We are comparable to moths. This is what I think Bernardi Roig is doing with his mixed media pieces: allowing us to see our own attractions to the glowing lights brought forth with the Information Age. From computers to iPhones to tablets– our desire is instinctual or . . . mindlessly animalistic. I’m thinking here also about near death experiences: going towards the light. Remember that iconic scene from Poltergeist? Carol Ann. This too. It’s not about where our bodies gravitate or evolve, but how we speak to the light and what we leave behind as we travel towards it.
Blending the natural with the artificial world is Philip-Lorca diCorcia’s bread and butter in photography, and this applies not only to his staged documentary subject matter, but also his lighting. Whether it’s incorporating neon signage, cheesy ballroom glowing fixtures, another camera’s flash, or even a hidden light in the pavement, each technique helps shine a light on the ordinary as extraordinary from business men to hustlers– the majestic glow does not discriminate.
So, before the day gets too stressful, let’s relax with a little meditation on each powerful mesh of light. Feel free to share your own favorite lighting tips or tricks in the comments as well.
From setting hipster traps to designing tourist lanes on sidewalks, Jeff Greenspan’s work consistently employs a certain playful cleverness that questions our social norms in relation to spaces, New York City in particular. The Statue Experiment (pictured above) is no exception. Examining our own reality as far as engaging with art and its contextual expectations is concerned, Greenspan adds a little bowl of change in front of Frank Benson’s statue for a whole new effect. In fact, it just might be the best street performance art performed by an actual object . . . or maybe it’s the audience members who are the real performers? Click on the video after the jump to see what we mean.
A. Ruiz Villar parcels out space in relation to geometric positions, with minimal pops of color threaded throughout. His subtle gradations of white give special depth and age to the work so imagery doesn’t feel flat, but formed, or architecturally emerging. These vibrant compositions are not easy to visually choreograph– however, Villar makes it look beautifully accidental and organic.
Of his work, Villar’s stance seems like a conceptual mash-up of science, math, and poetry, suggesting it “revolves around the quest for a language akin to the following factors: 1.1.1. Provisionality (doubt): Lack of an evident purpose. 1.1.2. Continuity: There are silences, there’s no rest. 1.1.3. Uprootedness: There’s no commitment to technique, structure, or materials.”
Born in Tehran, amidst the 1980s political suffering and strife, Nouar’s family fled to Germany and then the US, where she resides today. Her oil and acrylic paintings touch on vintage commercial Americana with a sinister twist– but without being too cynical. Instead, each dollop of cream or slice of pie provokes a more tempting side of advertising, where the taste of nostalgia and its childlike promises are the main indulgence.
On this theme, the artist elaborates, “I have always been completely fascinated by our massive consumer culture and often feel everything around us is a commercial, constantly manipulating us into desiring things we don’t really have a need for, or shouldn’t want in the first place.”
In his latest series of drawings, Anthony Coicolea poetically engages with the term “pathetic fallacy” or our own egocentric inclination to prescribe human characteristics or qualities to all living things. His imagery, done beautifully with simple graphite on layered mylar, allows worlds to overflow with new pattens of transcendence despite an archaic old world order.
Of this series, the artist statement suggests, “In a new hybridized world of man and nature, nothing is permanent and nothing is safe. Humans, plants and animals have cross-pollinated; they have merged, evolved and adopted different features from each other. Objects acquire pathos and empathy while the decomposition of material things reflects the world in flux.
Whether it’s hand painted, collaged, and/or sewn together, Jenny Toth imaginatively entwines colorful drawings of the animal kingdom to meditate on a sometimes humorous, and always surreal study of the female condition.
Of her work, Toth states, “For many years I have been intrigued by the way women artists choose to depict themselves. Like many other artists, my view dramatically differs from a historical approach to the female model. I choose to include elements not traditionally viewed as beautiful—for example, a deformed toe, hairy legs, unkempt hair. However I have no interest in shocking the viewer, but seek to share my honest, uncensored observations. I have always been allergic to pretense and slickness.”
With funny fake titles that satirize the real thing, Harland Miller paints a colorful collection of paperbacks which function as a shrine for predictable literary personalities from Waugh to Hemingway . . . and he doesn’t stop there. He also gets personal, implicating his own self-titles into the mix, adding a whole other autobiographical subtext that is both playfully light and familiarly bold.