Some of Ann Veronica Janssens‘ work is clearly and singularly about color. For a number of her installations, Janssens’ uses a color film that transforms the light shining through it. She then fills the space with an artificial fog which seems to glow with color. The fog acts as a vehicle to carry the light and spread it into the air of the space; a way to experience color and only color. There is no depth, texture, or line but just color and its saturation. The installations create a dreamy atmosphere when any medium between color and the eye seems to disappear.
The site specific installations Reconnected 1 and Reconnected 2 by artist Philippe Handford can be found on England’s Pendle Sculpture Trail. The pieces are a sort of memorial to the area’s gruesome past. In 1612 Pendle Hill was the site of a witch trail that ended with the execution of ten people. Handford began his work with illegally felled tree. He reconnects the trunk each tree to the stump supported by metal hardware. The trees, though fallen, don’t seem entirely dead or gone. They strangely bend to the toward the earth as if resting.
We’ve seen innovative art made from tape before. The work of Monika Grzymala, though, is ambitious, seemingly chaotic, and even violent. Using over three miles of black tape, Grzymala inundate’s the gallery space. The tape wraps around corners and seems to splatter on to the wall as if it were liquid. Grzymala’s work adds dimensionality to a usually flat material in a way that is surprising and nearly disturbing. By appearing to forcibly occupy the gallery space, the installation compels the viewers to interact with the space in a new way.
The conceptual installations of artist Ole Ukena have a certain subtle humor. However, the installations don’t seem intentionally funny as much as the surprising innocence of a young insight. Each installation seems to pose a simple question that isn’t easily answered. Appropriately, Ukena is also the founder of a foundation that organizes collaborations between artists and youths worldwide. Ukena says of his process;
“I am not limiting myself to one medium. I simply can’t. It’s a constant adventure, finding new materials in the countries in which I travel, encountering objects or phrases that can be transformed into specific, meaningful pieces. While my work often displays a strong conceptual nature, I am also very drawn to the intuitive.This balancing energy forces me to step out of my mind and just create. These forces are like my left and right hand. My works try to create a map of the human mind, in an attempt to tell a tale about the very nature of it with all its possibilities, limitations, irritations, and hopes.”
As a part of his latest solo exhibit, Robert Barta‘s new installation CROSSING HALF A MILLION STARS is impressive looking as an installation. Barta means the number literally. The floor of the gallery space is filled with 500,000 ball bearings – that’s half a million eight millimeter steel balls. However, the installation is also a means to a performance and audience engagement. Visitors are invited to walk across the field of bearings…very carefully. The visitors pay extra care and attention to the typically simple task of walking. CROSSING HALF A MILLION STARS allows visitors to consider the space, their actions, and each other just a bit differently. Really, this theme persists through the exhibit in its entirety.
The artwork of Hans Kotter is decidedly centered around light. Here Kotter creates tubes of lights that appear to stretch on infinitely into the wall. He uses color changing LED lights that shine behind a warped one way mirror. The backing mirror then duplicates the LED lights infinitely. Kotter’s piece are continually changing as the color of the lights gradually shift and as the viewer moves about the room. Though technically constructed from Plexiglas, mirrors, and diodes, it is really the light endlessly bouncing between the mirrors that compose Kotter’s work.
Zander Olsen wraps white fabric around trees to “intervene” with the organic lines of a landscape, often blurring our sense of foreground and background to generate a jarring sense of flatness. Olsen suggests such compositions convey a new “visual relationship between tree, not-tree and the line of horizon according to the camera’s viewpoint.” As a result, the lush wonders of Wales, Surrey, and Hampshire are transformed into beautiful abstract images, with pops of white.
Kristian Burford’s art installations meditate on the postmortem state of sexual arousal without a partner present. Nestled in a messy realistic setting, each carefully constructed wax figure seems to sigh inward, recollecting him or herself after an erotic whim has been satiated. However, the intention does not stop there: it seethes and penetrates with primal implications. Encountering each diorama, our own interior worlds are challenged and heightened as we find ourselves cast to confront not so much nudity, but even more so, our own erotic inclinations as possible voyeurs.