Since the internet, the never-ending evolution of words and phrases changes like the blink of an eye. These neon signs were created from the messy scrawl of Seattle-based artist Dylan Neuwirth. Plucking from modern day “web speak,” Dylan has made a collection of glowing emblems that mark our point in history, almost to the second. There’s nothing more attention grabbing than a neon sign, and this installation illuminates the oddities of modern day speech in a playful way. The universal appeal of this work is enhanced by the statelessness of it; words and phrases not directly from any one region or culture, but drifting out from the collective voice of the internet.
Neuwirth describes where he fits into it: “I see myself not as a regional artist or attached to any one place… I want to be everywhere. Make work that looks like it could be anywhere. To be singular and be synonymous at the same time. Like a totally underground electronic artist who infiltrates the top charts only to return to the murky depths again.”
You can’t help but think: what slang will we be using five years from now, one year from now, or even a month from now?
In the ‘Spin Series’ artist Paul Henry Ramirez addresses social and aesthetic issues with abstract paintings. Each painting is set on a turntable and the audience is invited to rotate the painting. Ramirez creates a collaborative relationship between viewer and artist by making his paintings interactive. This makes it possible for the viewer to find the ‘internal logics, tensions, and interactions that order the multiple parts of the constructed configurations’. I really enjoy the image of the painting as it is spinning, but also like the sexually implicit imagry that emerges from the paintings when they are static.
A collaboration (of sorts) between Mother Nature and Los Angeles-based artist Emilie Halpern, Shōka, Halpern’s current show at Peppin Moore, has been on view since the autumnal equinox on September 22nd, and it closes on the upcoming winter solstice on December 21st. The exhibition has three stages, which is a concept derived in part from the shōka style of ikebana, the traditional Japanese art of floral composition. The shōka style, cultivated in the Ikenobō school in the 15th century, is a minimal description of the universe in three parts: the earth (地), the heavens (天), and humanity (人).
The first part of her exhibition titled 地 (pronounced chi, meaning ‘earth’) consists of fluorescent rocks set up in a rectangle according to the proportions of the gallery. In the day, the lights appear to be minimal earthwork. At night when exposed to black light they become fluorescent.
Part two was titled Shōka 天 (pronounced ten, meaning ‘heaven’) and it documented the sunlight in the gallery on the first day of the show. Gold leaf marks the gallery space at the time when diret sunlight hit the interior on October 26, 2013.
The final part of the show is 人 (pronounced jin, meaning ‘human’) and it consists of a collection of Halpern’s pottery works. Representative of the human interaction and manipulation of the two prior elements, pottery is an apt culminating medium.
Halpern’s exhibitions are the final for Pepin Moore Gallery.
As you all know we have a very active Flickr Creative Pic Pool filled with creative work from all over the world. Yan Copelli is just one of the many talented artists that we found while going through the thousands of images one late night. Yan’s delicately drawn and extra funny illustrations have just the right amount of humor and gross-out visuals for us. Check out his Flickr page and his site and hire him to do your next shirt graphic, put him in your next group show, or even better put down some cold hard cash and add his work to your collection.
Was perusing FAIRspot the other day and discovered Edvard’s Scott’s hypertastic digital extravaganzas. They look like mystical maps to strange new (video game) worlds. Fairspot also recently did an in depth interview with Edvard, you can read it here.
Mike Calway-Fagan’s collage work mixes dissimilar photography with a sense of urgency. The artist asserts that his works hopes to ‘critique complacency and aestheticise catastrophe’ by creating dis-ordered imagery that evoke disaster. See more after the jump.