Check out the artwork of Japanese artist Takahiro Iwasaki. “Not only are his small buildings and electrical towers excruciatingly small and delicate, but they also rest on absurdly mundane objects: rolls of tape, a haphazardly wrinkled towel, or from the bristles of a discarded toothbrush. Only on close inspection do the small details come into focus, faint hints of urbanization sprouting from disorder.” (via).
The slick site specific installations of Megan Geckler beam and bounce of walls like lasers. Her installations’ ultra clean geometric forms and bright colors nearly hide the personal quality to the work. The plastic rays are actually made of flagging tape – the kind you find just off the sidewalk typically used by surveyors. Her installations intentionally bounce between art and design, industrial and hand made, cold and personal. Also, just as her work shifts conceptually, it also shifts in shape from angle to angle. Strands at one angle interact with strands at other angles as a viewer moves through the space. [via]
The Spanish collective Penique Productions creates massive installations that at the same feel nearly weightless. Using fans and colored plastic the collective entirely covers a selected space in a bright hue. Though the concept is relatively simple, the space feels totally transformed. The space and its furnishings are stripped of all their details and reduced to a set of shapes. Penique’s Productions create an interesting way to investigate familiar places. Interestingly the collective says regarding the installations:
“It works the relationship between fullness and emptiness, creating a dialogue with the space it temporarily inhabits.”
Its difficult to say whether the drawings or the machine is the work of art here. Artist Eske Rex created the Drawing Machine which in turn produces ink drawings. Two pendulums are attached to an arm which is equipped with a ball point pen. Once the pendulums are set in motion the arms record the contraption’s movement by creating a singular work of art. Beyond each piece’s pleasing aesthetic is something just as intriguing. In a way, each drawing documents a very specific movement and time.
Shan Hur‘s sculptures interact with the gallery space in a unique way. He embeds his sculptural work inside walls and pillars throughout the space. Each piece almost seems if it is in the middle of being excavated right out of the gallery wall. In this way the sculpture brings the entire gallery into the work of art, and by extenstion its visitors. Interestingly, Hur says of his work:
“One of the issues I have focused on is how to reduce the burden of the volume of sculpture. I then connect this mass to its surroundings, but not just as part of the whole. I think sculpture should communicate with its circumstances.”
This installation of Martine Feipel and Jean Bechameil is as much about the structure as the empty space within it. The installation’s title Le Cercle Fermé, or the Closed Circle, offers a clue. Like a closed circle Feipel and Bechameil offer a finite space that in some ways look familiar, much like a home. However, the artists playfully alter the structure and its furnishings to throw viewers off balance. The warped rooms make visitors acutely aware of the space and how they interact with it. In a way this calls to mind more benign spaces like bedrooms or kitchens, and encourages us to consider how such familiar spaces influence daily life. [via]
The installations of Finnish artist Kaarina Kaikkonen are surreally familiar. Her work seems to take the familiar domestic scene of clothes drying on the line to its wonderfully illogical end. It’s easy to get lost day dreaming about the many people that once filled the second-hand clothing. For Kaikkonen, this exercise and her work are intensely personal – her father died in front of her when she was young and the installation became a way of processing her emotions. Indeed, the clothing acts as a kind of physical manifestation of memories for Kaikkonen – sort of the only vestige of a body that otherwise only exists in the mind.
In her upcoming exhibit at Ambach & Rice, artist Ellen Lesperance intently and painstakingly reconstructs the sweaters of feminism’s heroines. Hand drawn and hand knit, the installation serves to attach these women’s politcal ideals and activism to their personal identity. Lesperance lovingly presents the objects nearly as if they were relics. Indeed, throughout the exhibit Lesperance alludes to ancient heroines in connection with these modern ones. In that light, the sweaters become a sort of “soft armor” in a struggle that extends from ancient female warriors to today’s feminist activists. Appropriately, the title of Lesperance’s exhibit is It’s Never Over.