Caterina Rossato creates 3D layered landscapes out of old postcards. She seeks to evoke both the familiar and the alien, the specific and the general. “I create landscapes made through a collage of other landscapes, combining images in which the sense of recognition of reality slips from one level to another and it is never clearly identified,” Rossato says in an artist’s statement.
The series, named “Deja Vu” plays with the idea of recognition and the sensation of recognition. Rossato explains:
“The déjà vu is a psychic phenomenon which is part of the forms of alteration of memories (paramnesie): it consists in the erroneous sensation of having seen an image or of having lived previously an event or a situation that is occurring. Although improperly, it is also called ‘false recognition.'”
It’s interesting that she chose to use postcards, which often enable us to live vicariously through friends and family who are traveling abroad. In a sense, we’ve heard about the locations and they are familiar to us in name and description; however, we often haven’t traveled to those distant lands, not enough to know them personally or to have seen them up close. In a way, Rossato’s work brings up the question of how we can truly know something — or know that we know something. (via I Need a Guide)
Erwan Frotin’s STRANGERS series captures the flowers of Hyères (Flora Olbiensis), the dramatic and highly specialized world of plants in the region around the Villa Noailles—known as a birthplace of Surrealism—and pictures them in a fresh and invigorating way with closer ties to portraiture than a biological cataloguing of species His is a contemporary take on the genre of still life, fusing organic and inorganic materials to form unexpected results. In these images, one truly comprehends the flower as the perfect union of form and function.
The flowers of Hyères are magnified and recorded carefully by Frotin’s camera. Only one plant ever occupies the frame, and each individual plant’s colors and shapes are heightened with the use of vividly colored graduated backgrounds that glow and pulse with energy. The recontextualization of the flowers momentarily confounds but then becomes clear to the viewer, evoking a feeling Freud described as “strange strangeness.” Removed from their natural matrix, isolated in an artificial field of color and captured for posterity, Frotin’s flowers are the converse of traditional notions of their ephemeral beauty in nature.
Thread used as a mean to draw. German artist Annegret Soltau traces her face and body with a linear thread. Joining the eyes, nose and mouth to create a web that’s structured in different shapes. Some of the webs are harmonized with the face, others are claustrophobic. The artist is posing herself, claiming that “I am using myself as a model because I can go the farthest with me.”
The tension of the thread is an analogy to the relationships she encountered with her family members in her childhood. The strenuous connection with her mother and the heavy absenceof her missing father added to a grandmother forcing her to knit instead of doing the things she liked, weighed on her ability to cope with emotional strain. She admits that without her isolated past she couldn’t have followed the path of art.
The result is a series of portraits questioning the meaning of metamorphosis. Annegret Soltau’s method is intriguing and captivating but her focus is on the result. Her art acts as a deliverance. In the video below this article, we witness her expression while the thread is wrapped around her face. We wonder if she is feeling torture or a painful pleasure. It’s a process close to self-mutilation. Releasing energy by pulling the thread on her face marks a renewal, the abandonment of negative emotions. (via INAG).
Everton Wright (aka Evewright) has been designing and orchestrating these “Walking Drawings”, a series of huge-scale “drawings” carried out by people (and sometimes horses) who interact with the natural landscape in a way that is regimented. The end results are striking designs that snake across the earth. Wright films the creation of each piece, and the documentation becomes a part of the artwork. (via)
New York-based artist Brian Dettmer’s sculptural, multi-layered books are so intricate that they require him to use surgeon tools in his process. He carefully carves illustrations and text out of old medical journals, dictionaries, maps books, encyclopedias, and more. Nothing inside of the books is implanted – pieces are only removed. The idea is that these subtractions will reveal new histories and memories now that the story and context has changed. Dettmer sees his work as a collaboration with the existing work’s past creators.
He writes about his creations, which are a comment on the changing landscape of technology. From Dettmer’s artist statement:
The age of information in physical form is waning. As intangible routes thrive with quicker fluidity, material and history are being lost, slipping and eroding into the ether. Newer media swiftly flips forms, unrestricted by the weight of material and the responsibility of history. In the tangible world we are left with a frozen material but in the intangible world we may be left with nothing. History is lost as formats change from physical stability to digital distress.
The richness and depth of the book is universally respected yet often undiscovered as the monopoly of the form and relevance of the information fades over time. The book’s intended function has decreased and the form remains linear in a non-linear world. By altering physical forms of information and shifting preconceived functions, new and unexpected roles emerge. (Via Demilked)
NYC based artist Norman Mooney makes works that are at once physical and metaphysical. His works explore the elemental and cyclical synergies of nature. Materiality, pattern, scale and experience are key concerns within his practice. Although he works in a wide array of materials his massive burst sculptures are completely jaw dropping. Radiating from every angle these incredible explosions shimmer and shine like a star far off in the galaxy. (via)
Mazzarella Thomas is a Belgian artist whose paintings look like screen shots of wacky video games, where the point of the game might be getting your characters to break down the door to a fancy building with people swimming on the roof, or to take a nap and then play super nintendo. I don’t know if this is a stoner or a dork aesthetic, but I like it either way. He describes his work as having a message “social and human.”