Artist and designer Fabrice Le Nezet‘s series Measure precariously positions concrete blocks. Using metal tubing, Le Nezet supports the concrete in way that makes the industrial materials seem nearly organic. The brightly colored pipes cling to the concrete like webs. His intention with the work was to make the materials and its weight easily felt. He says:
“I worked here on a physical representation of the idea of measure. The objective was to ‘materialize’ tension in a sense, to make the notions of weight, distance and angle palpable…This work lies in the context of my search for purification around raw materials such as concrete and metal. This is why I played with simple shapes which catch light and transcend the volume structure.”
The incredibly detailed pen and ink illustrators of Toronto based artist Paul Jackson take on the form of animals and humans, with their insides ascending from their bodies. His rendering of skeletal structures of wolves, dinosaurs, and humans is anatomically something to be admired. His illustrations have a dark aura, as he portrays different animals with layers of organs erupting from their skin. We can see Jackson’s well-refined skill in the very believable texture of the fur, skin, and bone in his work. Each illustration remains very realistic, despite their mystical nature. His creatures are like spirit-animals that are attempting to rise out of their earthly shell, erupting out of their exteriors.
There is a strong element of life and death his Jackson’s work, as many of his drawings contain half living creature and half skeleton. Pushing this boundary of the living world even further, many of Jackson’s works contain a visible “glitch.” There is a disruption in the composition. A face slowly turns into waves of “white noise,” like a sound wave encountering interference. This interference literally blurs the line between a creature, like Jackson’s bear, that is alive, with one that is dead. The artist has created his work on a large and small scale, and even has many of them available as prints, t-shirts, and patches. Make sure to check out his website for more astonishing illustrations and a great time-lapse video of the artist in action.
This Wednesday, The Journal Gallery in Brooklyn opens a solo exhibition from German photographer Juergen Teller. The series on display, Irene im Wald (Irene in the Forest), focuses on the forest near Teller’s childhood home in Nuremberg and includes meditative exterior and interior shots that often feature his mother (Irene). Quiet and peaceful, the photos are a perfect introduction to autumn.
A monograph of the series is being released concurrently with the exhibition as a supplement to the journal 32, which is definitely worth picking up.
All images courtesy of the artist, Lehmann Maupin Gallery, New York, and The Journal Gallery.
Artist Xochi Solis‘ work combines painting with collage into smartly layered pieces. Rather than spreading the elements throughout the composition, Solis places them all at the center. She layers each piece on the on top of the one before it, revealing only pieces of found images or painterly strokes. The round images almost appear cellular though still resisting easy interpretation or identification. The Austin, Texas based artist’s materials range from acrylic and oil paint to found images and acetate.
Clowns can be…unsettling but however you feel about clowns, Kyoko Hamada‘s photo series called ‘Clown Care Unit’ is fascinating. In partnership with a hospital’s medical staff, these professional performers work one-on-one with acutely and chronically ill children, their parents and hospital staff to help ease the stress of illness by reintroducing laughter and fun as natural parts of everyday life.
Olivier Ratsi‘s latest project Onion Skin is an attempt to create an unreachable plane by physical means. Two walls are connected at 90 degree angles, and a series of visual light displays plays simultaneously off of the joined walls, created a uniquely intangible, unreachable dimension. This type of work is typically elaborate for Ratsi, who describes his works as “The deconstruction or fragmentation acts mainly as an emotion trigger, which does not aim at showing what things could be, but more at questioning their references.”
Shapes that begin to form are quickly changed, morphing into others and blending into a seemingly 3-Dimensional landscape. Ratsi, who is also the co-founder of visual art label AntiVJ, gives the viewer a sound component to coincide with Onion Skin‘s hypnotic geometric shapes overlapping, peeling and unfolding. Ratsi explains, “Its aim is to generate a break with the meaning of the original items, to propose a new viewing angle and to provide the public a new field of experience, another way of looking at space and time.”
Onion skin is currently installed in Belo Horizonte, Brazil (until November 30th, 2013), after which it will be included at an exhibition at the Parque Lage in Rio De Janeiro (December 7th and 8th, 2013). (via designboom)
As part of our ongoing partnership with In The Make, Beautiful/Decay is sharing a studio visit with artist Claude Collins-Stracensky. See the full studio visit and interview with Claude and other West Coast artists at www.inthemake.com.
Claude’s studio is in a commercial building in Downtown, Los Angeles right where two fairly busy streets intersect. It’s a few floors up, and as soon as Klea and I stepped out from the elevator doors Claude’s Vizsla dogs greeted us with wild tail-wagging enthusiasm and then lead the way into the studio. It’s a huge corner space with tons of natural light streaming in through the wide windows that lends an almost limitless feel to the room. I took a few minutes to wander around and take it all in— the dogs tumbling about together in play, the dust particles fluttering in and out of the hazy afternoon light, and the many projects underway, all of them in various states of completeness. At any given time Claude is often at work on multiple endeavors, taking time with each to experiment, re-think, tinker and tweak. His studio is a like a research lab where he plays around with concepts and materials, creating mock-ups and models, and then tries to bring these ideas to life with his hands. There is a bit of a “mad scientist” in Claude— he approaches his work with unfettered imagination and whimsy, totally unafraid to scheme and dream big, and he seems almost possessed by a rampant curiosity about the natural world and how it works. At the core of Claude’s practice is a preoccupation with physical systems and processes and the innate dynamics of different materials, and the ways in which these forces and elements can interact to bring about a new consciousness of one’s surroundings. Embracing a range of mediums, his practice often plays with perception and aims to expand his viewers’ visual experience and spatial awareness to create impressions that go beyond an everyday understanding of the world. I got the impression that the wheels in Claude’s brain must always be spinning at top speed, never at rest, always at work on questions, always in a state of assessing and hypothesizing. Which is kind of funny, because he comes across as super mellow… but I didn’t let that easy-going vibe fool me!