Eun-Ha Paek is a Seoul-born, Brooklyn-based artist who sculpts whimsical ceramic characters. Her creatures—which often resemble bears and dogs—are amorphous and cloud-like, sitting atop magical, candy-colored platforms. Each one is an eye-grabbing and thought-provoking fusion of childlike innocence and surrealism with a touch of menace; fanged mouths and disembodied hands gouge at the viewer from within the sculptures, blending nostalgia and unease together with the peculiarity of an ice-cream cone melting in an empty playground. There is also a humorous energy, which derives from the characters’ beady-eyed expressions as they stare at the viewer from their strange environments. Eun-Ha Paek’s about page further clarifies this interplay of emotions:
“The same way a boulder on a hill stores potential energy, a banana peel on the floor is the setup to a joke, storing potential ‘ha-has.’ The setup might cause a smirk, without any real action taking place. My work uses this potential to construct narratives on the precipice of the familiar and strange; to explore our inner workings of grief and hope with humor.” (Source)
Eun-Ha Paek’s unique style and creativity has received recognition around the globe. In addition to her sculptures, she creates animated films that have been screened at venues such as the Guggenheim Museum and the Sundance Film Festival. She has also been highlighted in The New York Times, G4 Tech TV, and Entertainment Weekly. Her work can be followed on her website, Instagram, and Vimeo page. (Via Sweet Station)
Agostino Arrivabene paints dreamlike visions of pain and beauty. With tentacle-like flowers growing from ethereal faces and branches reminiscent of veins encompassing bodies portrayed as saints, his paintings exist on their own plane of reality. It is almost as if they come from a time where time itself is non existent, as they seem to be simultaneously prehistoric and futuristic. His figures are almost treated in a pathological sense, yet are delicately sentimental, creating an innate sense of wonder.
His body of work aims to mimic “a room of curiosities” — referring to a collection of exotic memorabilia gathered by travelers. However, his collection is a metaphorical culmination of the excursions he has taken internally; he relates his process to that of the journey of Dante through hell. He is an artist that mainly lives in solitude, allowing him to fully immerse himself in his own bizarre world, drawing inspiration from his own dreams and the dark nature he surrounds himself in.
His extremely introverted and contemplative practice is heavily influenced by old masters. Using traditional methods such as grinding his own pigment, making his own paint, and using a near-extinct technique that combines egg tempera with oil, he allows himself to fully utilize the complexity of color. In doing so, he interjects himself somewhere in the middle of, or perhaps, within various aspects of, the history of painting.
Agostino Arrivabene transcends art history not only through technique, but also through content. His work winks at artists from multiple eras of time. There are strong connections to Italian Renaissance painters such as Sandro Botticelli, Symbolist painters such as Odilon Redon, Visionary painters such as Gustave Moreau, and the psychological darkness similar to the work of Francis Bacon.
As a part of his latest solo exhibit, Robert Barta‘s new installation CROSSING HALF A MILLION STARS is impressive looking as an installation. Barta means the number literally. The floor of the gallery space is filled with 500,000 ball bearings – that’s half a million eight millimeter steel balls. However, the installation is also a means to a performance and audience engagement. Visitors are invited to walk across the field of bearings…very carefully. The visitors pay extra care and attention to the typically simple task of walking. CROSSING HALF A MILLION STARS allows visitors to consider the space, their actions, and each other just a bit differently. Really, this theme persists through the exhibit in its entirety.
So you’ve endured months of deconstructing every sentence of each presidential candidate’s rhetoric. It’s only fitting that on the eve of Election Day we also visually deconstruct the president, both past and present. French artist Olivier Ratsi produced these presidential digital collages – glitch-like reconstructions of the presidential portrait. Each piece of the series Once Upon a Time the Presidents is made up of various facial features of past American presidents. For example while a portrait’s eyes may have been snatched from Harry Truman, his mouth may be Barack Obama’s and his hair Teddy Roosevelt’s (or is that that John F. Kennedy’s?) The clean shaven cheek, toothy smile, and neatly combed hair appear repeatedly and feel eerily ubiquitous. Ratsi forgoes overt political references in favor of a subtler idea. Each portrait doesn’t so much portray past presidents as it does the idea of the presidential image.
Alicia Eggert creates kinetic, electronic, and interactive sculpture and installation work. With a background in interior and architectural design, Eggert builds her work with a temporal conception reflected in the stillness and movement of her pieces. Implementing a variety of objects in her designs, such as clocks, flashing LED text, a perpetually spinning bicycle wheel, and re-usable ceramic coffee cups that shatter down a perceived assembly line, Eggert uses simple ideas to convey a world of depth. Some of her work is created in collaboration with other artists, as she values sharing the creative experience with another person. She currently lives in Portland, Maine, and teaches sculpture and architecture at Bowdoin College.
Decontruct. Reconstruct. Gabi Trinkaus’ collages make for portraits that, at a distance, look like paintings of gorgeous people. On closer inspection, they bring details of chopped up textures, words, and logos.
Dutch photographer Isabelle Wenzel’s playful photographs bend, twist and manipulate the human form into new and unknown positions. Whether it’s tackling the idea of the artist as artifact or manipulating the minimal and mundane motions of office workers Wenzel pushes the envelope of how we see the human form and how simple juxtapositions and movements can completely transform the most familiar image into the unknown. (via)