Jose Davila lives and works in Guadalajara, Mexico. His large installations are “…fueled by the interest in the relation between place and fiction, space and temporality under architecture…” Davila accomplishes this with wood and metal objects that outline a room with a skeletal structure. Another series features colorful mobiles that constantly shift as they hover above the ground. His formations define their environment as they investigate form and color.(via)
Australian artist Ben Frost’s Lost in the Supermarket (now showing at Bout, a reference to The Clash song, remarks on the over stimulation, confusion and daily hypnosis we are trapped by, as we struggle to stand still on a buzzing psychedelic landscape of brands, identities and social demands.
You might have already read our series on food artists. B/D has decided to feature another 3-part series on cut paper artists! The art of paper-cutting evolved from the traditional Chinese craft, stretching back to the 6th century. Today, contemporary paper artists have pushed this art-form into focus once again. Armed with their X-Acto knives, (and nail scissors?), these artists have redefined the meaning of intricate. (Some actually believing they’ve only completed a day’s work once their hands shake with fatigue, waking up sore the next morning!) Though it can be frail, finicky, and prone to tearing, their choice of medium is deliberate; they’ve claimed paper as a way of using an ordinary material to express themselves in unconventional ways. Check out the three cut paper artists of the day!
San Francisco-based body painter Trina Merry has created a series of scenes that blend nude bodies into New York City landscapes such as the Brooklyn Bridge, Guggenheim Museum, Empire State Building, Central Park and the New York City skyline. Due to Merry’s fine attention to detail and composition, the painter’s subjects seamlessly disappear into their surrounding environments.
Of her medium, Merry writes, “My surface is living, breathing human beings making this a highly relevant & immediate medium. I use non-toxic hypoallergenic paint applied with a brush or airbrush. The painting is temporary, like a Tibetan sand painting, beginning to change into another work as soon as I stop painting, changing texture & color.”
Designer hailing from Romania explores typographic forms for ESPN Magazine’s X-games preview. I’m personally not into any sports (or just getting away from the keyboard my hands are grafted onto) but I’ll watch it if the intros looked this nice.
Seoul, Korea based artist Gwon Osang’s work blurs the line between sculpture and photography by photographing a 360 view of figures and object and using the printed photographs to create a three dimensional sculpture. The result is slightly off -kilter figurative sculptures that are as arresting as they are strange.
After graduating from Tama Art University in 1964, Issey Miyake worked in Paris and New York City before returning to Tokyo to establish the Miyake Design Studio.
In the late 80s, he began experimenting with new methods of pleating that would allow for a combination of technology, functionality and beauty. This ultimately jumpstarted a then-new technique called garment pleating, a technique with which we former pleated skirt-wearin’ school girls are totally familiar.
His vintage work reminds me of graceful moths from outer space (or from Star Wars)–and I mean that in the best way possible!
For the next couple weeks, I will be posting up some of my favorite applications (as well as previous works) of the Rhizome Commissions (Rhizome at the New Museum, one of my favorite media art blogs), a program which provides grants to new media artists exhibiting a large amount of potential but maybe aren’t yet fully recognized in their field.
Jeremy Bailey’s proposal, DIALECTICAL SOFTWARE GUNDAM SUIT, “intends to create a new live performance involving a software “suit” that augments and extends both the creative and destructive abilities of the performer. The image of the suit will be superimposed in real-time over the artist during the performance. The work will be satirical, but will appear as a sincere attempt by the artist to create a more advanced human form.”