Hawaiian artist Jared Yamanuha takes his own photographs of iconic Hawaiian brands and images and expertly cuts finely detailed shapes into them. For these pieces, Yamanuha treats the photographs as raw material, applying the most amount of detail and intensity as possible.
“The whole collection is centered under the idea of ‘omiyage’ or the Japanese act of bringing small gifts back to friends from abroad. All of the pieces in my collection make reference to that tradition,” said Yamanuha. “I feel that I was able to authentically showcase a slice of Hawaii.”
Yamanuha most recently had his work featured at In4mation in Honolulu. In February and March of next year, Yamanuha will also be showcasing his work in San Francisco at the Museum of Craft and Design. (via booooooom and in4mation)
Ernesto Neto’s installations ache of a strange dreamy womb I’m sleepwalking towards, one that promises 100 years of hibernation, an extended respite that is sensually comforting and yet also terrifying claustrophobic. It’s a peculiar feeling– a mushy feeling, a propelling and repulsive feeling, or push and pull, that I can’t stop leaning into.
I am not my body, yet I am my body.
Unintentionally echoing motifs in David Cronenberg’s psychological horror films, Neto’s “beyond abstract minimalism” worlds seem to confront the dysfunctional relationship we have with our internal and external selves, and the weeping orifices that connect us to one another on a physical and emotional level. Each path is carved viscerally, interactively– ideally, playfully, but admittedly, horrifyingly in our own image, resembling internal organs and wads of flesh and goo. We are attracted to this, and this attraction is disturbing.
Of his work, and perhaps of this feeling I’m describing, in an interview with Bill Arning, Neto states, “Do you understand the word sacanagem? It’s a Portuguese word that does not translate well. It is beyond flirting. It’s after that, in that moment when both of your faces change into something else because the erotic charge is so high, when your bodies move towards each other. I wanted the work to manifest sacanagem without talking about it. It’s all subtextual. My work is first and foremost a contemporary sculpture; it speaks of the finite and the infinite, of the macroscopic and the microscopic, the internal and external, by the masculine and feminine powers, but sex is like a snake, it slithers through everything.”
Peter Pincus is a New York-based ceramic artist whose relatively simple forms are punctuated by blocks of color. The clean and modern pots, urns, and cups are mostly gray with accents of blue, yellow, salmon, and more that are laid side by side in thin strips. Occasionally, gold lines the edges.
The forms are very structured, as are their designs. Colors are evenly portioned and thin lines, contrasting-colored divide gray sections of the ceramics. If we were to remove the surface designs from the clay, they could stand alone as abstract paintings. And, that’s partially the point of Pincus’ work. He writes in an artist statement:
I produce three-dimensional paintings out of pots. The studio challenge is to determine a way to create containers that belong not only on the dinner table, but also elsewhere in the home. Many of my pots are status symbols saved for special occasions, generally deemed distinct because of the value of what they hold rather than for what they are. But to me, in between such occasions, they become canvases that visually illustrate the defining spirit of the times, despite their being utilitarian and made of clay, not canvas. They still need to do their job; to be genuine, they must be functional as well as opulent. But they can be so much more.
Brooklyn artist Leon Reid IV (in collaboration with Poster Boy) is the man behind the “Hot Off the Press” Showpaper distribution box (pictured above), a functional newspaper box that melts into the pavement outside Printed Matter in NYC. Reid, who creates humorous, public installations that have been placed in cities all over the world, is apparently trying to put a giant spider on the Brooklyn Bridge now? Whether he’s manipulating elements already in existence (like the George Washington statue in Union Square Park) or introducing new material onto the street, Reid always brings sharp social commentary with a strong visual punch. While you wait for the spider, check out some of Reid’s past projects after the jump.
Always Fascinated by pop-up books, Thomas Allen displays an infallible talent for the creation of the illusion of three dimensions, using old pulp fiction books as the subjects for his sets.These books tattered covers and yellowed pages are not mere objects to display on a shelf, for the artist but a prodigious inventory of actors and scenes, just waiting to be directed.
Allen patiently cuts out the figures, freeing them from their two-dimensional state: the actors are then raised from the covers and come alive thanks to skillful use of lighting and the camera’s lens. Bent and positioned, the scripted drama is staged, bringing to life the stories written and not written in the books that act now as the stories stage.
These installations of Jason Peters began with garbage. While driving he spotted many of these buckets – the five gallon type often found in hardware stores. Soon Peters had collected hundreds of them. His installations utilize these buckets to form huge winding installations. The stacked buckets snake through large gallery spaces lit from within. In his statement, he says of his work:
“By using large multiples of discarded items in repeating designs that establish unexpected patterns, societal cast offs are made beautiful through the alliteration of form. Once removed from their traditional context, the objects’ interaction with the environment becomes unpredictable and unstable”