Artist and designer Fabrice Le Nezet‘s series Measure precariously positions concrete blocks. Using metal tubing, Le Nezet supports the concrete in way that makes the industrial materials seem nearly organic. The brightly colored pipes cling to the concrete like webs. His intention with the work was to make the materials and its weight easily felt. He says:
“I worked here on a physical representation of the idea of measure. The objective was to ‘materialize’ tension in a sense, to make the notions of weight, distance and angle palpable…This work lies in the context of my search for purification around raw materials such as concrete and metal. This is why I played with simple shapes which catch light and transcend the volume structure.”
Chinn Wang creates an eye-catching brand of pop art. Primarily working in screenprinting, she’s executed these piece directly on wood. The work retains a charming flatness associated with screen printing while adding depth by printing on wood. Her mix of new and old imagery and contrasting colors makes her art hard to pull away from. Her Heraldry series is an excellent example. Just as medieval heraldry made use of complex symbolism, Wang crests likewise make use of modern imagery.
The artwork of Cassandra Smith exists in the space between juxtapositions. Taxidermied animals are often a bit creepy. However, Smith’s stuffed forest friends are also playfully decorated – fish covered in rhinestones, and fur in bright paint. The natural plays with the synthetic, old with the new, and utilitarian with the decorative. She says of her work:
“My work is about manipulations and transformation. It is about exploring the ways that I can enhance and change found objects to give them something they did not have in their former life.” [via]
The work of artist Maico Akiba is almost a kind of future nostalgia. Maico begins his work with commonplace objects such as electronics or clothing. He alters the objects to appear as if they are 100 years old. Rust and moss are taking over electronics while paint chips and peels away. Although, the electronics look like relics, they are entirely functional. Perhaps, this is how the future ruins of present day life will look. They also serve as a comical type of existential reminder.
These headless figures resemble ancient Venus statuettes. However, the sculptures’ construction betray their modern origin. Artist Etienne Gros pulls, tucks, and pins foam to resemble the classic nude. The full curves and folds of the foam mimic human flesh in strangely similar manner. Gros contrasts the age-old form with modern industrial material to highlight concerns that have never disappeared – the body, sensuality and sex. Gros is familiar with the human figure beyond this unique medium. He’s explored themes of the classical figure in paint and even smoke.
Artist Heather Dewey-Hagborg‘s project, Stranger Visions, is a wonderful mix of science and art. Dewey-Hagborg turns a poetic attention to the seemingly innocuous artifacts of life: a hair, chewed gum, a cigarette butt. Beyond sight, though, the DNA remains of each unique person inhabits these “artifacts”. She picks up these remains up throughout Brooklyn and brings them to a nearby biology lab. Dewey-Hagborg extracts the DNA from the object, then information from the DNA. She runs the information through a program she has written herself that is able to determine physical features such as eye color, hair color, gender, nose width, and so on. That information is then exported to a 3D color printer to create a sculptural portrait of the unwitting donor. [via]
There is something especially frightening about Lara Mezzapelle and Giacomo Deriu‘s sculpture, Dirittura d’Arrivo. The sculpture freezes the moment a plane rips in half, about to plunge from the sky. All of the ensuing chaos – panicking passengers, flying luggage, mangled metal – is caught completely and eerily in white. A fear of flying has been a common modern phobia. However, as critic Olivia Spatola points out, a plane crash in a post 9/11 world reflects the more modern fear of a new kind of violence. In a way Mezzapelle and Deriu capture this modern fear in their medium and process. The sculpture is planned using 3D modeling software, and cut from nylon using prototyping lasers.
Strainers are tools not often seen outside of the kitchen, much less in the art studio. However, artist Isaac Cordal puts them to use in a series of street installations titled Cement Bleak. For the series Cordal sculpts human faces into the mesh of the hand held strainers. The strainers are then inserted into the ground. Sunlight or streetlights pass through the strainers and project a shadow portrait onto the sidewalk. The nature of strainer’s mesh allows for a strangely realistic face from several angles of light.