Superb stuff from Brooklyn based artist Michael DeLucia. Equal parts humor, process, repetition, and abstraction, then dipped in a heavy dose of art world introspection, these sculptures have me saying ‘Oh Yeah!’ Looking at these pieces awakened memories of Jeff Koons, so I was amused to learn that DeLucia worked at his studio after graduating from RISD. Make sure you check after the jump for some serious mop mania, a reinterpreted bicycle, and a blinged out shopping cart – trust me it won’t disappoint!
There is a romantic sense of longing, dreaming, and pondering the world in all of the works of Beth Hoeckel. Her handmade collages feature retro figures staring into the sky, sometimes gazing into the face of the moon and sometimes looking towards the big blue planet that we all call home.
B/D head of security, Ziggy, models the “Art Works Every Time” t-shirt, which will be given away to the first 100 people to arrive at our opening tomorrow night, June 12 from 8-11!
The shirt features Colin Strandberg’s award-winning design (which you have seen on our exhibition flyer) and super-shiny metallic gold and silver ink! (Shiny!) I’m only exaggerating slightly when I say that this shirt is badder then fixed gears and cigarettes COMBINED. So come early! Details and more of Ziggy vogue-ing it after the cut.
You Were in My Dream is a incredibly interactive installation where the viewer becomes part of the story. It takes a live video feed of your face, and incorporates it into the installation. Created in collaboration by Isobel Knowles and Van Sowerwine.
Melbourne-based artist Catherine Tipping uses an analog way of working to depict digitally-minded portraits. Blurring the line between what’s on the screen and off, she uses wool to stitch human faces that are partially pixelated, glitchy, or generally just obscured through Photoshop. They are sewn onto a gridded canvas, which is not unlike the the pixels that we see on screen. These similarities make for a compelling series titled Filter that meditates on identity and the way technology has totally changed our culture.
Tipping explains the concept behind her work in an email to The Huffington Post, writing:
I was learning about Modernism and how technology changed society culturally back then. I saw how the Digital era has had a similar affect on our culture. Now that we are in the second decade of the new millennium, we rely on the efficiency of digital technology. Recently, in some aspects of society, it appears there is a yearning for the handmade. Maybe now is the time when digital and handmade mediums can be combined and embraced by society. I see this bridge in my processes by using a digital image with all its pixels and hand stitching it.
Depending on how you’re looking at them, they can resemble digital renderings or traditional fiber work. Tipping intersperses bits of both worlds within a single composition, creating one whole work that’s a combination of influences. “I am interested in cultural identity on many levels; societal, sub-cultural and personal,” she writes to The Huffington Post. “I like considering the distinctive visual traditions of different eras and outside factors that shape them. These portraits may appear distinctive of our current era or not, I sometimes wonder if we are becoming so anachronistic that we are indistinctive of a time.” (Via The Huffington Post)
Paper art has especially blossomed in the past few years. Few, perhaps none, are more meticulously detailed and worked the sculptures of Rogan Brown. His pieces seem organic, as if grown rather than cut. Their reflection of nature if further reflected in the medium, paper not far removed from trees. He says of his sculptures:
“My work is an exploration and re-presentation of natural organic forms both mineral and vegetal. I look for patterns and repeated motifs that run through natural phenomena at different scales, from the microscopic to the macroscopic, from individual cells to large scale geological formations.” (via)
Jess Riva Cooper’s ceramic sculptures are as beautiful as they are disgusting. Her works have the viewer going back and forth between pleasure and revulsion, creating a welcome confusion to be examined. This juxtaposition of attractive and off-putting elements is not a new phenomenon in art – think Jessica Harrison’s ceramic women, and whose work we’ve featured on Beautiful/Decay – and although her artwork is also similarly violent, the aggression is expressed quite differently. Cooper’s busts are overtaken by plants, leaves, and sometimes bugs, which are often gagging or otherwise obstructing the female’s sensory capacities. The plants grow from the women’s heads, the leaves with an almost leech-like gesture extend out with determination.
It’s painful to see the women bound by nature in this way, also because, as a bust, they are without arms or hands to defend themselves. She renders the women with a great deal of skill, their expressions soft and subtle. In her artist statement she speaks about nature reclaiming its place and “a loss of control…as the parasitic entity subsumes the host” as well as her interest in sculpting the figure as a way to illustrate “physical and emotional vulnerability of the individual.” She addresses these themes plainly in her work, which is what makes it so successful and enjoyable.