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Close your eyes. Imagine a Drive-In movie theater, huge projections covering a massive wall. Now imagine that the projectionist is sitting in a van and has no permission. Instead of “Invasion of the Body Snatchers”, the projection is of some face melting graphics, like the above video. That’s what you get with the work of Taras Hrabowsky. After the jump, you can see some documentation of these guerilla projections. Keep your eyes peeled, as Taras may be coming to a city near you with this cross country tour.
While Jack Sawbridge was studying architecture at the University of Nottingham, he became interested in sacred geometries and the ratios and styles associated with the form. He often finds pre-existing pieces of wood to use as his starting point before constructing their formal geometries. Sawbridge then integrates light, guitar strings, and/or glass sound tubes, giving these seductive forms a function. These beautiful works are fully operational and patrons are even allowed to experiment with them. Sawbridge’s work articulates the meticulous and delicate balance of architecture and sculpture.
E.V. Day is a New York-based installation artist and sculptor who knows how to stimulate the senses while engaging the mind. Recognized for her bold explorations of gender and sexuality, her works ooze with a critically-engaging — and sometimes grotesque — erotic energy. This particular series is an ongoing project that Day began in 2003, and it features intriguing combinations of animal tongues, clamshells, and resin. Drenched and dripping with saliva, muscular tongues extend out of and into open, opalescent clamshells. Some are mounted on walls, with piercings and chains pulling them together; one even incorporates a nylon thong, which has been made to look grossly visceral. Most of the sculptures feature a glistening pearl as a finishing touch.
It goes without saying that the sexual imagery in this series is intensely palpable — the tongues are seen as phallic, and the clamshells and pearls evocative of female genitalia. However, Day’s work goes beyond representing biological sex in a reductionist way, and in fact resists such dualism. As her biography states, her work is aimed at “transform[ing] social stereotypes and playfully illuminat[ing] contradictions of gender roles by re-animating the recognizable into new forms and new meaning” (Source). With tongues and clams, Day has constructed a clever, dark, and almost humorous subversion of the male/female binary by creating abstract hybrid pieces; we identify sexual symbols in her sculptures, but they are fused together, interacting in surprising and unexpected ways that challenge heteronormative representations of sex. The fact that they are animal tongues adds an additional layer of categorical ambiguity and discomfort, but — aside from the initial shock and aversion — the result is a set of artworks that provoke us into reinterpreting the body’s relationship with sex and desire.
Visit Day’s website for a catalogue of her varied and fascinating work. Well-known for her suspended sculptures, other projects include animal skeletons hovering in dynamic poses, and a wedding dress exploding into abstract shards. More tongue-and-clam hybrids after the jump.
For three nights the sky above Woodward Avenue in Detroit was filled with bellows of smoke and light as the artist studio Minimaforms transformed the Detroit Institute of Art into a transient light environment. The ephemeral clouds acted as smoke signals, each cloud carrying a unique message and story. Memory Cloud Detroit was a platform that offered the people of Detroit an opportunity to engage in a dialogue about the city. This interactive space animated the DIA Woodward entrance with stories collected from the public. During the two weeks leading up to the event, messages consisting of memories, stories and personal aspirations for the city of Detroit were collected and archived on-line at Voice Of Detroit. Each individual expression became a part of a continuous story about the city, a narrative written by participants over the duration of the project transforming the steps of the DIA into a dynamic space for communication. Audience members were also able to contribute messages via text-message during the performance each night. These collected text messages will be added to the Voice of Detroit archive, becoming part of an evolving diary and a voice that will speak of Detroit’s past, Detroit’s present and Detroit’s future. An archive of collected stories and documentation of three day performance will go live at Voice Of Detroit in the coming weeks.
Carolyn Lefley uses photoshop to superimposes her photos of the outdoors on her photos of the indoors, creating hybrid images that combine our constructed environments with our natural environment. Lefley’s artist statement reads:
I make photographs that depict a world that floats between reality and fantasy, between believable spaces and sites of make believe. I am interested in the relationship between literary fiction and fantasy stories and the inherent make-believe qualities of a photograph. Photographs are windows to another world and as such have a magical quality to them. In my new work ‘Realm’ I have created digitally altered photographs, where the familiar place of the home becomes a portal into mythical realm. This fascinated authors such as C S Lewis and George MacDonald. The realm of Narnia is entered through a wardrobe and the layers of fur coats inside which become trees.
Although she doesn’t state it herself, her images seem to be searching for the link between our place in nature and our feeling of belonging in our home. At this point, humanity has all but detached itself from our natural habitat, fighting to block out the chaos of the natural world with walls, ceilings, and floors. As she states, her photographs act as a window to a fantasy where we can feel at home in the natural realm, and reconcile our longing for reassurance in a world that is in reality, beyond our control. (Via I Need a Guide)
Jon Fox, artist from the South coast (near Bournemouth,) usually works with the issues of emotion, where the mind is often at war with the heart. He creates a world of conflict, tension, and drama that his characters must confront.
Tova Mozard’s works elicit the uncanny feeling of cinematic conflation and collapse. They’re like stills straight out of dreams you can’t remember, surrealist, hallucinatory, at times slightly comedic in their implausability. They all, somehow, seem to deal with mortality, what lays behind the curtain, absence, death, the supernatural…there is a haunting Lynch-ian tendency that I like too. In particular I love her photo after the jump of Pappy and Harriet’s restaurant, in Joshua Tree…a cheery bbq joint with country bands I have been to many a time…though I almost didn’t recognize it as Mozard makes it look like an ominous place from a horror movie. Many look like lost out-takes from Twin Peaks (she did name her solo exhibition after the Giant’s message to Agent Cooper….”the owls are not what they seem.”) I also like her ’cause she’s Swedish. Unsettling and seductive.