Emil Lukas doesn’t actually paint, and half the time he has larvae do it for him. The Pennsylvanian artist’s recent exhibition at Sperone Westwater Gallery was comprised of two bodies of work: one of paintings made entirely with fine thread, and the other artworks with many layers of larvae trails recorded in ink. His strategies to create these works are particular, and in the case of the larvae pretty unconventional. Lukas’ creativity is reactive and set in the present. With his thread paintings, he mounts one thread across the canvas, considers its placement and compositional purpose, and then continues the same process with the next. In a macro and micro sense the work is contemplative, as each thread is placed with purpose, but also that the final composition should turn out having the same slow and purposeful glow as the act itself.
In the summer, Lukas keeps fly larvae eggs in a converted Tractor Factory that he uses to create his ink-path pieces. He covers the larvae in ink, and uses light and shadow to manipulate their route. After, he applies a translucent wash over the trails, and repeats. The level of control that Lukas can maintain is both impressive and essential, as the strategy seems to form a good balance between chance and design that produces consistent but unexpected work. The paths end up looking like tree roots or coral. Nature is ever-present in the layers of Lukas’ paintings. (Via Artnet)
Fernanda Veron believes it’s important to sometimes have your head in the clouds, and belong to the past and future while simultaneously remaining in the present. Every moment is fleeting, but Veron is there to document every passing emotion. She asserts that, despite the fact her works seem to resist an existence in a single time frame, they are autobiographical, and perhaps a testimony to her refusal to live solely in the present.
For their exhibition, Telephone Blue, taking place at Synchronicity Space on April 20 – May 19, Aaron Anderson, Eric Carlson and Crystal Quinn (founding members of the artist collective Hardland/Heartland) continue their formal practice of intuitive collaboration to produce narratives of playful allegories and coded symbols that materialize as drawing, video, and sculpture. This exhibition will exist as an extension, literally and figuratively speaking. Physical work existing in a digital world that happens to be an extension of our physical world.
In addition to the physical gallery show the three artists have collaborated with LA artist Spencer Longo on a web based project that lives on the Synchronicity website called LA Internet. See LA Internet at www.syncspacela.com at anytime and visit the shows opening tonight from 7-10pm at 713 Heliotrope, LA, CA 90029.
Cape Farewell founder David Buckland involves artists to help bring attention to the usually scientific conversation about global warming. Hoping to appeal to the public on a more emotional level regarding the topic U-n-f-o-l-d, a travelling exhibition, presents the work of twenty-five artists who participated in Cape Farewell expeditions from 2007-2009. Capturing and creating images responding to what they saw and felt while venturing to places like the High Arctic and the Andes, the artists created innovative, independent and collective responses to explore the physical, emotional and political dimensions of our changing environment. Working side by side with scientists on the expeditions artists, writers and musicians, such as Rachel Whiteread, Ian McEwan, Gretel Ehrlich, Vicky Long and Heather Ackroyd sought to find ways to discuss the topic of global warming from an artistically minded point of view.
As Buckland says of the subject: “Climate change is a reality. Caused by us all, it is a cultural, social and economic problem and must move beyond scientific debate. Cape Farewell is committed to the notion that artists can engage the public in this issue, through creative insight and vision. The Arctic is an extraordinary place to visit. It is a place in which to be inspired, a place which urges us to face up to what it is we stand to lose.” -David Buckland, 2007 (from capefarewell.com)
Watch the video here, and read more bout the project here.
For anyone with a fondness for west coast life, the gritty, glorious scenery that unfolds across Bay Area painter Laura Sutro‘s canvases is nothing short of sentimental. In simple, generous strokes, Sutro uses tastefully honest narrative to spell out one person’s journey on the freeways, down the sidewalks and through the bedrooms of a contemporary California. Her lush, layered color palettes echo a careful, critical study of light, while her snapshot sensibilities make each piece feel curious and fresh.
Jason Mena lives in San Juan, Puerto Rico, and uses cameras, scanners, airplanes, and whatever he can get his hands on to examine his surroundings. His work explores city life, traffic, politics, and relationships in creative and funny ways. Check out more of his work at his site and hit the jump for more work including his great “Meaningless Work” where he records himself moving around furniture aimlessly.
Upon viewing the sculptor Alasdair Thomson’s flowing, dreamy garments, you might be transported to the sunlit meadows of a William-Adolphe Bouguereau painting filled with young, fresh-faced girls in flowing white sundresses. On second glance, however, the clothes reveal themselves to be carved from hard, cold marble. The artist, using hanging outfits borrowed from his friends as unusual muses, renders miraculously enlivened clothing from the durable material, dresses that seem to dance in the wind despite remaining entirely immobile.
Here, Thomson, who holds a Ph.D. in Art History from the University of Edinburg, reinterprets the Renaissance and classical treatment of marble; in the stead of Michelangelo’s strapping David or ancient tributes to mythological heroes, he presents simple, delicate, and feminine attire. The juxtaposition of soft content with sturdy material compels the viewer to consider deeper themes, and as these cottony sculptures hang convincingly from hangers, the everyday is elevated to a level as significant and moving as ancient mythologies. Notably, the clothes are also fetchingly modern; in the place of togas, Shine carves belted jumpers and strapless gowns.
While marble art historically has usually been used to express the powerful eroticism of both the male and female body, these hanging garments maintain a charming innocence. Seen in pale white and adorned with frills and ruffles, they wait to be inhabited by a body that will never arrive; limply, they fall and strain against the hanger. Indeed, the pieces are delightful, and viewers might be covetous them, if only they could actually be slipped over human bodies. (via Oddity Central and Colossal)