Kunihiko Nohara creates lofty sculptures whose subjects hover between the earth and sky. Using a single piece of wood for each of his pieces, Nohara replaces clothing with clouds making his figures seem ready to take flight in a hot air balloon.
Nohara’s works have earned him the name “The Cloud Man” in Taiwan. But while this name visibly connects him with his works, the clouds also mean something else to Nohara. In interviews he says that clouds are emblematic of his practice in that he often feels “blurry” within his own thoughts. Dealing with this space of fuzziness between thoughts and dream, he further says that his “creations are not necessarily based on fantasy, but neither are they overly grounded in reality – they’re just reflections of my experiences of the world.”
Despite the delicacy and softness of these sculptures, Nohara works entirely in wood and, more notably, only uses one piece for each work. His preference for wood emerged in school but he also believes the use of material aligns his work with Japan’s propensity towards wooden objects, like houses and furniture.
Nohara’s works were recently shown at “Laissez Faire,” a group show presented by Gallery UG at the Luxe Art Museum in Singapore. His sculptures were included with works from 17 other Japanese artists.
Tim Noble And Sue Webster make art that directly addresses the waste and aesthetic vulgarity of advanced consumerism and repositions the litter and gaudiness as a powerful visual allegory of human mortality, love and hope. The duo’s recent monograph British Rubbish, showcases their work from 1996 to present day in all its meticulously crafted glory— including the die cut book cover itself revealing the portraits of the artists.
Extravagant, irreverent, and always sharply clever, British Rubbish is both a paean to and sly denunciation of conspicuous consumption.
Hedi Xandt is a multidisciplinary creative who has a formal graphic design education, but doesn’t see himself limited to this field – his work takes the form of fine art paintings and sculptures. Xandt’s three-dimensional pieces are visually powerful and conceptually compelling. They feature busts and skulls composed of gold-plated brass, polymer, distressed black finish, and marble. The gold acts as an accent that adds an element of terror to the work, such as giant spikes or dripping blood.
The skull and bust are symbols of both art and humanity, and the aggressive nature of Xandt’s sculptures makes it appear as if he is rejecting these classical notions. The sleek and stylish “killings” coincide with his philosophy about creative spirit. Instead of mastering one thing and sticking to it forever, Xandt favors a more fluid approach, writing:
I think that the main and most important aspects of my work are creativity and concept. Being permanently on the experimental side of thinking and creating, I seek to add to my skills with every piece I begin. Learning-By-Doing, this awfully overused term, applies to me just as well as Doing-By-Learning. The unison of knowledge and skill provides me with inspiration and a broad foundation to be used as a starting point for any kind of project. (Via Inkult)
Michelle Ramin starts her gorgeously rendered drawings by photographing friends in various situations wearing ski masks. These images are used as metaphors for twenty-something hipsters playing dress-up to make the banality of the 40-hour workweek seem more enjoyable. Discussing the need to both hide and reveal ones unique identities, Michelle Ramin’s work is certainly one to watch.
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A black and white photograph of a couple expressing nothing but tenderness and love. Donna Pinckley captures interracial couple posing naturally in front of their homes. Nothing should be perceived as wrong in these pictures, yet some people are not only condemning these individuals’ relationships but they are throwing hateful words at them. These can be read below the photographs, “as a reminder of how part of society sees them”.
After taking photographs of young children growing up through life, becoming adults and posing with their spouses, Donna Pinckley encountered a recurrent situation where women got to reveal the loathing comments they were facing because of their partner’s race. Her reaction to these women’s confidence has been artistic. She began to photograph interracial couples and depict their resilience and refusal to let others define them.
The couple are of all ages, and they represent any individuals in any country at any given time. This cold harsh reality is however counterbalanced by the message of hope these couples are giving us, via the mean of photography and the presence of Donna Pinckley behind it. A singular and effective way to spread a notion of tolerance and acceptance. Despite the words, the looks and the attitude towards those relationships, the love and trust created by these couples is bursting and undeniable.