Sculptor Jonathan Brilliant builds universes using the residue of coffee. Not the natural kind but the recyclable paper stirrers and holders millions throw away each day after ordering their morning joe. These common conveniences end up as swirling dervishes in Brilliant’s work, referencing everything from musical rhythms to Andy Goldsworthy. Like Goldsworthy, who takes items from his natural surroundings and builds site specific installations, Brilliant does something similar using the coffee shop instead of a rural location, signifying a place today where a lot of our organic interaction takes place.
His process oriented storytelling has a viral mentality. Rows and rows of sticks (sometimes as many as 40,000) invade staircases and ceilings throughout his installations. The effect likens itself to looking inside a grand piano when notes by Mozart or Beethoven are being played. Dozens of sounds spiraling off each other entwining into a grand design. The free form technique makes the work interesting and gives it a profound quality. A product that was manufactured by man from a natural resource on earth that goes full circle to rejoin with similar material in a recycled format.
Brilliant stands as a new type of environmental artist. Another that works in this style is Wade Kavanaugh. Kavanaugh creates structures out of measurements taken from motion such as running or walking and creates patterns with this information, mostly in rural environments. He also collaborates with painter Stephen Nguyen to build viral structures some as large as trees made out of recycled paper and other found materials.
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Sign up for a free trial today, no credit card required. You’ll have your site up and running before you finish your morning coffee.
When I met Jonny Negron at the Small Press Expo two years ago, I had him sign a copy of his book, Negron, for me. Rather than just signing his name, he drew on the back cover, which coincidentally is a large picture of his face. Negron completed his doodle with a lizard tongue, drawn with a gold paint pen. This act of an excessive signature is a metaphor for the type of work that he creates. It’s in your face and unapologetic, as well as being stylish, humorous and at times, scary.
Negron is best known for his comics and propensity for drawing large women. They are extremely curvy and wear crop tops, bikinis, and leggings, or nothing at all. Couples engage in sexual acts, and while often NSFW, the drawings don’t have the same vulgarity of something like an ad for a porn site. In an interview with The Comics Journal, Negron says that he doesn’t fetishize these women, and that he’s gotten a very positive response from women regarding his drawings. He goes on to say, “You go to a magazine stand and half the magazines are the same very thin woman. Beauty is not limited to that kind of person. Anyone can be beautiful. That’s part of the statement I’m trying to make with those drawings.”
Oftentimes, Negron’s work is without context. His characters exist in blank space, and his comics focus on a moment rather than a long passage of time. Negron cites films as an inspiration to his work, using their sense of lighting and stasis as a way to pace his sequential art. Looking at his style of drawing, it’s evident that he enjoys manga and video games, but it is more well rounded than that.
Negron is really active on Tumblr and is constantly listing his work for sale in his online shop. He is also an artist with PictureBox, a small press publisher.
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I’ve been a fan of Stefan Ruiz’s work for a while, I collected most of the issues of COLORS magazine he worked on several years ago. He documents people, places, and objects from around the world that are both strange and familiar. I especially love his portraits; he conveys so much personality and narrative in such concise elegant images.
Sarah Sze’s installations incorporate everyday items from toothpicks to light bulbs, and “Triple Point,” her most recent endeavor at the Venice Biennale, is no different. Ladders, paper scraps, aluminum rods, sleeping bags, and other finely scavenged items collect and assemble to create a whole new type of machinery: a thinking one that has to do with re-assessing value and investigating the romanticism of objects at play with one another in this never-ending Milky Way of constructs.
According to The New York Times, Sze “wanted the installation to bleed out into the environment.’’ This is relevant to not only the pavilion itself, where the bulk of her work sprawls from room to room and outward onto the exterior landscaping, but also the neighboring community.
Blazing a cryptic trail, before the opening, Sze deposited a series of fake rocks (aluminum structures wrapped in photographs of rocks) sporadically in unexpected places, sometimes, with local businesses, who now house them in unconventional spaces, often along with their own imaginative origin stories. The intention is to lead patrons into the exhibit slowly, almost subconsciously, as though foraging their own trail into the surprising wilderness of Sze’s art.
More images of the installation and a video after the jump.
The Innocents series by Taryn Simon documents the stories of individuals who served time in prison for violent crimes they did not commit. At issue is the question of photography’s function as a credible eyewitness and arbiter of justice.