Julien Previeux’sPatterns of Life uses dancing lightsabers to reveal the simplicity and power of gesture. This 15 minute video is a highly choreographed work whose opening section uses light to uncover the essence of human movement. Dancers wired with lights illuminate the darkness and reveal the simplicity of movement.
Part galactic warrior and part neon sign, the dancers fill the space with the linearity of their limbs punctuated by shining spheres that add curvature and depth to their geometry.
But this is just the beginning of Previeux’s exploration of the intimacy of gesture and its implication in a world shared with others. Through what looks like a strenuous eye exam, Previeux demonstrates that eye movements have the power to reveal our thought patterns and perhaps betray our inner world to those who observe us carefully enough.
Also compelling is Previeux’s fascination with walking patterns and our natural tendency to follow the same paths again and again. By mapping the route of a young Parisian woman, where she works, where she lives, and where she goes to school, one of Previeux’s dancers uses tape to create a three dimensional model. Once mapped, her movements, which were assumed to be open and carefree, seem controlled and confined.
Patterns of Life switches between time frames and points of view. In doing so it presents us with various choreographed vignettes. Narrator Crystal Shepherd Cross guides us tranquilly through the intellectual terrain with ease so we can enjoy the grace that is Previeux’s work.
Julien Previeux’s Patterns of Life can be seen at DiverseWorks, Houston, Texas, in “What Shall We Do Next” until 19 March, 2016.
Guda Koster photo series turns fashion on its head, using prints and patterns to evoke both whimsy and existentialism. Her models’ faces are somehow always hidden, conveying a feeling of both freedom and suffocation. A bright palette with bold patterns are eye-catching but also an eyeful, a bombardment of the senses.
In an interview with Art Cart, Koster says, “In our everyday lives we communicate our identity and social position primarily by means of our clothing. Clothing can be seen as a visual art form that expresses the way we see ourselves and our relationship with the world around us.”
Some of her photos seem to recall the innocent days of playing dress-up as a child: In one, the model is truncated and swathed in black, topped by a bright red bow and set against a playful polka dot background. Others use fabrics that are reminiscent of corporate carpeting. Koster’s photos seem to be both an expression of self as well as the impact our environments can have on us, showing the ties that bind us well nigh literally.
“The clothed human figure becomes an integral part of a space or environment,” Koster says. “I am inspired by daily life, but I exaggerate it or I give it a humorous twist.”
Junk artist Rubbish Fairy (Sophie Soni) is constantly hoarding, collecting, cutting, gluing and arranging, yeap you guessed it, rubbish. She manages to take discarded plastic bits and pieces and turns them into wearable, kitschy, technicolor rainbow explosions. Soni fashions together chunky head pieces, masks, breastplates, dresses for different performers, musicians, artists, and fashion shoots. Basically anything that can adorn the body, she has it covered. Her pieces include stunningly ornate chandelier head dresses, or Victorian-style flouncy dresses littered with cheap and cheerful gems, or balaclava masks covered with red silicon lips, pig noses and multiple strings of beads. She has even chopped up soft toys in the past and used their various limbs and heads as different bits of jewelry.
Ms Fairy piles everything on all at once and manages to bask in the chaos she creates. As a comment on consumer culture, vanity, the fashion industry, and the economy of desire, her work is reminiscent of installation artist Mike Kelley. Both manage to exist simultaneously within and outside of pop culture. They heavily reference, and use the resources from the world around them, yet manage to place themselves in an order separate from it.
Rubbish Fairy’s world is a surreal, captivating, all encompassing one – where, if you’ve been in it for long enough, you will start to see the trash around you quite differently. See more of her out-of-this-world creations after the jump.
Deniz Ozuygur’s pieces appear to be completely unconnected explorations. However, the common thread uniting Ozuygur’s varied and imaginative work is that each piece embodies a different character. These characters have their own stories and musings, often derived from the artist’s own past. From Funyuns to balloons, Ozuygur is certainly not afraid of experimentation.
Japanese artist Mr. built an installation in the Lehmann MaupinGallery that is a gorgeous messy heap of cultural garbage/treasure. Using old anime posters, tarps, wood veneer cabinets, bouncy balls and the like, Mr’s installation overwhelms us with the incredible amounts of Stuff we as a society create; a physical version of contemporary internet culture’s constant sensory overload. His show is up for another three days, so if you’re in the NY area, catch it while you can! Press release:
“Mr. has envisioned a complex, chaotic installation that serves as immersive sculpture by forcing viewers to interact with the work and places them in a scenario that is psychologically unsettling. His new body of work aspires to blur the distinction between the interior and exterior through the construction of structures and atmospheres inhabited by familiar objects that are conversely used to communicate the unfamiliar: in this instance, an experience most people have not lived. Viewers are given insight to the psychological state of Japan all the while remaining alien to the experience. Composed of garbage and everyday objects from Japanese life, this installation stands as a reminder of the debris that blanketed Tohoku in the aftermath of March 11.”
Noa P. Kaplan is a visual artist living in Los Angeles, California. Last year I had the pleasure of walking through Kaplan’s giant dust bunny, installed at UCLA. It was a weird feeling, feeling both small and large at the same time… Her larger body of artwork examines the impact of technology on production processes, material structure, and scale. This piece in particular, however, is specifically interested in providing a new scale to something small, a dust bunny, in order to design new associations and emotional connections with the clump of dust that we would otherwise sweep under the rug in disgust. The artist explains the context of this piece so beautifully: “Though mundane, a dust bunny bears unexpected symmetry to the most complex and baffling systems, such as the accretion of cosmic matter or the organization of memories in the brain.”