Midwestern artist Dave Rowe creates sculptures of time worn structures influenced by American landscapes. His work has developed through a means to “explore history,” as he believes that addressing the change and aging of a landscape reflects not only the passage of time, but also has psychological implications about those who inhabited that change. Memories, ideologies, and personal histories are shaped by one’s surroundings. Therefore, a landscape can serve as a reflection of a collective “personal” experience. By capturing one specific physical moment, the artist allows himself to reflect not a universal or personal truth, but instead, acts as a sort of mirroring of a hyper-specific type of development. The artist re-creates recognizable, yet unspecific buildings that allude to an archival, physical space. His sculptures, focusing on geometrical infrastructures, have been shaped by his own upbringing in the American Midwest and have been influenced by the changes in the American landscape. Specifically, his work focusses on the more rural areas, as the relocation of factories have dissolved the need for industrial buildings. He captures how functionality, or rather, a lack of it, can act as a record of topographical transformation. Even his use of color is a reference to time; he pairs “barn red or tar black” along with “brighter colors evocative of graffiti,” in order to reflect the often seen palette of a forgotten edifice. Rowe creates these structures scaled to hit at eye level, allowing the viewer to enter the space emotionally, and hopes to open a discourse for personal reflection.
Hundreds of small metal balls covering the surface of the sculpture series created by Korean, Berlin based Artist Haegue Yang. ‘Sonic Figures’ are geometric abstract creatures that come to life when they’re shaken by a human hand.
Haegue Yang speaks her own language. She has come up with her own vocabulary through abstraction. She doesn’t need the viewers to understand the meaning and influence of her work. She is offering an experience. The Sonic sculptures were created while she was working on another project during her residency in Glasgow. While listening to music, she imagined developing a piece that will ring in unison when moved around.
The artist is used to working with random household items. From that starting point, she produces sculptural assemblage. By playing with the vibrations and the chimes of the bells, she explores what it is to be human. She defies human basic senses such as sight, sound, smell, and touch. A multi sensory and mobile environment where the viewers can appreciate through her art their body and intellect. Focusing on sensory experiences, Haegue Yang not only liberates charming sounds and subtle chills from basic elements, she also triggers the viewer’s will to interact and experiment.
All the comfort foods we dream of eating but that we’d rather watch from a distance to avoid calories. Jessica Dance made it happen! The art director/model maker/prop stylist collaborated with photographer David Sykes for Stylist magazine to deliver perfectly arranged hand knitted fake meals.
A full platter of English breakfast, beans on toasts, a hot dog covered with mustard. And if we need more condiments we can find them next to our cutlery, salt, pepper, ketchup; Jessica thought of everything. Using lambswool and a knitting machine, she fashioned all the foods at home. She says the bacon was the hardest to achieve as she wanted all the fat to be as real as possible.
The colors are of course true to real food colors. But the tones are slightly altered, giving a healthy, non greasy aspect that we should have found looking at the dishes. If it wasn’t for the fact that this was commissioned for an adult magazine we could have thought we were looking at kids’ toys.
There’s something warm and gentle in the story. And it’s not just about the food elements. It’s a combination. The way it’s photographed, the set up and the overall look of the food that’s transforming random meals into a grown-up tea party set. (Via Booooooom)
London based artist Rachel Dein creates fossils from everyday objects. She allows herself to preserve tangible pieces of the present as keepsakes for the future. The simplicity of the work adds to its honesty and preciousness. Dien studied as a propmaking apprentice at the English National Opera, giving her quite a extensive knowledge of object creation. Her “fossil” project began with the desire to preserve a sentimental bouquets of flowers. Her process has now blossomed into a practice of creating beautifully adorned tiles. She takes cherished, perhaps fleeting, objects and allows them to exist eternally. Her work is created with a fairly basic form of casting, yet allows her to capture delicate and intricate details. She learned the process from a glass blowing class in art college, during which she was told to press shapes into wet sand and pour molten glass over the impression. After that, she began experimenting with clay, plaster and paint, and found her way to the tile making process she uses today. Each of the molds she creates can only be used once, and therefore each piece is a unique, personalized object. Her work is undoubtedly graceful, and in a slight sense, almost whimsical. The process of casting has a long history, and despite her creating in the preset, her objects tend to feel as if they have come from a deep rooted past, truly capturing the feel of being a “fossil.” (via deMilked)
His passion for mathematics has led Zachary Abel to create geometric, science inspired sculptures made out of random elements. Paper clips, binder clips, playing cards and toothpicks are assembled according to specific formulas.
From far, the round sculptures appear uncomplicated to achieve. In actuality, Zachary Abel uses small needle-nose pliers and a schematic layout. For the Impenetraball project, the ball is comprised of 132 binder clips. The round form is obtained by assembling the binder clips one by one following a flat pattern in order to get a hollow centre and a filled surface. The designs have been so popular the talented engineer had to make a guide on how to construct the binder clip ball on his blog.
Zachary Abel in his Mathematical sculptures series is willing to share his enthusiasm for maths; replacing paint and brushes with pliers and patience. ‘Geometry in particular fascinates me, and I delight in discovering hidden patterns even in the most mundane of objects.’
Paintings by Glenn Brown are literally a blend of art references and a contemporary vision. Gloomy in the choice of subjects and bizarre in the colors used, the pictures resemble mutant depictions of grotesque figures.
Glenn Brown has a unique technique. He borrows images from subjects that have already been painted by masters such as Salvador Dali, Frank Auerbach, Rembrandt and unknown artists of mass market science fiction paperbacks. Taking his subjects directly from books or the internet, he then digitally retouches the features of the characters. Using Photoshop, he enlarges, crops and makes the necessary changes on the details he feels will give another outlook from the original version.
Paint is then applied to the altered picture. The artist’s brush strokes are thin and swirling on the canvas, creating a flat surface with a ‘trompe l’oeil’ effect. Glenn Brown exaggerates the flesh tones which counteracts with the kitsch color scheme. The rendering is wild and singular.
The artist is fascinated with the transformation of a reproduced picture. He is channeling new emotions from a subject that has already created previous sensations. Although his method has been used in the past by renown painters such as Picasso with the Velasquez’s Las Meninas, he is the only one who is impacting the original pieces he is working with. The soul of the paintings is dark and willing to connect with another dream world which, according to Glenn Brown would be welcoming different layers of unconscious fantasies.
Mexican born artist Ana Teresa Fernández “erased” a portion of the U.S. and Mexican border. Using a fifteen foot ladder, a spray paint gun and a generator, she painted a portion of the metal wall that separates Playas de Tijuana and San Diego’s Border Field State Park. By applying a powder blue paint, Ana Teresa Fernández was able to create the illusion that some of the border had disappeared into the sky. During her performance she wore a “little black dress,” representing the Mexican tradition of “luto,” which is to wear all black for one year during a period of mourning. This act is the artist paying homage to the hundreds of thousands of people who have lost their lives attempting to cross the border, getting to the true heart of the matter. Border patrol between the United States and Mexico has been a controversial topic for decades. Depending on which side of the border you are on, the large metal wall means something drastically different. For many Mexicans, the border represents being kept from opportunities and the ability to have access to a better life. Despite the project having nothing but optimistic intentions, the artist did face some objection. In the middle of painting, Ana Teresa Fernández was stopped by the police who attempted to arrested her. However, after a half an hour of explaining her concept, she was let go. Following the projects completion the artist received hate mail and was called a “Mexican terrorist.” She believes her project is feared because it “re-contextualizes a possibility” of peaceful coexistence.
Characters running, cycling and jumping; stuck in one moment. The Korean artist Duck Bong Kang is freezing time with his stacked PVC pipes sculptures. It’s his way at looking at speed and condemning the need for human kind to strive for it.
‘My work begins by attempting to capture this absurd desire that we have for speed.’
Duck Bong Kang and his futuristic vision. A multitude of PVC pipes grouped together and spray painted with urethane paint. A cluster of plastic enhanced with gradient color tones. The uneven pile of pipes and the gradient add to the speed effect the artist is trying to capture. The lines are blurred and the details cannot be perceived. The rendering creates an optical illusion that attracts the viewer’s curiosity. Where is this character’s headed?
The artist’s purpose is to pause the motion and to connect with the viewer. He is questioning through his sculptures the necessity of speed. And if the race between each other doesn’t end up by making us feel insecure. ‘More’ seems to be the enemy according to Duck Bong Kang. Once we’re settled at our current pace, whichever that may be, we are always looking to speed up and that’s a dangerous quest. Both physically and emotionally.
While speeding, our soul is not enjoying the flow of our lives. It focuses on getting power and it degrades its moral values. The artist is asking for an inner introspection on whether living an accelerated life is a risk worth taking.