The installations of Katharina Grosse are disorienting in scale, color, and material. Her use of color is wild bordering on violent. Brightly colored paint is sprayed over any surface the artist pleases, from the floor to walls and windows. Huge heaps of painted dirt fill the gallery space transforming the space from an architectural to a geological one. The dirt, paint, and various objects seem to intentionally undermine the white box that houses the installation. Her installations raucously question the very space they inhabit by allowing visitors experience it in a transformative way.
Thierry Dreyfus doesn’t hang his art on the gallery wall, but instead splits it. His Rupture installations use the white box gallery space as a starting point. The pristine walls seem to have cracked and slightly seperate as if it were a tectonic fault line. Inside is the craggy masses of wall bathed by a warm golden glow or a cold silver light. The fissure encourages the imagination to speculate on what lies beyond the walls. It is interesting to notice how the color of the light colors the imagination in connection with the ruptures. While the golden crack nearly conveys a fairy-tale like curiosity, the silver rupture has a menacing sort of undertone.
The installations of Dominique Pétrin are visually overwhelming. Images, patterns, and designs seem to cover every as much available space as possible. Walls are plastered from floor to ceiling often even covering ground. Her expansive installations overlay the outsides and insides of buildings alike. Pétrin accomplishes her pieces by using large silk screened panels of paper. The imagery recalls an internet of the early 90′s – a time when the overabundance of information and imagery the web had to offer was only beginning to come clear.
The artwork of Jillian Salik offers up understated surprises. Her new exhibit DUEL TINT features frames, window dressing, and other wall fixtures adorned with baroque ornamentation. However, the typically gilded and gaudy colors that typically accompany such adornments, the reflections and windows that should fit in such frames were no where to be seen. Salik only offers the bare structure of the frames and ornamentation. Also, Salik makes an interesting choice of material: cardboard. She contrasts high-society trimmings and embellishments with a decidedly “low” material and digital production processes.
Katya Grokhovsky‘s series Untitled Heroic is deeply complex and familiarly conflicted. For the series Grokhovsky makes use any medium necessary – photography, performance, video, and even a cardboard cut-out installation. The artist seems to attract and repel. The series is at once confrontational, seductive, and wonderfully volatile. By way of her statement, Grokhovsky says that Untitled Heroic is, “A series of performances for photography and video, culminating in a large-scale cutboard cutout installation, whereby a female artist is dealing with frustrating desire to both attract and reject the notion of a male gaze.” Grokohovsky’s work is also the subject of an upcoming solo exhibit at New York’s Galerie Protégé.
Australian artist Ian Strange‘s ambitious project two year in the making is difficult to pin down. SUBURBAN isn’t quite installation, photography, performance, or video art – its really more than all of these. The project is really Ian Strange’s investigation of and interaction with the idea of suburbia. The sidewalk, front yard, middle class, ubiquitous rows of homes have grown with a generation of young people, and now with a second and third. The neighborhoods and houses themselves have become symbols of something beyond their function that Strange’s work seems to seek and find. Check out the video to get a preview of the upcoming exhibit.
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.