The performances of Zhu Ming are filled with almost a lonely kind of pensiveness. Covered in paint, he enters the bubble often floating on water. The bubble is specially created for the piece and specifically designed to slowly fill with water. Soon the paint is washed off Zhu Ming’s body as he floats quietly alone. The bubble emphasizes the solitary nature of his performance, and underscores ideas of existential isolation. Zhu Ming’s work unfolds silent and strange sort of dignity that is difficult to not project onto life as a whole.
The work of South African artist Mary Sibande is complex much like the identities it addresses. Sibande creates life size sculptures, primarily of black women. The sculptures are arrayed in large ornate dresses which, rather than shed light on the subject’s identity, complicate it. The dresses seem to be a perfect blend of Victorian upper class and a maid’s uniform. Sibande’s grand installations efficiently comment on gender, class, colonialism, and beauty. To further underscore these issues, Sibande arranged for huge photographic murals of the installations to be displayed throughout Johannesburg.
The design studio/street art crew known as Truly Design is truly an expert at creating anamorphic art. The group is playful with both literal and figurative perspective. The Medusa anamorph, for example, does precisely this. According to the myth if a person looked directly at the serpant haired Gorgon they would instantly turn to stone. Perseus was only able to slay the monster by looking at her reflection. Similarly, this Medusa can only be seen from singular perspective.
Paper is a surface used by artists all the time, however we rarely see the true versatility of it as a material explored to the extent that is seen in the paper art featured here by: Ryuji Nakamura, Kyosuke Nishida and Brian Li, Jeff Nishinaka, Tomas Saraceno, Matt Shlian and Jen Stark.
Tomas Saraceno is a master of transforming a space and infusing it with an interactive surreal quality. His installations that are constructed to provide viewers with the experience that they are walking on a cloud are absolutely captivating. The soft dream-like magic of his work is more tactile and intimate, however, in this paper installation Cloud House featuring cloud like formations made only out of smaller geometric matte paper structures.
The artist collective Quiet Ensemble are skilled at making the mundane feel monumental, or at least worth noting. Their installation/ performance art Quintetto is naturally composed of a quintet of goldfish. The little fish may not realize it, but their movements are of consequence. Placed in tall tanks, the vertical movements of the fish are monitored and converted into sound. Each fish is assigned a separate tank. The installation seems to give some sort of order to the random, and in a strange way lend gravity to something that is trivial. Check out the video to see the fish in action in full performance art glory!
This giant snaking sculpture is the Funnel Tunnel by artist Patrick Renner. The temporary sculpture was commissioned by Art League Houston and sits on the esplanade across from their building. Renner’s Funnel Tunnel stretches for 180 feet, open as a giant funnel at one end and tapering to a sharp point at the other. The structure was created using steel and reclaimed wood. The ALH explains, “the sculpture reflects the creative people and businesses in the Montrose area, and is the first of its kind in Houston.” [via]
At Beautiful Decay we are beginning to bring our readers weekend coverage, where we’ll be sharing micro art trends of the unusual and unexpected every weekend. And we figured what better way to start than with dessert?
The work featured here of artists Peter Bugg, Rebecca Holland, William Lamson, Aude Moreau, Navid Nuur and Kara Tanaka demonstrates that diverse ways confection can become conceptual. From the painstaking process of Moreau’s Sugar Carpet (which uses 4,500 pounds of loose Domino sugar) to the haunting ephemerality of Tanaka’s Social Leveler (When Immortality Became Uncouth), the use of sugar as a medium, sometimes in combination with other materials, becomes an expansive tactile vehicle.
Artist Alan Bur Johnson natural motifs often. However, this may be his work at its most creepy. Johnson’s Progeny series begins with photographs of winged insects. The photographs are transferred to transparencies and affixed to the wall using insect pins. Progeny allows viewers to inspect the insects up close, afford creatures we’d otherwise dispose of more time, and give some thought to taxonomy, the exercise of classification. Interestingly his statement says in part:
“Whether an image, memory or specimen, each is meticulously dissected, altered and restructured. Referencing physical structures and the pulse of living cycles, his work documents fleeting occurrences, which typically transpire unnoticed.”