Ted Tucker’s paintings are magnificent homages to drunk frat boys, cheerleaders, trophies, and friday night keg parties with a dash of cheesy tv show from the CW network thrown in. Not only are Ted’s paintings fantastic but he also has made the package complete with his choose your own adventure website for the series. Make sure to select the Flash option and let the good times roll!
Kate Bieschke’s narrative photographic series, Performance for the Camera, revolves around the theme of having grown up as the “wild child.” She addresses nostalgic internal issues of needing drama, connection, rejection, and solitude. Through her own relatable explorations, she invites the viewer to anonymously reflect on their self as well.
German artist Claudia Rogge digitally transforms her photography to create patterned and rapturous images of masses of people. Often the subject matter of her work appears bleak or apocalyptic, but ultimately portrays the vulnerable beauty of these deliberately arranged human figures. Even in the photographs that are a bit more chaotic, you can sense Rogge’s careful attention to the patterns she creates, and the order contained within them. Her meticulously composed photographs evoke both a sense of euphoria and foreboding while demonstrating the fractal-like beauty of people en masse. One of Rogge’s biggest challenges in her work is creating a scene that looks genuine and believable with digital effects.
Of her work, Cluadia Rogge says, “The fascination the theme “mass” exerts on me lies both in the content as well as in the formal and aesthetic aspect. As regards content, it is indeed exciting to live in a time that on the one hand trains people for absolute individuality, but an individuality that is defined by mass media, mass consumption, mass tourism etc. Aesthetically, the patterns and rhythms developed from masses are unique. You can find them in shoals and flocking birds as well as in major gatherings like military parades, processions, concerts etc. Regarding this, I do not resort to already existing masses in my works, but simulate my own.”
Last week’s London Design Festival featured a prototype for a futuristic sleep-aid. During the Digital Design Weekend at the V&A museum, one of the highlights was Digital Futures UKMX. The event is a two day cultural exchange between designers, artists, makers, and engineers from the UK and Mexico. The event centered around themes of innovation, collaboration and civil awareness. The aim is to enhance each community by learning from the other.
One of the projects presented was by Octavio A. Martinez Garcia, a Mexican robotic engineer who works for COCOLAB. He showcased a prototype for a product called Napz, a sleep mask created to help gain access to more efficient sleep. The mask is made from infrared sensors, Neo Pixels, and the Arduino Lilypad. The invention does not just simply help to attain better sleep, but does so by allowing the user to actively lucid dream, a state of dreaming in which one has control over his or her actions. He states:
“The prototype is an eye mask designed to measure REM, using LED lights to gently stimulate you and bring you to the border of consciousness and unconsciousness so you can begin to play with your dreams. Today people get a lot less sleep, and of a much worse quality. Napz is a wearable device intended to schedule lucid dreams and thus produce actual rest and better patterns of REM sleep. Its interface allows the programming, design, and analysis of dreams. As everybody is different the device needs to be calibrated to each individual. The inspiration came from my own experience of lucid dreaming.”
In artist Eleanor Davies’ piece titled Over 200 Beautiful Colors, she crafts a traditional yarn pom pom (like something you’d see on a beanie), but on steroids. Using wool, newspaper, and rope, Davies wraps donut-shaped discs with yarn and stacks them on top of one another. They become a mountain of wound wool, and finally she cuts the edges of every disc. This releases the fibers around the cardboard, and they form a larger-than-life ball of fringe.
The result of this tedious effort is something that you want to touch and maybe even hug. And, that’s Davies’ intention. She wants the viewer to desire an interaction with it. But, at the same time, she also wants to you to feel some sort of repulsion to it. Even though it’s a magnificent and incredible piece, you compare it to what other smaller, more perky-looking pom poms look like. This, in all its glory, droops as gravity has got the best of it. “The oscillation between attraction and repulsion is experienced through the disruption of taste values,” Davies writes in an artist statement. “Sculptures seek attention and flaunt themselves in such a way that they ask for it.”
The slow and meticulous construction of Over 200 Beautiful Colors is akin to a beautiful regime. Davies goes on to say:
In appropriating the sculpting techniques of hairdressing; extensions and highlights are added to slowly modify and enhance a sculpture’s look. The compulsive desire to reconfigure, reinvent, re-cut and re-colour is due to the satisfaction gained through succumbing to the lure of the surface. The process of overworking the sculptural surface is self indulgent and my practice embraces and revels in this.
BLAZE LAMPER, Autumn Sass, 2012, Graphite on paper, 12 x 9 inches
JUSTIN VALDES, Lookout B!, 2010, Pencil and ink on paper, 8 ½ x 10 ¼ inches
Finders Keepers, a group exhibition curated by An Hoang including Joseph Hart, Todd Knopke, Blaze Lamper, Andy Ness, and Justin Valdes featuring drawings, collages, and photographic prints. This show brings together artists who engage in a creative process which allows for discovery through the act of making. What is found by the artists remains to be discovered by the viewer. Whether it is an edge, a gesture or the way the figure is revealed, all the works provide for the experience of uncovering the hidden.
Joseph Hart’s works on paper examine compositional tension through an elegant balance of spontaneous and deliberate marks, heavy and delicate forms, and subtle gestures confined by thick layers of graphite. The detailed, constructed fabric pieces and photographic prints by
Todd Knopke, incorporate the textures, patterns and seams inherent in the material to form dreamlike compositions which transcend the original story of the clothing. Blaze Lamper’s enigmatic graphite drawings feature mysterious figures whose faces remain veiled while in plain sight. The watercolors and pencil drawings by Andy Ness explore personal themes of searching and wandering using recurring imagery of ships, airplanes, teeth, and the reconstructed body to form newly defined narratives. Incorporating airbrush, acrylic and pencil, the still-life drawings by Justin Valdes investigate the relationship between object and frame.
Frederieke Taylor Gallery at TSA presents Finders KeepersTSA is a new Bushwick gallery located at 44 Stewart Avenue, #49 Brooklyn, NY, 11237.
On view from November 16, 2012 – January 6, 2013. Opening: Friday, November 16, 7-10PM.