Much of the work of Brandon Vickerd carries an uneasy quality about it. They often feel as if a situation is suddenly shifting from normal to worst-case-scenario. Vickerd’s work reveals the death and disaster hidden beneath the mundane we take for granted. For these pieces, The Passenger and The Passenger II, Vickerd creates life like sculpture from previously living material. Taxidermied animals appear to make up the body of a person that is otherwise waiting. The sculptures were installed in public areas wearing normal clothing.
The artwork of Hans Kotter is decidedly centered around light. Here Kotter creates tubes of lights that appear to stretch on infinitely into the wall. He uses color changing LED lights that shine behind a warped one way mirror. The backing mirror then duplicates the LED lights infinitely. Kotter’s piece are continually changing as the color of the lights gradually shift and as the viewer moves about the room. Though technically constructed from Plexiglas, mirrors, and diodes, it is really the light endlessly bouncing between the mirrors that compose Kotter’s work.
Of her work, Kristalova states, “My ideas are about how it is to live a life; love and fear and what’s in between. I think and draw, looking back on past works, then gather the images together, gauging my own reaction to them, and start to build. I do everything in my studio in my yard, in my kilns. I mainly work alone because even painting a tree trunk has to be done my way, to be the right ugly.”
To view more photos of Kristalova’s work, check out Russ Crest’s 2011 post and/or click below to continue.
Kristian Burford’s art installations meditate on the postmortem state of sexual arousal without a partner present. Nestled in a messy realistic setting, each carefully constructed wax figure seems to sigh inward, recollecting him or herself after an erotic whim has been satiated. However, the intention does not stop there: it seethes and penetrates with primal implications. Encountering each diorama, our own interior worlds are challenged and heightened as we find ourselves cast to confront not so much nudity, but even more so, our own erotic inclinations as possible voyeurs.
Artist Ivan Navarro is known for his work with neon and fluorescent lighting. Using the lights in with a one-way mirror and a regular mirror Navarro’s sculpture to extend endlessly. They appear to extend on into infinite darkness, adding a weighty metaphorical layer to his artwork. His work conveys a certain uneasiness with each pieces ambiguous text, which exacerbated by the visual abyss. “There is a certain amount of fear in my pieces”, he has appropriately said. “I make spaces in a fictional way to deal with my own psychological anxiety.”
“I started as a furniture-maker, but eventually felt limited by conventional notions about what furniture was supposed to look like and how it should be built. I now approach my work fundamentally as sculpture, but likewise have resisted passing over the line into pure or nonfunctional form.” – Michael Coffey
According to Michael Coffey, design is not just about art. It’s also a form of “problem solving.” He sees commissions as creative collaboration– loving most when patrons desire something entirely new, more different than his previous work.
As far as process is concerned, Coffey begins with a small wooden model, then develops a design on paper with set dimensions. First cuts generally begin with the buzz of a chainsaw, followed by the use of smaller, more refined, cutters and discs. Part of the fun is figuring out which tools will service the work best. Click on the video after the jump to see more of his work and philosophy.
These amazing sculptures of swallows are the work of artist Jeremy Mayer. Like his other sculptures, the swallows are entirely composed of parts taken out of typewriters. Mayer doesn’t even use glue or soldering to keep his swallows together. He says of his art and process:
“I’m very interested in assembly, particularly in nature. I pay very close attention to the strong current in science and technology flowing inexorably toward an emulation of natural systems.” [via]
These sculptures by artist James Capper are working hydraulic implements. Their primary colors, spare design, and steel build make the pieces out to be purely utilitarian construction tools. However, these aren’t actual power tools and they don’t necessary build anything. Instead they sit menacingly with feeling like of the premonition of violence. You can almost hear the hiss and huff of air powering the blades. Perhaps the tools are a hint at the violence implicit in production and progress.