Catching and throwing light from all the right angles, the peculiar, prismatic acrylic pieces from sculptor Phillip Low look like something from outer space. Tip-toeing on the line between art and design, these objects make excellent use of the medium—giving a sense of weight, depth and cellophane-like luminosity to the dense material. The expertly carved shapes combine crystal-like angles and precise areas of coloration to create a series of constantly-shifting reflections that use simple daylight to dazzling effect.
Claire Healy and Sean Cordeiro’s large scale installations leave us feeling a bit overwhelmed or claustrophobic, and this is perhaps maybe the point. Their installations use recyclables to not only emphasize the gluttony of spending, but even more so, to confront the looming power of clutter and our strange animalistic aversion and contrasting need for it.
Of their work, the two say, we “live in such an organized society where detritus is not an issue. You put your garbage in a bin, and it goes somewhere. When you start to look at detritus, you automatically think about refuse. Or even more about consumption…getting caught up in the cycle of consume, consume, consume. And how these objects start to quantify your life.”
Louise O’Rourke’s photographs document not just the idea of rejected beds as a form of waste, but more so, the repetition of intimate objects made sadly public with age, which moves her work into a particularly lonesome study of humanity’s careless romance with things.
From Toy Story to the Velveteen Rabbit, children’s literature seems to capitalize on a similar theme that O’Rourke tugs at here: because our beloved objects don’t age gracefully– or even at all– they get thrown away and easily replaced. We don’t even need to see the newer model to know that it is there. It is always there: lingering. Waiting. The job of an object is to selfishly service us until we are done with it. These are the rules. In this sense, objects can never win. Caught in limbo, O’Rourke’s wayfarer beds transition onto the street, heart exposed, welcoming vagrants or rodents. A sad Dickens’ death. It is not a story of waste, but love. Wherever the new bed is, the old bed is not, and will never be again.
However, there is a sign of hope. O’Rourke also notes the value of reinventing old finds such as discarded photographs, of which she peels at the emulsion, saving the scraps, to create a new context and authorship of the image, one that is more ephemeral or abstract.
She states, “By removing the emulsion, I further remove the photograph from the event and even claim the moments that stand out to me. By physically altering the found image with no negative to reprint from, I create my own narrative from those previously captured stories.”
Yuri Suzuki is an English artist/designer/inventor who has been making some really remarkable objects. They’re not really “art” in a traditional sense, but they’re not products or inventions that would ever be used by The People, nor are they simple design ideas. What they are, is amazing–phonograph globes, flame organs, theremin radios. Yuri is also a big supporter of the DIY community, so if you’re wondering how to make any of his objects, he has instructions for most of them on his website. Suzuki’s is a very special brain. Check out videos of his objects in action after the jump! ( via )
By stacking two otherwise banal objects and calling it art, Daniel Eatock‘s sculptures both make us laugh as well as re-view the objects around us as first and foremost formal objects and secondly as things we can use to, say, move a pile of dirt around. Try it! Look at all those little smooth squares your fingers are pushing. Look around you!
In his words ” [...] I propose systems, templates, invitations and opportunities for collaboration, creating social networks where contributers shape the outcome and participate in the building of works. I embrace contradictions, and dilemmas. I like gray areas, oxymorons and the feeling of falling backwards. My favorite colour is the purple found in a soap bubble. I prefer to swap and exchange things rather than use money. I seek alignments, paradoxes, chance circumstance, loops, impossibilities and wit encountered in everyday life. I often change my mind, go full circle, and arrive at the beginning.” – Daniel Eatock
At this point there’s no use denying the ridiculous amount of time most of us spend on a computer each day, and artist Bea Fremderman is among a growing number of contemporary artists that use this reliance as a tool in their practice. Much of (arguably all of) the imagery we see on a computer is an illusion. A digital fabrication or manipulation meant to simulate or document reality. But as our physical and digital worlds continue to fold in on one another – who decides what is real? We must become our own authorities on reality, and Fremderman seems keenly aware of this.
Fremderman may be young, but the elegance with which she blurs lines is anything but amateur. A range of objects and textures shift contexts as they face-off with their own physical and virtual counterparts. The end result of which is an aesthetically and conceptually dynamic body of work. Her practice is multifaceted, but focused. Fremderman chooses her media/mediums based on what will most effectively convey the ideas in her work, and I am eager to see what she comes up with next.