Korean artist group Everyware (Hynwoo Bang and Yunsil Heo) recreates the sky and its clouds as part of an interactive installation on the ceiling of a Korean exhibition space, the Savina Gallery.
Cloud Pink, a multi-media project, serves a pseudo sky pool in which you can touch and interact with the color, shapes and sizes of clouds. The work is composed of a fabric screen, and an interactive software; the two work together to create a believable yet whimsical recreation of the clouds on the sky.
“Today, I visualize my colorful cloud of words right in front of your eyes. Touch the pink clouds drifting on a giant fabric screen, reminisce your childhood clouds of dreams. I spent countless sleepless nights just to realize my unproductive and only romantic cloud of words. But, isn’t it nice if we could feel the clouds at our fingertips?”
After the death of a dear friend, the photographer Emir Ozsahin was struck by the poignancy of life and grief, choosing to confront by creating heartbreaking images of deceased animals. In his series Pastel Deaths, he captures lifeless creatures in gentle tones, hoping to undo the fact of their tragic deaths with the naiveté of a child incapable of processing mortality: with the utmost innocence, he poses a dog beneath a blanket and offers the grey-nosed canine a book to read.
The series conveys this youthful optimism and poignant refusal to accept death with the use of tiny fixtures that could easily reside within a child’s dollhouse: a bed on which a bird might lay his beak, a straw nest for a guinea pig, a tiny, sudsy bathtub for another, darkly featured bird. The artist’s relentless striving to erase the fact of and his own personal knowledge of death is utterly heart wrenching; we follow him as he personifies each creature with a soft pair of miniature pajamas, a stuffed toy, or a pair of fallen glasses.
The juxtaposition of the dead with the artist’s infant-like insistence upon life results in a painfully intimate conversation with death and with each once-living being. Ozsahin’s subjects are so unflinchingly peaceful in their eternal slumber that the viewer must approach them only with utter care; the eye holds each for a moment like a tender newborn baby, then sets him down to rest. As viewers, we waver between acknowledging the facts and whispering to ourselves quietly, “No, look, he’s just sleeping.” While using once living creatures as subjects normally raises ethical flags for me, Ozsahin’s images read like Victorian post-mortem shots of humans, serving to tenderly and lovingly memorialize each creature. (via Feature Shoot)
This Saturday Beautiful/Decay will be taking part in L.A. Print: Edition 2, the second annual showcase of Los Angeles printmakers, dealers, galleries, and non-profits focusing on current trends in printmaking and publishing. Guests are invited to connect directly with artists, curators, printers, and dealers to learn more about the production and collection of
fine art prints and editions.
Presentations and artist talks throughout the day illuminate the creativity and process behind printmaking. With a variety of affordable prints available, it is perfect for those looking to build their own collection or to purchase special gifts for the holidays.
Caleb Brown paints real things — sharks, diving tigers, track stars — in a realistic manner. Deviation lies in the implausible situations he inserts his subjects into. Brown uses what he calls “elements of contemporary life” to set the stage for a bigger, more interesting angle on current events.
Illumination Ink hails from Newcastle, Australia, adding another international post to our Around The World Day here at BD (not really). Heath Killen contrasts his beige-y website with his sometimes bold, sometimes colorful, sometimes remixed images. I really like the use of typography with his illustrations, and the vintage look to his collage-like works.
In her latest body of work, Kimberly Brooks continues to explore portraiture, specifically the complexities of representations of female identities. While in her previous series, including Mom’s Friends (2007) and The Stylist Project (2010), the artist used figures to construct narratives, here the female form is part of a broader abstracted landscape. And while earlier portraits boasted an uncanny likeness to their subjects, Brooks’ style has shifted into something that is simultaneously looser and richer. Facial features have been abstracted and bodies distorted. Fashion and costume, a longtime theme for Brooks, is also deconstructed. Once painstakingly rendered folds and drapes have been reduced to their essential shapes and color fields. In these sumptuous new images, Brooks continues to address questions about how we frame beauty, and the phenomenon of fashion as a both pop culture and artistic touchstone. Taken as a whole, the new paintings create a meta-narrative that contemplates “threads” that define, unite and separate us across different cultures and eras.\
Make sure to catch Kimberly Brooks’ third solo show currently on view at Taylor De Cordoba through October 22nd.
Daniel Arsham’s structural interventions cause walls to appear in a state of flux, as if they are melting or dripping, reverse the notion of architectural rigidity and of a partition’s standard presentation. His aestheticized sculpture and installations realize hypothetical architectural elements and counter intuitive designs, queuing possibilities and coercing material to behave atypically.
Although Gowri Savoor experiments with dozens of different mediums, ranging from drawing and painting to mixed media sculptures made from fabrics, woods, her Seedscapesseries might be the most immediately powerful. Taking various plant and fruit seeds which are pinned against boards like butterflies, in more geometrically-challenging patterns and formations, the sculptures resemble other natural forms, such as waves, sound-waves and snow or sand dunes.
The Leicester, England-born artist currently lives and works in Vermont, USA, where she gathers the various seeds used as materials in her metaphorically ephemeral works (including pumpkin, apple and sunflower). Says Savoor of her loaded-material choice, “In themselves they’re very fragile. No matter what I do, the pieces will continue to decay. There’s a human sadness as well, that everything will eventually die.” (via junk-culture)