Tim Roda’s photographs seem to create ancient and historical scenes of magic and myth through slightly improvised, found materials. The above image, “Centaur” is striking for its oscillation between a certain kind of epic grandeur and a bizarre, seedy perversion. Many of his images superficially appear to be from some near-distant canon of royalty, though quickly dissolve into household snapshots. There’s something youthful as well in their innocent attempts at grandeur with just a little imagination, always infused with some kind of borderline hint at violence or conflict.
London based Vicky Wright’s lush abstract paintings literally pour out of the frame and towards the viewer.
DXV by American Standard is a landmark product line that represents the company’s storied history spanning 150 years. The collection spans four broad movements: Classic (1880 – 1920), Golden Era (1920 – 1950), Modern (1950 – 1990), and Contemporary (1990 – today). Each piece in the carefully curated collection harkens back to the era it was inspired by and combines it with modern sensibilities, technology and performance. Although each fixture is inspired by a distinct era, the entire collection has a dialogue and the ability to cross over and create a remix of eras in one space.
DXV’s Modern Collection spans some of the most inspiring eras in American architecture and industrial design. Mid Century Modern architecture and design of the 1950’s and 60’s is as celebrated today, as it was the first time around. You can see the the echoes of Mid-Century design in the pieces from DXV’s modern collection like the sleek lines of the Roycroft collection’s faucets and shower fixture. The Rem collection features Dutch-inspired, artistic curves merged with thoughtful utility- a marriage of form and function. Each piece in the Modern Collection is a study in form, function, and beauty.
Tsherin Sherpa, born in Kathmandu Nepal, originally trained as a traditional Tibetan thangka painter with his father Master Urgen Dorje. From the age of twelve, he underwent six years of intensive training before travelling to Taiwan to study Mandarin and computer science. Since then he has returned to thangka painting but has added a contemporary twist to the traditional paintings leaving behind the traditional confines of the age old practice. His work now mixes the techniques and imagery of thangka with contemporary subject matter.
When asked about breaking from tradition Sherpa states:
“Sometimes if one gets too obsessed with the rules, there’s a danger of getting entangled in that very obsession. We then become more concerned about not breaking the rule. Because of that, from the traditional art’s point of view, the contemporary work with Buddhist imagery may even get categorized as sacriligious. I am working with some of the images that are viewed as the ultimate portrayal of certain deity. And to manipulate it, is obviously taboo.
However, if we scratch the layer a little deeper, and analyze these Buddhist images, one will find that they are a means to develop a practitioner’s (Buddhist) goal towards enlightenment, which means that the images are not the ultimate goal but rather a vehicle. A representation of a Buddha in 2- or 3-dimensional form is not the actual Buddha. It is a mere representation. And to fall into the trap of perceiving them to be the ultimate, is actually getting oneself entangled with the rules.”
When Isaac Tobin is not working as a senior designer for University of Chicago Press or playing with type design, then he is whipping up some pretty phenomenal collages with minimal resources. Each piece remind us that cutting back and holding the line is just as important as drawing it. His seemingly simple use of familiar and found paper products matched with sporadic vintage text and condensed doodling presents an accessible everyday charm that inspires affordable creativity.
Evan Nesbit lives and works in Nevada City, CA. He has just opened his first solo exhibition with Ever Gold San Francisco entitled Light Farming / Heavy Gardening. From the press release: “A recent graduate of the Yale MFA program, Nesbit’s recent body of work includes mixed media paintings, perceptual objects, sculpture and interactive “space blankets”. Through exploration of painterly materials, visual process and participation from the public, this new body of work will explore the imbrication of patterns and experience that structures ones vision, suspended in doubt, sometimes cured in paint. Through the use of constructed “space blankets”, Nesbit challenges the viewer to interact with this exploration by taking refuge beneath their comfort, only to be immersed in the stereoscopic images produced by pin hole camera effects.” The exhibition is on view through April 26th.
There is something intrinsically fascinating about seeing the ordinary created in new, surprising ways. Artist have long used this technique to make their viewer contemplate new connections and possibilities, and the internet has proven to be a particularly useful tool in spreading this type of work. South Korean artist Seon Ghi Bahk is an expert at this method. Using charcoal and other natural materials en masse to form familiar objects, Bahk reminds of us the connection between man-made goods and their source.
Bahk’s precision is absolute, meticulously hanging large groups of charcoal at specific heights to collectively echo architectural and building elements, such as stairs, columns, shelves and planters. Using translucent nylon thread to hang individual pieces gives each installation a floating quality, further separating them from their everyday inspiration.
In an interview with the Korean Art Museum’s Korean Artist Project, Bahk explains how he came to use charcoal in his installation work. “I first used stones as materials for the installations…but the supporting structure and installation became unnecessarily large and overwhelmed the stones so I replaced the stones with charcoal. Since I spent my childhood out in nature, I wanted to embrace natural things in my work. I found that my favorite things in nature were wind, mountains and trees. But it was difficult to express wind or mountains in my work, so I chose trees as an alternative, and charcoal comes derives from that…now I seek natural encounters between man and culture…I emphasize the materiality in its poetic shapes.”