The sculptures of Naoko Ito are elegant in their simplicity. Indeed, these pieces are entirely constructed of only two materials: a tree and jars. A limb of a tree is cut into several segments and each segment, in turn, is placed in a jar. Naoko carefully arranges the jarred pieces to reconstruct the shape of the limb. A subdued commentary on the relationship between humans and nature, the imagery is immediate all the same. Though the shape and size of the tree limb is intact, the jarred branches are nearly gloomy.
These aren’t photos of bisected buildings. Rather, they’re the carefully constructed dioramas of artist Marc Giai-Miniet. His little libraries inhabit multi-storied buildings, perfectly suitable for us bookish nerds. However, many of his pieces almost seem to be hiding something sinister. The floors become darker, dirtier, more utilitarian the deeper they are in the building. Soot stained boiler rooms occupy the basement floors along with objects long forgotten. Perhaps the entire structure is a metaphor for the mind in a way: the diligent ego among the book lined floors and the unconscious hidden down in the dingy cellar.
Under the typical gallery bright lights these sculptures from artist Diet Wiegman may seem like innocuous piles of trash. However, these ‘piles’ are meticulously arranged and precisely lit. The resulting shadows resemble famous works of art, icons, and images. He creates coveted works of art through refuse in something as elusive as a shadow. Though various types of ‘light sculptures’ have made their way through art in the past few years, Wiegman is a veteran. He has been using shadows and light as a medium for nearly five decades. [via]
Aron Demetz‘ newest work shows him to be extremely adept at sculpting in wood. His figures seem stand atop stumps, perfectly carved from tree trunks. However, their sanded smooth skin is in stark contrast to parts of their figure that seem mutilated and mangled. While the figures’ faces are peacefully inexpressive, there is an underlying violence to the sculptures. The bare wood of the pedestals hint at the natural world and the sculptures at human’s often turbulent interaction with it. [via]
Andrew Myers‘ uses unique medium to interesting effect. His pieces are built of many carefully placed screws – up to nearly 10,000 in just one piece – inserted to just the right depth. He then uses oils to pain the image on the heads of the screws. Myers accepts the challenges of depicting soft surfaces, movement, and light with a material as hard and utilitarian as screws. The result is an intriguing mix between painting and relief. The screws add to the depth to that typically found in oil painting.
Legendary artist Christo‘s newest project, Big Air Project, is more than just big. Even ‘huge’ would be an understatement. At nearly 300 feet tall Big Air Package could possibly be the largest indoor work of art ever. Housed in a venue that was once a gas holder, the project is exactly as its title describes it. Big Air Package is a massive inflated cylinder with no hard underlying structure – a giant balloon. The project’s press release explains how it functions:
“Two air fans creating a constant pressure of 27 pascal (0.27 millibar) keep the package upright. Airlocks allow visitors to enter the package. Illuminated through the skylights of the Gasometer and 60 additional projectors, the work of art creates a diffuse light throughout the interior.” [via]
The sculptures of artist Johnson Tsang are unbelievably realistic. That is, until you spot faces in the spilling liquid. Primarily working in ceramic and stainless steel, Tsang’s sculpture’s seem to be caught like photographs. Liquids spill from mugs, streams intersect, and crash to the ground. Hidden by Tsang in the flow, however, are faces. Two colliding streams of liquid are actually faces mid-kiss. His work emphasizes a temporality – time as it quickly passes and their memories. [via]
The sculptures and installations of MyeongBeom Kim are very dreamlike – it makes just enough sense to prevent you questioning it. Objects transform into other objects, other inexplicably float, and yet others are designed to be entirely useless. Yet, somehow, it all seems right. Also like dreams, Kim’s work is playful but not without out a latent sense of anxiety. A noose, a crutch, an axe suggest a possible dark turn toward realized fears, a nightmare.