Perhaps in the strictest sense, these abstract pieces by artist Siebren Versteeg aren’t paintings (or maybe in any sense they are not really paintings). However, they do say quite a bit about painting and creativity. Versteeg created code that utilizes a complex set of algorithms to create these pieces. The work is then often printed on to paper or canvas. Versteeg observes patterns, tendencies, styles in abstract expressionist painting and uses these as the basis for the code that create these “paintings”. His programmed algorithms work with variable qualities such as viscosity, color, drips, and so on. The program then “decides” how to use and combine these variable in several layers to create a complete composition. In a way, the art is in the code Versteeg creates – the paintings merely a visual manifestation of that code.
The cities of Amy Casey exist precariously. Buildings tower, tilt, and balance about to topple. Much like actual city life, the metropolis’ in Casey’s paintings can seem like a hard-fought existence bound by community. Further tying her paintings with actual cities are the buildings that actually inhabit both worlds – amazingly, every single home and building in Casey’s paintings is based on one of her numerous photographs of actual structures. In her statement, Casey says of her work:
“Cities are fascinating creatures that I am just beginning to scratch the surface of. The work and organization that goes into a city’s creation and evolution, the constant shifting and adaptations, and the sometimes hidden history of these changes and a city’s dependence on civilian cooperation are things I like to think about.”
Also, check out a short documentary on Amy Casey here.
Nathan Manire‘s work may seem more akin to printing than painting. These water color on paper pieces pleasantly blend digital and handmade imagery. The bleeding and absorption of paint into the grain of the paper reveals the passing of an artist’s hand. However, the paintings refer to the pixelized image. In a strange way, stepping back from each painting seems to reveal more detail, while stepping forward again turns the piece into a nearly abstract work. His skillful painting has won him high profile clients such as Nike, Wired magazine, and Cosmopolitan magazine.
The visions of Mario Martinez (also aptly known as MARS-1) seem to either be extraterrestrial or drug induced. His large scale paintings hold to very realistic perspective. However, there the realism breaks down. Geometric shapes, organic like growths, and strange lighting effects intertwine to form one complex mass on his canvas. Martinez’ work seems to depict something between living and synthetic, not quite landscapes or creatures. Check out his website to seem some similarly styled sculptural work.
Even through a computer screen Tauba Auerbach‘s work is wonderfully confusing. To answer the question that you may likely be asking right now: Yes, these are paintings. Auerbach folds, rolls, crinkles, and otherwise manipulates the canvas prior to stretching it. She then sprays it with various colors of acrylic paint from different angles. The resulting paintings are definitely two-dimensional work. The process, though, produces an extremely realistic three-dimensional effect, as if the painting were indeed folded and wrinkled then lit by colored lights.
The work of St. Petersburg born artist Ekaterina Panikanova makes use of our complex relationships with books. She mounts books on the gallery wall, splayed and aligned. Panikanova use the collective surface of these books as her perculiar ‘canvas’. Like the ink and paper filling the books’ pages, her paintings are often black and white. In a way, the pieces carry an air similar to old books. They have a subtle atmosphere of nostalgia, of a recording and remembering. [via]
The paintings of Korean artist KwangHo Shin are most certainly portraits. Though they depart from many of the elements of typical portraits they’re instantly recognizable as such. Shin uses charcoal to build the underlying structure – parts resembling hair, neck, shoulders, and ears. The faces aren’t so much painted as formed by gobs of oi paint. Hints of facial features such as eyes and noses may be ambiguously implied in each piece. However, its really the inner person Shin is after, the echoes of which linger for a moment on the face.
Margaret Nomentana’s nonrepresentational art demonstrates a fascinating balance between emotionality and restraint. Often working in a spontaneous manner, and sometimes working on several paintings simultaneously, her imagery reflects moments of clarity, caught in the act of vision and revision. Whether it’s collage or acrylic painting, her gestures evoke “abstract landscapes of the mind” or terse conversations with color and movement.
Of her own artistic desires, Nomentana states, “My strong minimalist impulse is tempered with a dry sense of humor, irony, and in spite of everything, a powerful sense of hope. Alma Thomas is my hero.”