Project H designers Heleen De Goey and Dan Grossman have completed the construction of the first Learning Landscape math playground at the Kutamba School for AIDS Orphans in Southern Uganda. After nearly 3 weeks on site, they have finished the grid’s construction, and have been tirelessly working with the teachers and students on the implementation and adaptation of the games: “Around The World,” “Match Me,” and others, which teach elementary math concepts. The playground even integrates a bench system for added functionality as outdoor seating or assembly space.
Amazing! Shapes and forms manifest into spatial learning tools. A nice step away from the flatness of textbooks and computer screens. If only there were more of these in the States.
Peter Schuyff’s favorite terms to describe himself are “irreverent,” “obsessive, ” and “spiritual. ” By irreverence, he means his confidence in what he is doing, his casual acceptance of an abstract vocabulary. The obsessiveness is in his technique. And through this process, his work becomes imbued with a kind of spirituality an apparition seems to build up within the layers of paint, and the light emanating from the canvas is, perhaps, a hint of its presence…he began painting one patterned surface over another, and then began to add semi translucent white grids to the two layers, further confusing the relationship between the patterns. Slightly claustrophobic, these paintings have been described as padded cells, albeit ones through which light mysteriously penetrates.
These days you don’t see enough printmaking in galleries. You may see a silkscreen here or there but when was the last time you saw some wood block prints that are 3×4 feet? I’m glad to know that Katrina Andry is not only making interesting work using this old school art making tradition but is also raising the bar by going big.
Interesting and illusionistic, artist Jen Pack‘s fiber-on-frame works take on elements of both painting and weaving. After spinning and stitching together colorful compositions of thread, chiffon & cotton, she stretches out the works on a wooden frame like a canvas, paying attention to the way the colors and textures interact on the wall. Her interest in abstraction and slightly meditative clustering or patterning of materials give the works a dreamy effortlessness, and they exist as a space for the viewer to step in and lose themselves in the reverie of observation.
From afar, the works feel bold—even slightly aggressive—but upon further inspection, each piece reveals a soft, extremely fragile surface quality, complete with tiny, wild threads left to catch in the breeze. The duality is pleasing, and Pack’s finishing of the pieces leave the fragments of fabric interacting like paint on panel, illuminated from within by meticulous layering and draping of translucent materials.
Stefan Herda is a Toronto-based artist whose work and methodology explore our relationship with nature. He utilizes alternative techniques and natural materials in the creation of his art, deriving inks and dyes from wild blueberries, tea, turmeric, iron oxide, and more. From time-lapse videos of organic dyes interacting with household chemicals, to nebulae paintings infused with homemade ink and rainwater, his earth-toned and softly flowing works demonstrate an investigative and environmentally aware approach.
Featured here is Clapshacks, a series wherein Herda used natural colors and traditional textile dyeing techniques to paint portraits of derelict houses. Enclosed within hazy vignettes, buildings lean and collapse into the surrounding wilderness. There is a sense of peace and isolation; the buildings become crumbling, moss-strewn edifices that signify the resurging power of nature. There is a sense of retrospection, as well, that allows the viewer to consider the cycles of life, death, and renewal and the trajectory of human history. As Herda states in the project’s description, the Clapshack works “serve as a […] reference to old Romantic conventions, nostalgia for simpler times and the mystery inherent to the modern day ruin” (Source).
Beautiful/Decay has partnered with premiere website building platform Made With Color to bring you exclusive artist features. Each week we join forces to bring you some of the most exciting artists and designers who use Made With Color to create their clean and sleek websites. Made With Color doesn’t just help artists create gorgeous websites but allows them to do so in a few minutes without having to touch a line of code. This week we’re happy to bring you the work and site of Los Angeles painter Asad Faulwell.
At first glance, Asad Faulwell’s heavily embellished and ornate works may call to mind middle eastern tapestries but upon deeper inspection you discover that in fact they are deeply rooted in both politics and art history. His current body of work depicts female combatants from the Algerian War of Independence. Inspired by Gillo Pontecorvo’s “The Battle of Algiers” these pieces attempt to show how these women were both aggressors and victims, victimized by both their French adversaries and their male Algerian comrades. All works in this series are titled “Les Femmes D’Alger” in reference to the series by Delacroix and Picasso. While the anonymous women in the Delacroix and Picasso works were depicted as sexual objects in an Orientalist scene, the women in Faulwell’s work defy simple classification and are depicted as saints, criminals, aggressors and victims.
It’s difficult to discern whether Lisa Kellner‘s silk installations are natural or intrusive, peaceful or menacing. Her delicate fabric structures resemble jellyfish or coral as much as something cancerous or viral. Kellner’s work intentionally inhabits this duality. Each installation is made out of silk – a medium that is at once organic but also extremely strong. Her sculptures illustrate the curious path of growth organic matter can take. Lisa Kellner says of her artwork:
“The quickest path from point a to point b is a straight line. But nature is filled with curves and crevices. And human nature always seems to prefer a more circuitous path. Whatever means are chosen, the journey one takes presents a perfect painting problem: what is the essence of a moment that took everything to get there?.”