Amy Boone-McCreesh’s Vibrant Works Immerse You In Colorful Complexity

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Amy Boone-McCreesh’s sculptures and 2-D mixed-media works are both self-referential and highlight a larger aesthetic idea, which is the visual aspect of celebrations. For years, she’s explored the way in which different cultures commemorate events in their lives, particularly how they express it with decoration and objects. Now, with a new body of work, Boone-McCreesh goes beyond this initial inspiration and uses things she’s previously created as raw material for new pieces.  They debuted at a recent two-person exhibition with artist Sarah Knobel entitled Anything Sacred at Hamiltonian Gallery in Washington, DC.

The delightfully dizzying pieces are full of texture, color, and have the same sensibilities that we’ve seen in her previous works. Boone-McCreesh explains the idea behind her rich and vibrant aesthetic:

Anything Sacred is a birth of new from the old. Through digital manipulation, collage, printing, and reworking, I allow visual elements from an extant body of work to become new imagery printed on vinyl, paper, and custom fabric. The complex layering, stripping, and blending of the digital with the handmade gives birth to a new visual language.
In sampling my own imagery and re-contextualizing it in an immersive visual experience that is both cyclical and unifying, I am challenging traditional notions about value and pushing for a more complex, dynamic personal aesthetic. Simultaneously, my work in Anything Sacred continues to examine the use and meaning of decoration through formal arrangement and design.

You can view Anything Sacred now at Hamiltonian Gallery in Washington, DC until June 21 of this year. More shots of the candy-colored walls and lively work after the jump.

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Gregory Kloehn Is Transforming Trash Into Homes For The Homeless

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California-based artist Gregory Kloehn often repurposes the still completely-usable trash and street detritus that he finds in the streets. His ongoing project Homeless Homes takes this idea one step further, offering real aid by creating housing for the homeless in Oakland. Dubbed as “eclectic building materials for small but efficient mobile homes.” Kloehn and his volunteers recycle and reuse salvage to offer small, mobile house (they are on wheels), Mostly the size of a sofa or small room, these Homeless Homes offer a safe place and protection, and raise awareness to the needs of the homeless community. “Stuff people just throw away on the street can give someone a viable home,” Kloehn said in an interview with NBC News. “Does it have merit as a solution to homelessness? As far as giving people a shelter, yeah, definitely. Is it a solution to homelessness? It’s an answer. An attempt.”

Kloehn further describes his aims on the project’s website, “Our goal is to bring together imaginative people and discarded materials to make sturdy, innovative, mobile shelters for the homeless people. By sourcing our materials from illegal street dumping, commercial waste and excess household items, we strive to diminish money’s influence over the building process.”

If you are interested and able to help with the project, please contact Homeless Home Projects here. (via huffingtonpost)

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Kimsooja’s Mirrored Installation Transforms Classic Greenhouse Into Psychedelic Rainbow Room

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Perhaps the fascination for artists utilizing chrome and mirror in their works is the increasing divide between seeing ourselves more and more via social media, yet understanding ourselves less. This is particularly evident in the work of New York-based Korean multidisciplinary artist Kimsooja, which often deals with the self-perception and the self and the other. In her installation To Breathe – A Mirror Woman at the Palacio de Cristal, Parque del Retiro, in Madrid, Kimsooja transformed a classic greenhouse by removing everything and replacing it with a mirrored floor. Next, the Tague, South Korean-born artist used a translucent, light-diffracting film to coat the windows, which cause an array of naturally occurring rainbows, which were in turn continuously reflected by a mirrored surface that covered the entire floor. Like many of her projects, an audio pairing accompanied the visuals. Visitors would experience a recording of Kimsooja breathing, enhancing the contemplative yet personal and relatable mystery of the installation.

Taken from Kimsooja’s description of the project, “Outside light filters through the glass of the pavilion and reflects off the diffraction film. It diffuses into rainbow spectrums, transforming the external panorama seen from within the palace. The resulting effect is that the entire structure as well as the rays of colour reflecting off the mirrored floor. Natural light, colour, and sound are all ethereal elements within the empty space. The artist’s breathing from the performance, The Weaving Factory, bounces off the mirrors and fills the entire building to intermix with it, breaking down barriers of inside and outside, self and other, and reality and fantasy.”

Kimsooja’s most recent project most recently wrapped the Korean Pavilion with a similar film treatment at the 2013 Venice Art Biennale. (via myampgoesto11 and colossal)

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Nishi Building’s Striking Entryway Installation Made Entirely Of Reclaimed Wood

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Combining Japanese architectural influence with a concern and skill for using reclaimed materials, Australian firm March Studio decided to make a statement to the entryway staircase to the Nishi building in Canberra, Australia. Already being called “Australia’s most radically sustainable mixed-use building and apartment complex,” the building’s design makes an effort to harmony with its natural surroundings, treelife, and wasting as little as possible in it’s construction.

Hotel Hotel Blog explains March Studio’s design goals well, quoting, “Let the location inform the materials, and then let the materials inform the design. In Nishi’s case, the creative catalyst was the splendour of the construction site itself: chaotic but precise. March also prescribes to the philosophy of “letting the material be the material” (ah so desu ka, sensei) by using them in their natural state.”

Made of 2,150 recycled (or upcycled, whichever word seems more appropriate), the repurposed wood from homes, basketball courts, and the remnants of the construction site of the building itself. Held in place with over 2000 steel rods, the installation creates a striking effect, yet balanced with an ordered peacefulness. Beautiful yes, but dusting seems like it will be a pain. (via colossal and hotel hotel blog)

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Alex Podesta’s Life-Sized Sculptures Of Men Dressed In Bunny Suits

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Artist Alex Podesta creates life-sized sculptures that feature grown men in bunny costumes. The realistic-looking figures wear head-to-toe fluffy suits with two giant ears on top of their head. Podesta poses his characters and puts them into different settings that are both in and outside of a gallery. We see several identical statues looking over the roof of a building, as well sitting inside and playing with marionettes and trying to tame a snake. Their actions and attire don’t read as one of grown men, but of  young boys. And, that’s partially the point of Podesta’s work. From his artist statement:

…I have culled the rich fantasies, daydreams, misconceptions and experiences of childhood and re-contextualized them through the filters of adulthood, experience and education. This effort has been made in an attempt to plumb the depths of the creative and comprehensive naiveté of youth; to illustrate, in engaging and serio-comic ways, the role of fantasy, “othering” and conflict in nascent self-awareness; and, through the time honored tradition of solipsistic navel gazing, to pick gently at the loose thread of wistful escapism inherent in a quiet, downhill slide into maturity.

These men exist in a liminal space that’s in between boyhood and manhood, and Podesta goes on to explain that his subjects “…will be forever locked in the Sisyphean toil of misapplication, miscomprehension and misunderstanding.” (Via ARTNAU)

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Shen Shaomin’s Beautiful And Terrifying Bone Sculptures

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Bones automatically insinuate death, and often are the only physical remnant that insinuates life once existed. Shen Shaomin‘s bone works are equal parts terrifying and fascinating, man-made memorials to human intervention on the planet. Creatures that never have been or should be are pieced together from human and animal skeletons. The bones are carved and relief-carved with text taken from several sources, including the Bible, the Koran, and various sources. Inscribed in English, Arabic, and Chinese, the texts serve as warnings to the two largest industrial nations in the world of the damage being caused to the planet.

Related to the Chinese practice of bonsai, or long-term manipulation of a living tree to one’s will based on aesthetic and stylistic choices, Shaomin has also used bonsai in past works as a metaphor for human intervention upon nature.

In an interview with the University of Sydney’s ARTSPACE CHINA, Shaomin explains the terror he hopes to evoke in his skeletal works, “China’s current situation is very much like my bonsais. At first glance you will find it beautiful, but once you look more carefully you’ll see there are terrifying things behind that beauty. China has over a billion people, but over 800 million of those people are peasants. A peasant’s standard of life in China is still pretty basic. They say that if every one of those 800 Chinese peasants showered every day it would take more than all the water on the planet. That’s a scary thought.” (via myampgoesto11)

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Byoungho Kim’s ‘Progression of Silence’ Engages Sight and Sound

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Byoungho Kim‘s The Progression of Silence engages sight and sound, using an aesthetically and aurally pleasing repetition of bells. A site-specific installation, Kim constructed the massive work from brass, piezo, signal wire and a sound controller, to hang in the spiral stair case of the Johnnie Walker House, an arts exhibition space opened in 2013 buy the famous whisky distiller. The piece hangs from the roof of the building down to the floor, engaging the entirety of the architecture, and with sound, the people inside the building. Says Kim, “One of the “materials” I like to use is sound. The essence of sound is the vibrations of frequency, and these vibrations are often seen as geometric patterns to the eye. Through the process of changing these geometric patterns, namely modulation, they become sounds for the artworks.”

Kim fully explains his process, “My work is an approach toward the rationality that was spontaneously generated with the progression of civilization such as systems, standards and modules. The unitized and systemized material/immaterial elements become the material of my work. The output created from my materials poses questions on the essence of life as well as being a study on human nature.” (via myampgoesto11)

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Exhibition Explores Parallels Between Design And Cloud Data

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A recent exhibition in Minneapolis investigates the inherent desire to organize and structure our world, and the ensuing clutter and confusion when we become increasingly influenced by the sprawling technologies we’ve invented to helps us. Eddie PerroteLeanna Perry and Bill Rebholz conceived Scategories as a display to highlight ordered chaos.  “We’ve enabled our minds to perceive more information, decrease our mental clutter and externalize our memories,” reads the press release, which explains why the exhibition feels a bit overrun, offering too much to process, even when the looking is enjoyable.

Each of the artists has one foot firmly planted in the design world, which is perhaps the ideal middle ground to view the changing landscapes of art and design, and how technology is rapidly altering them. The group explains, “Through organizing the brain we present windows into the cerebral wold of structure, chaos, habitual patterns, and seemingly infinite layers of content. It’s these informalities that create vivacious energy, and eccentricities that feed the visual cacophony of information ever gathering within our minds.”

The exhibition itself is presented with this visual cacophony in mind. Colorful, typography-inspired murals covering several walls, while the remaining white-walls are densely covered with 2 and 3-dimensional works. Recurring motifs, such as simplistic cloud shapes, puzzle pieces, mirrors and stairs connect their works; an unplanned phenomenon, which was not surprising considering their shared influences and interests, claims the group. Perrote, Perry and Rebholz even shared a specific color palette for the show, using the same magenta, teal, and yellow paints, both for visual cohesion and “to highlight the gap between colors that exist in reality and the RGB colorspace of computer screens” says Perrote.

At the heart of the exhibition is a paradox, highlighted by the significant gesture that each painting, drawing and screenprint was made by hand. Even in a time when we can create, share and store an unlimited amount of data, the information must still be processed slowly, through our hands, eyes and minds in order to be appreciated, an appreciation which is key to good design.

Scategories is currently on view at The Abstracted Gallery in Minneapolis, Minnesota. The closing reception will be Friday, April 11th, 2014, from 7 to 10 pm.

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