s cut the chair backs and Volkswagen Beetle at a perfect angle add to the believability of it all. While the artist strives for his work to have humour, he wants the viewer to read it in multiple ways, and glean various metaphors from his playful execution.
His installations are not only meant to delight us, and the sinking chairs in Artificial Growth have a more serious message. This piece comments on educational doctrines and their power structures that are present in Mexico. With this series, he brings to light the idea of the artificial education – like the lies and half truths taught and passed down to students which we only realize are wrong many years later.
Lesser Gonzalez Alvarez, of Baltimore, produces sculpture, collage (see above), and illustration. But the majority of his fine arts output is done through digital media. His digital compositions aren’t really like any I’ve seen before. They combine a far out, cosmic sensibility with soft, colorful gradients and textures. I could meditate on these for a while. Some of Alvarez’ works are so simple, yet they maintain a lot of gravity, as though they hold something really important just beyond your grasp. And the creepy smiley faces he repeats throughout his work really get to me. Click past the jump for more collage, couches floating in space, and a workbench installation.
As part of our ongoing partnership with In The Make, Beautiful/Decay is sharing a studio visit with installation artist Chris Fraser. See the full studio visit and interview with Chris and other West Coast artists at www.inthemake.com.
When we visited Oakland-based artist Chris Fraser at his studio at Real Time & Space he first asked us to take off our shoes, then he turned off the lights. All of sudden, as I stood staring at a blank wall, feeling vulnerable in my not so glamorous socks, a bit of magic happened. Sharp lines of light cut through the darkness, drawing out a luminescent triangle where seconds ago there had only been an empty corner and bare walls. I moved closer. The dark room seemed infinite and the glowing triangle like a doorway. I had the urge to walk through it and the sense that I actually could, and that something extraordinary was on the other side.
Many of Chris’s site-specific projects are interventions into already existent architectural spaces in which he uses straightforward techniques to create unexpected optical experiences. Essentially, he employs the principle of the camera obscura to manipulate the way light enters a room. By strategically creating holes and slits in walls, he is able to coax and direct light into specific directions and shapes, transforming once familiar surroundings into fantastical, poignant spaces.
Experimentation is key to Chris’s process, and he thrives off the chance to create within different environments. Earlier this year, he had the opportunity to work in two distinctive spaces: a small box-like room at Real Time & Space, where he was an artist-in-residence, and the dining room in a soon to be demolished house in Cow Hollow that was opened up to multiple artists for Highlight Gallery‘s inaugural site-specific project, 3020 Laguna Street in Exitum. In Chris’s careful hands both rooms were reimagined, becoming portals to another world.
Have you ever walked into a gallery or museum and wondered “How did they ever install that giant sculpture or painting?” Well WRAPIT-TAPEIT-WALKIT-PLACEIT comes to the rescue with a collection of amazing behind the scenes shots of gallery assistants and museum installers moving, assembling, and dissembling all your favorite works of art. Go through their deep archives or submit your own behind the scenes images and share what it takes to make art magic happen. (via)