Nancy Rubins’ Transforms Children’s Playground Toys Into Large-Scale Explosive Sculptures

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NANCY RUBINS ‘Our Friend Fluid Metal’, 2014. Aluminum, stainless steel, 204 x 500 x 281 inches, (518.2 x 1.270 x 713.7 cm). © Nancy Rubins. Courtesy of the artist and Gagosian Gallery. Photography by Robert McKeever.

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NANCY RUBINS ‘Our Friend Fluid Metal, Chunkus Majoris’, 2013. Aluminum and stainless steel, 150 x 192 x 145 inches, (381 x 487.7 x 368.3 cm). © Nancy Rubins. Courtesy of the artist and Gagosian Gallery. Photography by Robert McKeever.

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NANCY RUBINS ‘Our Friend Fluid Metal, Paquito’, 2013 Aluminum and stainless steel, 132 x 168 x 96 inches, (335.3 x 426.7 x 243.8 cm). © Nancy Rubins. Courtesy of the artist and Gagosian Gallery. Photography by Robert McKeever.

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NANCY RUBINS ‘Our Friend Fluid Metal, Spiral Ragusso’, 2013. Aluminum, stainless steel, 134 x 228 x 187 inches, (340.4 x 579.1 x 475 cm). © Nancy Rubins. Courtesy of the artist and Gagosian Gallery. Photography by Robert McKeever.

Nancy Rubins‘ grandiose sculpture exhibition Our Friend Fluid Metal is open to public at the Gagosian Gallery, New York. Famous for her explosive installations featuring re-purposed objects, this time Rubins’ transforms old equipment from children’s playgrounds into dynamic large-scale floating structures.

The title of the exhibition refers to materials Rubins’ used to create her surrealist sculptures. The monumental figures are constructed from recycled aluminum playground toys. But the story goes back even further, as the playful critters (elephants, ponies, giraffes, etc.) were made with aluminum from WW2 military planes. Sturdy and, at that time, cheap material was perfect for making thick children’s playground equipment. For the artist, this flux was a natural inspiration.

“Even before the airplane parts the aluminum was a part of the earth and before it was part of the earth it was probably parts of stars and meteors and things that slammed into the earth.”

The exhibition consists of four massive sculptures, all compound through a system of steel trusses and tension cables. Dimensions vary, but the largest measures 17 x 42 x 24 feet. Despite that, Rubins’ works ten to evoke a sense of lightness and stillness, like someone had pushed a Pause button in the middle of an explosion. Her expressionist take towards unwieldy constructions reveals the fair line between rigid and gracefully fluid.

The exhibition runs until September 13, 2014 at Gagosian Gallery, New York.

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Maciek Jasik’s Surreal Photography Blurs The Identity Of Nude Bodies

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Polish photographer Maciek Jasik creates blurry, colorful compositions that feature both female and male nudes. Jasik’s subjects exist in a surreal, hazy and colorful landscape, one that nullifies their identity but exposes their natural state of being. The artist is particularly interested in conveying privacy, expression through a medium [photography] that, for the most part, focuses on revealing detailed and realistic portrayals.

Inspired by the emotionally charged impressionist painting of the 19th century, Jasik insists in creating work with photographic techniques that more or less do the same as a loose brushstroke on canvas.

“I began experimenting with an in-camera technique to dissolve the focus and saturate the space with color. There were several post-Impressionist paintings there that stunned me with how emotionally powerful they were, with scarcely any detail, I wanted to evoke that same feeling in photography by emphasizing color and movement.”

(via HuffPost)

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Artist’s Digitally Enhanced Photographs Look Like Expressionist Paintings

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Japanese art photographer FUKE P-San transforms his photographs into emotional experiences by applying expressive color palettes. In FUKE’s photographs, color and light becomes the subject of the work, as opposed to an objective characteristic. FUKE photographs the world around him, then uses digital color and light effects to give the photograph a painterly aesthetic, one that mirrors the beauty he sees and feels when experiencing the scenery he encounters. He says, “There is so much beauty in our everyday life that goes unseen simple because we develop a different sense of how we value beauty often influenced by our every day life routine.”
FUKE’s color palette and composition evokes the work of artists like Edvard Munch, Egon Schiele, Vincent van Gogh, and Claude Monet, and registers an emotionality not frequently seen in photographic work; this is largely due to his work’s painterly qualities. He hopes his images enhance viewers’ perceptions of the world, and influences the way they perceive beauty.
“Open new windows in your mind and heart, notice and catch the beauty of ordinary small things, watch them well and find a way to make this beauty even bigger. Find the mystery in everything; feel it and this will open your heart to new worlds that you previously thought they never existed. Art can give us Happiness, and help us communicate with ourselves and others to a higher level.” (via cross connect and life treasure collector)

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Anders Oinonen’s Facial Geometry

Anders Oinonen, of Ontario, Canada, just opened “People people”, a solo show at Cooper Cole in Toronto. For a while now, Oinonen has been pushing the features of the face to new bounds in his paintings. The artist has removed familiar eyes, noses, and mouths from their intended plane, and  inserted them along the lines of an Expressionist landscape.  Such a presentation of the face -associated with communication of our inner life more than any other part of the body- in tumultuous states of despair and incredulity as stimulating blocks of color masterfully applied to canvas arranges a statement which is hard to miss and extensive in depth.

You can also read a copy of Beautiful/Decay Issue: Z to read an in-depth interview with Anders.

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Jiha Moon

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meticulously fluid paintings by Jiha Moon. Most of Jiha’s work depicts classic asian landscapes with lush brushstrokes that at once look like clouds and debris floating through the air and a tip of the hat to abstract expressionism.


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