For his “Travelers” series, French artist Bruno Catalano sculpts human figures that contain missing pieces. Many of his bronze sculptures are missing a good portion of their torsos, asking the viewer to visually complete the sculptures using the space that surrounds them. The effect of his work varies with the location – a viewer could fill in the figures’ gaps with a variety of images the depend on the sculptures’ surrounding space, from the gallery to the park. Catalano creates an optical illusion, confronting the viewer with an image of impossibility that turns into intrigue. As a former sailor, Catalano has always been interested in the figure of the traveler. He says,
“I have travelled a lot and I left Morocco when I was 12 years old. I felt that a part of me was gone and will never come back. From years of being a sailor, I was always leaving different countries and places each time and it’s a process that we all go through. I feel like this occurs several times during life and of course everyone has missing pieces in his or her life that he wont find again. So the meaning can be different for everyone, but to me the sculptures represent a world citizen.”
Ten of Catalano’s sculptures can be found at the Port of Marseilles. (via the daily mail)
Michael Grab creates his own version of land art by balancing rocks in seemingly impossible ways. Using a learned technique involving patience and a sense of balance Grab finds the process therapeutic and meditative. Grab refers to the work as “gravity glue” and says of the work, “Through witnessing what this art has done for me personally over years of practice, my vision grows more and more to encourage others to seek their own “still-point” or inner silence…This art allows one to freely be themselves, manifesting their own particular vibration into a 3D world.”
Grab believes that stone balancing teaches the practitioner lessons through silence. Using language that describes the benefits of self-realization through meditation Grab discusses stone balancing as a spiritual experience. He describes how the fundamental element in balancing is finding a kind of “tripod” for the rock to stand on. Explaining how each rock requires examination to discover the point of balance, Grab says that the biggest challenge is overcoming doubt. Both honoring nature and the importance of time spent by himself Grab believes that the ephemeral nature of the balance encourages contemplations of non-attachment, beauty and even death.
Grab is available for workshops and live performances. Check his website for any upcoming exhibitions so that you can see his process live.
New York-based artist Lee Price paints realistic portraits of women as they are caught in intimate moments consuming sweet treats and decadent desserts. They are either in bed or in the bathtub, both places where eating is seen as somewhat taboo (aside from the occasional breakfast in bed). Here, we are the voyeur, gazing at not only their location, but what they are eating. In a short statement about her work, Price writes:
In this society, there’s so much pressure for women to be thin. We’re not supposed to have appetites – and not just for food, but for a lot of things. We’re the givers and not the consumers, and I think some of my recent paintings are about the women staring at the viewers and saying, ‘I’m not going to censor my appetite.’
The women in Price’s work are unapologetic about what they enjoy, and it ultimately seems like they are liberated doing so. Many of them look straight at us instead of shying away. As she insinuates in her statement, Price’s work touches on the repression of desire, and the fact that they match our gaze communicates that they are taking control. (Via iGNANT)
British artist Bruce Munro is perhaps best known for his creation of large-scale installations that offer a great amount of experiential weight to viewers. Choosing materials which reflect, and shine light, a metaphor for the artist’s interests in literature, music and science. Often made of humble materials, Munro has often come back to the use of compact discs, a decision that the artist explains, “Initially I used discarded materials to save on costs. Soon material choices also became the subject matter of the installations,” he says of Light. “For me, there has to be a reason—however idiosyncratic—for everything I do and these days I am drawn more and more to the idea of creating an experience that is gentle on the landscape.”
Various projects of Munro’s use repurposed and recycled compact discs in massive quantities, covering hills, estate lawns and fields. In works such as CDSea, enormous fields of the collected discs have a natural element, in this case a meandering path carved through them. The path, which echoes landscape architecture and fung shui design, allows viewers to experience not only vistas of the shimmering surfaces, but also the now-highlighted beauty of the existing grass itself. Speaking of the installation and its process, Munro says “You never know how something will work out, but now I could not be happier. I’m so grateful to everyone who turned out to help. We had a magical weekend and CDSea looks amazing, like a giant painting on the grass“ (via hi-fructose, designboom, inhabitant)
Photographer Antoine Rose captures Miami’s beaches and its coastline in the series Up in the Air Miami. Shot from a bird’s eye view, umbrellas, beach goers, and yachts are miniaturized and abstracted, and look like tiny toys used in a diorama. The candy-colored images offer an unusual glimpse into a day on the water, as we see only a general depiction of the beach yet its captured on a large scale. We aren’t offered many details, but still, there is a lot of energy in these photographs. Rose communicates leisure, and minuscule figures evoke the famous French post-impressionist “bathers” series by Cezanne.
Emmanuel Fremin Gallery in New York City is exhibiting Rose’s works, and they describe how the extreme point of view affects what we’re seeing:
… people sharing common behaviors and exposing themselves like hedonistic herds. The stills of people swimming, surfing or just sitting down on their beach pads suggest a showcase or, given the distance, an Insectarium. One can even see a religious connotation: the bird’s eye view makes people seem insignificant dots in the infinite space of the universe, crushed by the immensity of the water field, recalling the biblical universal flood; seen from the sky, like through god’s eyes, people and nature coexist in harmonic or tense relationships. -Eduard Andrei
Miami isn’t the first or only place that Rose has photographed. Previous series of Up in the Air include the Hamptons, Long Island, and Wollman Skating Rink in New York City. To capture these images, he is situated outside of a helicopter that flies as low as 600 feet.
Michelle Hamer hand-stitches pixelated versions of photographs she’s taken of urban spaces, mainly those occupied by text found in advertising, signage, or graffiti. She stitches her images into perforated plastic, transforming flat, static images of everyday public urban life into tactile needlepoints that recall private and domestic spaces.
“I see my work as a type of socio-historic documentation. The images depicted are in between moments that we often take for granted. The obviously slow process allows viewers to become more conscious of these moments which are captured within an instant and consider the difference between the manual and the digital. The in-between spaces (on/off ramps of freeways etc.) where signage can often be found is both necessary for our infrastructure, but also generally not noticed. Similarly, much of the text, advertising signage, streetscapes are so familiar we can fail to focus/really see it, but it’s often reflective of our broader social ambitions, aspirations and edicts.”
Fra.Biancoshock insists he is not a street artist, but rather the Milan-based experientialist noticed that his street-level installations and interventions spoke using the same language as Street Art. In regards to the movement of Street Art in regards to his work, the mysterious, identity-protecting Fra. says, “For me, that phrase is a provocation: I have not studied art, I do not frequent artistic circles, or amicidell’amicodelcuginodelfratellodelsuoamico … And I have no particular technical and artistic skills. I just have ideas and I like to strain my mind in trying to propose to the common people through what I call “Unconventional Experiences.” I think mine are “experiences” rather than works of art.”
With ties and intentions closer to Performance and Conceptual Art (for those paying off MFA degrees, think Guy Debord), the man who would become Fra.Biancoshock developed the performative avant-garde school of art he calls Effimerismo (“The Effimerismo is a movement that has the aim of producing works of art that exists in a limited way in the space, but that they persist in an infinite way in time…”) as a means of exploring and categorizing his specific means of street engagement (or as he is known to call them, “speeches”).
Operating in this very-intentionally public mode of communication, Fra.Biancoshock uses the streets as a forum, installing temporary interventions to call attention to themes of poverty, urban blight, modern stress and decay. Present in most works is how Fra deals with serious themes with a disarmingly light-hearted approach. His work has mostly been viewed (often quite temporarily) in Europe, though as Fra. says in his Manifesto-like statement, “Prior to founding the movement, [Fra.biancoshock] has made more than 400 speeches on the streets of Italy , Spain , Portugal, Croatia, Hungary, Czech Republic, Malaysia and the State of Singapore, and has no intention of stopping.” (via hi-fructose)
For Lost and Found, the photographer Will Ellis photographs objects collected from the deserted buildings, parks, and bays of New York City. Dating back to the first half of the 20th century, each recovered object is shot with the utmost care, regardless of condition or value. The artist’s long journeys in search of his discarded relics— traversing less frequented city spots with haunting names like Dead Horse Bay and North Brother Island— give historical and totemic meanings to each possession. Once relevant only to a forgotten child, a plastic toy shoe from the 1920s is studied under lights, archived by a seemingly objective lens, and repurposed as evidence of some imagined urban ancestry.
Ellis’s choice to incorporate animal bones into a few of the images strengthens the work’s genealogical impulse; a set of hospital keys, ripped from their locks and rusted beyond recognition, stands alongside a raccoon bone separated from its socket in time. Similarly, a horse bone from the city’s industrial age is visually equated with a pair of plastic doll arms; shot from the same angle, the eroded bone and muddied plastic occupy similar portions of the frame, each lit with expert precision.
As if part of a museum catalog, the series of 30 photographs provides a cohesive, if subjective, vision of history. Through the eyes of Lost and Found, the city’s children narrate its evolution, telling a visual story that begins with doll, touches on music book, and culminates in senior portrait. Ellis’s choice of a stark white backdrop and harsh lighting brilliantly avoids potential sentimentality; as the artist invites us into a distinctly nostalgic space, we are instructed to view the work with the utmost seriousness. Take a look. (via Feature Shoot)