Improvised Making is and was an interactive installation by artist Dominic Wilcox. Created for the Making Together exhibit in Milan, Wilcox began the installation/sculpture with a single chair. He invited the public to donate sticks for the project and sticks of all sorts were brought to the gallery. Over the course of six days, Wilcox taped all of the sticks as they were brought to him to the chair. Carefully balancing and taping each piece to the structure, he only allowed the four legs of the chair to touch the ground and support the structure. Prior to moving the completed sculpture into another gallery, the structure’s shadow was documented in red on the wall and floor.
These photographs depict the carefully constructed installations of artist Sebastien Preschoux. Preschoux installs his work on location – both in urban and forested settings. He constructs intricate structures of thread that beam from and through the surroundings. Through careful lighting, the pieces resemble lasers scanning the area, or giant spider webs strung across branches. The mathemetical precision of Preschoux’s work contrasts with the unpredictable natural settings they fill.
Critical Objects is a personal initiative of Berlin-based graphic design firm, HelloMe. The project began as a series of explorations that thrive on not having any particular goal. The project consists of a series of objects that transcend a blurry line between artistic sculpture and functional furniture. The beauty of the project is that it remains unknown to the user if these things should really every be used, touched, sat on, or turned on… We have a small collection featured here, so be sure to check out the full series at Critical Objects.
Artist Daniel Palacios‘ sculpture nearly seems alive. A length of rope is attached at to a machine at each end and spun. The spinning rope creates waves against a black backdrop, which are also audible as the rope cuts through the air. Visitors entering the gallery and their movement then influence the rope’s wave. The more a visitor moves in front of the installation, the more chaotic the wave pattern. It’s interesting to note a visitors surprise or sudden discomfort upon realizing their influence on the wave. The sculpture not only reveals a viewers impact on sonic surroundings, but also concretely presents also seems to eerily acknowledge each viewers existence in space and movement.
People are on the move in the installations of Clinton De Menezes. Large crowds of people seem to be trudging through a white field – a snowy plain or salt flat. The exodus, though, plays out on the side of a wall. The South African artist’s model migrations exhibit patience and attention to detail. Each figure is hand painted before being placed and plastered to the wall. De Menezes’ installations illustrate the personal and collective drama of human migration. His work is clearly influence by the ever shifting and complex social landscape of the land of his birth.
The installations of Michel Blazy grow, flow, and froth. Like much of his work, Blazy’s latest installation, titled Bouquet Final, makes use of white foam. Inside a French Medieval church, the foam tumbles from high scaffolding to the floor. The pliable, moving, and ever changing foam contrasts with the sense of permanence in the centuries old cathedral. Blazy alludes to a change and mortality by using materials such as foam, an unstable medium in perpetual transformation. The foamy flow could also reference the earth and neglect for its environment. The installation resembles uncontrollable detergent suds – a product that is at once used to clean our homes and also a poisonous pollutant to the earth and its waters.
Artist Patrick Jacobs creates highly intricate dioramas. His dioramas, once created, are installed inside the gallery wall and fitted with a large lens. Gallery visitors can spy on each of the miniature scenes through these lenses. Jacobs’ dioramas are often of idealized landscapes or peaceful indoor scenes carefully detailed to appear as entirely separate worlds. Hidden lighting glows as if entirely natural while the foreground seamlessly blends with a background and further to the horizon.
Ricardo Bojorquez is an artist and graphic designer in Los Angeles. His latest artwork, Feedback Occurrences, uses standard materials, common techniques and everyday electronics to create an inventory of interactions. As a graphic designer, Ricardo’s practice is messy and defiant of the typical grid-like structures and legibility we are all taught to praise in design school, while still feeling so deliberate and well communicated. Ricardo received his MFA in Media Design from the Grad Media Design program at the Art Center College of Design in 2012. In 2011, Ricardo was invited to the Werkplaats Typografie / ISIA workshop in Urbino, Italy, where he studied under the mentorship of Armand Mevis, Maureen Mooren, Leonardo Sonnoli and Karel Martens. Ricardo is a partner at The Rare Studio, a studio for design and research that works within graphic design, interaction, and architecture. All of this work payed off as just last week he was honored with the prestigious recognition of being named a “Young Gun” by the Art Directors Club.