Cambodian-based artist Anida Yoeu Ali conceptualized The Buddhist Bug Project, which sprouted from her fascination of other religions. She was raised in the Muslim faith but is drawn towards the Buddhist religion. Her project attempts to reconcile these two interests. Ali explains:
The Buddhist Bug Project seeks to map a new spiritual and social landscape through its surreal existence amongst ordinary people and everyday environments. The Buddhist Bug (BBug) is a fantastic saffron-colored creature that can span the length of a 30-metre bridge or coil into a small orange ball. Rooted in an autobiographical exploration of identity, the Bug comes from the artist’s own spiritual turmoil between Islam and Buddhism. Set amongst everyday people in ordinary moments, the Bug provokes obvious questions of belonging and displacement.
The Bug’s colorful exterior references robes worn by the Buddhist Monks, while the style of its head piece is modeled after the Islamic Hijab. The travelling project has made its way to Cambodia, where Ali and photographer Masahiro Sugano stage site-specific performances. We see the Bug wrapped around tables, in a boat, up a flight of stairs, and more. Its presence allows for others to interact with it and take part in the project, which is part of Ali’s intent. “…meters and meters of textile act as skin, as a way for the surface of my body to extend into public spaces, and as a metaphoric device for stories to spread across an expanse.” She says. “For me, performance and storytelling become ways of bridging the interior and exterior space of self as well as initiate critical dialogues between communities and institutions. (Via design boom and The Philanthropic Museum)
Artist Sam Songailo uses bright colors, straight lines, and bold, graphic shapes in his outdoor and indoor installations. Geometric repeating patterns span span floors, ceilings, and walls. Lighting plays a role in his work as it enhances color and gives the work a sense of space and a depth of field. Once the viewer is immersed in the space, all of the elements of Songailo’s work transports them to another place.
Outdoor installations, like the ones on a city street, work with the existing landscape. Songailo’s patterns fill and conform to every inch of the given space like a mutating organism. The high-contrast colors and intricate trellis-like shapes create a disorienting effect. Not so much when viewing it as a whole from above, but walking through it leaves little indication of direction.
Before he started large-scale installations, Songailo was a graphic designer. This is evident in the execution of his work, especially in one of his few indoor installations, Zen Garden (directly above). The piece mimics the lines of sand, with a few “rocks” that are spread throughout the gallery floor. Songailo is able to have full control over the space, and uses principles of design to make it not only attractive, but to effectively transport the viewer to a minimalist, geometric zen garden.
When artist Amanda Burnham first moved to Baltimore, Maryland, she didn’t know anyone. So, she spent a lot of time in her 7th floor apartment that had interesting views of the city. The time spent observing and recording her surroundings later informed her temporary, site-specific installations that are a patchwork representation of Baltimore. Burnham draws and paints street signs, fire hydrants, architecture, and store fronts, piecing them together in a manner that’s fractured yet cohesive. Taking elements of a neighborhood (or neighborhoods), she fashions her own view of the city, creating work large enough for a viewer to walk around and between. In an interview with Dwanye Butcher of Visual Baltimore, Burnham explains why she chooses to work this way (and why she reuses paper and boxes):
The idea of things being layered and pieced together is important to me. I see this city, and really all cities, as these giant ad-hoc organisms – collectively authored, chop-a-bloc, joints exposed – an ongoing melange of edits, adjustments, negotiations. I hope to suggest that with the deliberately collage-y, visually dense, maximalist aesthetic of my drawings. I also love paper and what it does when treated as an object – the shadows it casts, the way tears and cuts are line. Most of the paper I use is really cheap stuff – low grade drawing paper that comes in rolls, kraft paper, packing materials. Boxes. That’s important because I’m not rich, but also because I see it as conceptually significant – resourcefulness is an ethic I sometimes see evidenced in the forms of the city, and it’s one I really respond to.
Burnham not only takes the outdoors indoors, but creates a whole new environment in a matter of a few days to a week. Lighting, astro turf, and electrical tape craft an ambience that’s unique to the city.
Perhaps one of the best street-art interventions of the year comes at the very end. Daniel Siering and Mario Shu developed a unique strategy for their site-specific public project in Potsdam, Germany. By wrapping a tree and covering the wrapping with incredibly detailed spray-paint, the duo manages to perfectly capture a stunning sinhle-point perspective which gives the illusion that the tree is bisected, with the top half mysteriously floating above the fields and horizon in the background.
As this is a developing story, there are precious few pictures to properly show the project (including proper links to the artist, or previous works) but check out this video (which as of now has less than 300 hits) to see the simple yet effective trompe l’oeil the two artists created, and hope that the two release more pictures, and more fantastic public projects, in 2014. (via streetartutopia)
Crystal Wagner’s installations are a combination of printmaking, cut paper, and cheap, dollar store objects. Her work has a very organic feel to it, as if we are about to walk through a luscious forest or happen upon a moss patch. This isn’t surprising, as Wagner has spent a lot of time immersed in nature, spending extended periods in Yellowstone National Park and Joshua Tree National Park. The large, site specific works convey the awe-inspiring beauty we experience in places like Old Faithful.
Using items like police caution tape, chicken wire and table cloths, the artist crafts multi-layered and complex forms that occupy walls, floors, and everyday spaces. I’m reminded of green wall technology, in which moss grows decoratively on walls and gardens. It is not only good for the environment, but visually dazzles. This is much like Wagner’s work, which uses what already exists in our world to create a calming, tranquil environment.
Wagner has a formal education in printmaking, and this training works to her advantage. She is able to refine her installations by adding intricate prints of forms that look like vines and petals. It contrasts nicely with her construction, which focuses more on structure and building volume. These are the heart of Wagner’s installation, and tell us the most about the essence of her work.
Slinkachu has continued to carry out his poetic, mini street installations since we last checked in with him. The British artist continues to up the ante with each new, ephemeral piece. Employing miniature figurines and various objects, the artist stages tiny dramas (often humorous, and socially aware) in site-specific public locations. Click through to see some newer images of his “Little People Project” (previously) and some selections from the slightly older “Inner City Snail” series. Read More >
Vhils doesn’t just apply his street art on top of walls but actually carves into them creating a permanent site specific image that is ingrained onto the surface of the buildings. Becoming one with the pre-existing architecture Vhils chips, scratches, and cuts away at the walls revealing images that were there all along but that no one could see.
Interdisciplinary artist Pamela Saturday has a body of work that toys with layering both in painting and installation. Her game of hide and reveal creates a fantastic energy. From her statement she says “any truth is partial, and that the actual includes potential” which I think perfectly describes her work.