Artist Gemis Luciani takes the term ‘marginal’ literally in his art work. His abstract compositions use regular magazines as a medium and material. Luciani folds the pages of the magazines in a way to only expose the margins. The simple method erases all text, layout and images. He deconstructs the magazine making the marginal central. Interestingly, the pieces often resemble a mix of minimalism and glitch art. His work walks the line of painting and sculpture.
This giant snaking sculpture is the Funnel Tunnel by artist Patrick Renner. The temporary sculpture was commissioned by Art League Houston and sits on the esplanade across from their building. Renner’s Funnel Tunnel stretches for 180 feet, open as a giant funnel at one end and tapering to a sharp point at the other. The structure was created using steel and reclaimed wood. The ALH explains, “the sculpture reflects the creative people and businesses in the Montrose area, and is the first of its kind in Houston.” [via]
Las fall street artists MOMO and El Tono were invited collaborate on a project for the Bien Urbain festival in France. Both artists often work with an abstract painted style. For their collaboration, though, the artists added a third dimension. Using pieces of wood, the artists filled gaps in walls and windows throughout the city. Instead of being unused negative space, the gaps were transformed into a framing device for these abstract compositions. Simple but elegant, the series is illustrative of innovative trends in street on new approaches to interacting with the urban environment.
Europe-Europe is a series of porcelain figurines created by the collective AES+F – a group made up of the artists Tatiana Arzamasova, Lev Evzovitch, Evgeny Svyatsky, and Vladimir Fridkes. A first quick glance they may seem like typical decorative figurines. However, it soon becomes clear that something is terribly/wonderfully wrong. The collection, exhibited together in a case, seems like an orgy – people caught in various sexual situations.
Yet, something else makes this series especially interesting: the characters are often thought of disliking or even hating each other in real life situations. A Neo-Nazi strokes the locks of a Hasidic Jewish boy, sweat shop workers pet their capitalist supervisor, a police officer fondles a rioter. While these can easily be read as a playful and optimistic depiction of global unity, a sinister feeling lingers on these figurines. It seems as likely that these hateful feelings are depicted as a sexual tension. Political power struggles are illustrated as sexual power struggles.
At Beautiful Decay we are beginning to bring our readers weekend coverage, where we’ll be sharing micro art trends of the unusual and unexpected every weekend. And we figured what better way to start than with dessert?
The work featured here of artists Peter Bugg, Rebecca Holland, William Lamson, Aude Moreau, Navid Nuur and Kara Tanaka demonstrates that diverse ways confection can become conceptual. From the painstaking process of Moreau’s Sugar Carpet (which uses 4,500 pounds of loose Domino sugar) to the haunting ephemerality of Tanaka’s Social Leveler (When Immortality Became Uncouth), the use of sugar as a medium, sometimes in combination with other materials, becomes an expansive tactile vehicle.
Artist Alan Bur Johnson natural motifs often. However, this may be his work at its most creepy. Johnson’s Progeny series begins with photographs of winged insects. The photographs are transferred to transparencies and affixed to the wall using insect pins. Progeny allows viewers to inspect the insects up close, afford creatures we’d otherwise dispose of more time, and give some thought to taxonomy, the exercise of classification. Interestingly his statement says in part:
“Whether an image, memory or specimen, each is meticulously dissected, altered and restructured. Referencing physical structures and the pulse of living cycles, his work documents fleeting occurrences, which typically transpire unnoticed.”
Street art has become especially exciting and unpredictable over the last several years. However, the last place many would expect to find it is on the water. The New York based street artist SWOON designed three sea vessels built from salvaged material. The “flotilla” sailed from the coast of Slovenia to Venice, Italy. Though, definitely not the street SWOON effectively brings an urban aesthetic to sea. Photographer Tod Seelie was along for the ride to document the trip. The photographs and wild journey are as amazing as the vessels themselves. The raucous mash up of materials perfectly match the crew and set the atmosphere for what was certainly a wild ride.
Artist Li Lihong expertly juxtaposes two familiar but disparate sets of imagery. He renders familiar corporate logos as three dimensional sculptures. However, these are more than just sculptures. Li uses traditional ceramicist techniques coupled with Chinese iconography. The pairing of traditional and contemporary, East and West, corporate and fine art isn’t such a violent clash one may expect. Rather, the over arching familiarity, through from contrasting sources, is nearly complimentary.