Photos by Scarlett Hooft Graafland.
"
Friday, July 29, 2011
Jeff McLane
Jeff McLane: "
Jeff McLane
Work from his oeuvre.
“My current body of work is an on-going project focusing on image capture technology and photo abstraction. As my previous projects have focused on social landscape, my new project uses a more camera-controlled environment, producing a non-serial body of work – a first for myself. Utilizing image subjects such as: photographic equipment, graffiti-wore automobiles and abstracted nature scenes, these inanimate photographs display a shift of focus in the individual objects, creating a new function from their original intent. The linkage of these images stem from their reconstructed nature and represent the physical abstraction of photographic works containing power to repurpose its own content.” – Jeff McLane
"
Jeff McLane
Work from his oeuvre.
“My current body of work is an on-going project focusing on image capture technology and photo abstraction. As my previous projects have focused on social landscape, my new project uses a more camera-controlled environment, producing a non-serial body of work – a first for myself. Utilizing image subjects such as: photographic equipment, graffiti-wore automobiles and abstracted nature scenes, these inanimate photographs display a shift of focus in the individual objects, creating a new function from their original intent. The linkage of these images stem from their reconstructed nature and represent the physical abstraction of photographic works containing power to repurpose its own content.” – Jeff McLane
"
Jonas Lund and Anika Schwarzlose
Jonas Lund and Anika Schwarzlose: "
Jonas Lund and Anika Schwarzlose
Work from Colourful Pieces of Sky.
“The work is a participatory exploration of the relation between objects, images and semantics on the internet. We created a small platform that serves as our set up model, an engine constantly browsing the image sharing platform flickr, extracting the latest photgraph that’s tagged with “sky” and displaying the result on the website colourfulpiecesofsky.com – the outcome is a piece that’s forever changing its visual appearance. Sometimes subtle, sometimes radical changes, which altogether reveal operational modes of communication, emerging semantics and image mediation strategies. Photographers all over the world are contributing content to create a shifting, and unpredictable, impermanent but ongoing visual experience. To participate visitors can take an image of the sky, upload it to their flickr account and then tag the image with “sky”. The webpage updates every 5 seconds and always displays the latest image added.” – Jonas Lund and Anika Schwarzlose
"
Jonas Lund and Anika Schwarzlose
Work from Colourful Pieces of Sky.
“The work is a participatory exploration of the relation between objects, images and semantics on the internet. We created a small platform that serves as our set up model, an engine constantly browsing the image sharing platform flickr, extracting the latest photgraph that’s tagged with “sky” and displaying the result on the website colourfulpiecesofsky.com – the outcome is a piece that’s forever changing its visual appearance. Sometimes subtle, sometimes radical changes, which altogether reveal operational modes of communication, emerging semantics and image mediation strategies. Photographers all over the world are contributing content to create a shifting, and unpredictable, impermanent but ongoing visual experience. To participate visitors can take an image of the sky, upload it to their flickr account and then tag the image with “sky”. The webpage updates every 5 seconds and always displays the latest image added.” – Jonas Lund and Anika Schwarzlose
"
Wednesday, July 27, 2011
Tuesday, July 26, 2011
Maurizio Bongiovanni
The Art of Maurizio Bongiovanni: "
Spurred by a desire to reveal the growing tension between
technology and nature, artist Maurizio Bongiovanni creates interestingly emotive
paintings of birds mutated by spectrums of color. Using a potent hybrid of mediums, traditional oil paint and modern graphic software, the work speaks of the
intersection of both elements to a hypnotic effect. View more images of the work after the jump.
More . . .
"
Spurred by a desire to reveal the growing tension between
technology and nature, artist Maurizio Bongiovanni creates interestingly emotive
paintings of birds mutated by spectrums of color. Using a potent hybrid of mediums, traditional oil paint and modern graphic software, the work speaks of the
intersection of both elements to a hypnotic effect. View more images of the work after the jump.
More . . .
"
Rémy Markowitsch
Rémy Markowitsch: "
Rémy Markowitsch
Work from Spirit.
“The sheer quantity of this extraordinarily extensive private collection gave Rémy Markowitsch a point of reference for his own work, in which he also addresses the theme of excess and the phenomenon of manic enthusiasm. With an explorer’s thirst for knowledge, Markowitsch has combed through, brought to light and reinterpreted many of the traces left in the Coninx Villa by those who once lived there and by the art they collected. One fundamental aspect of his approach lies in his handling of light. Rooms as bright as day alternate in a crescendo and diminuendo of light with dimly lit spaces and still others that are shrouded in darkness. This score of light and dark not only influences and interprets the effect of the works presented in these rooms, but also points up the architectural changes to the building. In 1997 the dark wood-panelled rooms were transformed into light, understated exhibition spaces.”
"
Rémy Markowitsch
Work from Spirit.
“The sheer quantity of this extraordinarily extensive private collection gave Rémy Markowitsch a point of reference for his own work, in which he also addresses the theme of excess and the phenomenon of manic enthusiasm. With an explorer’s thirst for knowledge, Markowitsch has combed through, brought to light and reinterpreted many of the traces left in the Coninx Villa by those who once lived there and by the art they collected. One fundamental aspect of his approach lies in his handling of light. Rooms as bright as day alternate in a crescendo and diminuendo of light with dimly lit spaces and still others that are shrouded in darkness. This score of light and dark not only influences and interprets the effect of the works presented in these rooms, but also points up the architectural changes to the building. In 1997 the dark wood-panelled rooms were transformed into light, understated exhibition spaces.”
"
Friday, July 22, 2011
Felice Varini
Felice Varini: "
Felice Varini
Work from porta trapezi aperti.
“My field of action is architectural space and everything that constitutes such space. These spaces are and remain the original media for my painting. I work „on site“ each time in a different space and my work develops itself in relation to the spaces I encounter.
I generally roam through the space noting its architecture, materials, history and function. From these spatial data and in reference to the last piece I produce, I designate a specific vantage point for viewing from which my intervetion takes shape.
The vantage point is carefully chosen: it is generally situated at my eye level and located preferably along an inevitable route, for instance an aperture between one room and another, a landing… I do not, however, make a rule out of this, for all spaces do not systematcally possess an evident line.
It is often an arbitrary choice. The vantage point will function as a reading point, that is to say, as a potential starting point to approaching painting and space.
The painted form achieves its coherence when the viewer stands at the vantage point. When he moves out of it, the work meets space generating infinite vantage points on the form. It is not therefore through this original vantage point that I see the work achieved; it takes place in the set of vantage points the viewer can have on it.
If I establish a particular relation to architectural featers that influence the installation shape, my work still preserves its independence whatever architectural spaces I encounter. I start from an actual situation to construct my painting. Reality is never altered, erased or modified, it interests and seduces me in all its complexity. I work „here and now“.” – Felice Varini
via Today and Tomorrow.
"
Felice Varini
Work from porta trapezi aperti.
“My field of action is architectural space and everything that constitutes such space. These spaces are and remain the original media for my painting. I work „on site“ each time in a different space and my work develops itself in relation to the spaces I encounter.
I generally roam through the space noting its architecture, materials, history and function. From these spatial data and in reference to the last piece I produce, I designate a specific vantage point for viewing from which my intervetion takes shape.
The vantage point is carefully chosen: it is generally situated at my eye level and located preferably along an inevitable route, for instance an aperture between one room and another, a landing… I do not, however, make a rule out of this, for all spaces do not systematcally possess an evident line.
It is often an arbitrary choice. The vantage point will function as a reading point, that is to say, as a potential starting point to approaching painting and space.
The painted form achieves its coherence when the viewer stands at the vantage point. When he moves out of it, the work meets space generating infinite vantage points on the form. It is not therefore through this original vantage point that I see the work achieved; it takes place in the set of vantage points the viewer can have on it.
If I establish a particular relation to architectural featers that influence the installation shape, my work still preserves its independence whatever architectural spaces I encounter. I start from an actual situation to construct my painting. Reality is never altered, erased or modified, it interests and seduces me in all its complexity. I work „here and now“.” – Felice Varini
via Today and Tomorrow.
"
Wednesday, July 20, 2011
Min Jeong Seo
Min Jeong Seo: "
Min Jeong Seo
Work from Summe im Augenblick.
“…There are different ways for the perception and understanding of time. Time is a construct but also a factor governing our social life. In physics time can only be now-time, it simply is present. In contrast subjective experience of time may be very different. For example the sense of time while waiting for something or how time perception differs for younger or older people. As we speak of the past, the present, the future the meaning of life becomes part of the question. Where do we come from? Where are we headed to? In that context Min Jeong Seo points out the buddhist notion to understand time as a sequence of moments. Each point in time holds a certain meaning and represents a fraction of the whole. According to this conception the explosion tears a hole in time. It is not the form that got lost but time itself.
The explosion itself cannot be seen but only its effects. The instant of the explosion constitutes an annihilated fraction of time as well as the disintegration of that space in its previous form. The frozen mass of ruins represents an image of the incident, it reflects the energy of the explosion. In that sense the ruin of the hall conveys the idea.” – Min Jeong Seo
"
Min Jeong Seo
Work from Summe im Augenblick.
“…There are different ways for the perception and understanding of time. Time is a construct but also a factor governing our social life. In physics time can only be now-time, it simply is present. In contrast subjective experience of time may be very different. For example the sense of time while waiting for something or how time perception differs for younger or older people. As we speak of the past, the present, the future the meaning of life becomes part of the question. Where do we come from? Where are we headed to? In that context Min Jeong Seo points out the buddhist notion to understand time as a sequence of moments. Each point in time holds a certain meaning and represents a fraction of the whole. According to this conception the explosion tears a hole in time. It is not the form that got lost but time itself.
The explosion itself cannot be seen but only its effects. The instant of the explosion constitutes an annihilated fraction of time as well as the disintegration of that space in its previous form. The frozen mass of ruins represents an image of the incident, it reflects the energy of the explosion. In that sense the ruin of the hall conveys the idea.” – Min Jeong Seo
"
Tuesday, July 19, 2011
Katsuyo Aoki
Katsuyo Aoki: "
Source
Katsuyo Aoki \ Claudio's scrapbook
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"
Predictive Dream
Katsuyo Aoki was born in 1972 in Tokyo, JAPAN, he work principally with ceramics, incorporating various decorative styles, patterns, and symbolic forms.
Predictive Dream XV, 2010
Labylinrh, 2005.
Predictive Dream XXIV, 2011.
Predictive Dream
maniera Ⅰ, 2009
Predictive Dream
ARTIST STATEMENT
Currently, I use ceramics as my material in my method of expression, incorporating various decorative styles, patterns, and symbolic forms as my principal axis in creating my works.
The decorative styles and forms I allude to and incorporate in my works each contain a story based on historical backgrounds and ideas, myths, and allegories. Their existence in the present age makes us feel many things,; adoration, some sort of romantic emotions, a sense of unfruitfulness and languor from their excessiveness and vulgarity.
And on the other hand, they make us feel tranquility and awe that can almost be described as religious, as well as an image as an object of worship.
By citing such images, I feel I am able to express an - atmosphere- that is a part of the complex world in this age.
In fact, the several decorative styles and forms I cite simultaneously hold divine and vulgar meaning in the present age, having an irrational quality that contradict each other, which I feel express an important aspect in the contemporary age in which we live.
Also, the technique of ceramics has a tradition that has been a part of the history of decoration over a long time, and I feel the delicateness and fragile tension of the substantial material well express my concept.
Source
Katsuyo Aoki \ Claudio's scrapbook
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Monday, July 18, 2011
"
Ryan Mrozowski
Ryan Mrozowski: "
“Disappearing Act I” by artist Ryan Mrozowski. 7 stacked baseball cards with each of the players removed.
"
“Disappearing Act I” by artist Ryan Mrozowski. 7 stacked baseball cards with each of the players removed.
"
Sandy Smith
Sandy Smith: "
Sandy Smith
Work from Computer Installations.
“For Computer Installations, including the obsolescent beauty of “Mauritian Sunset”, pictured below, he took old computer monitors, donated by his alma mater, the Glasgow School of Art, and turned them into gorgeous large-scale installation pieces.
Eye-grabbing from the front and equally intriguing from the back. I love the “technology behind the curtain” vibe; the allusion toward so many beautiful things whose veneer faces us while the nuts and bolts of how their allure is maintained is hidden. The door also intrigues me. You don’t have to travel around the outside of the entire piece to see both the gilded and the mechanical side; there’s a passageway right there in the middle, a portal, and Smith invites us to openly transverse between the two. This way we see the honest connection between the colourful light and all those dull, grey wires that are working so hard to create it. They might not be as pretty or as celebrated, but they’re responsible for all the shiny glory shimmering on the other side.
For “Green/Blue Horizontal”, inspired by the ubiquitous Windows wallpaper “Bliss”, he created a walk-in corner installation from more than 60 computers. Programmed to glow blue and green, people could walk inside the amazing luminescence created by the piece and find some bliss of their own.” – via shape+colour.
via Triangulation Blog.
"
Sandy Smith
Work from Computer Installations.
“For Computer Installations, including the obsolescent beauty of “Mauritian Sunset”, pictured below, he took old computer monitors, donated by his alma mater, the Glasgow School of Art, and turned them into gorgeous large-scale installation pieces.
Eye-grabbing from the front and equally intriguing from the back. I love the “technology behind the curtain” vibe; the allusion toward so many beautiful things whose veneer faces us while the nuts and bolts of how their allure is maintained is hidden. The door also intrigues me. You don’t have to travel around the outside of the entire piece to see both the gilded and the mechanical side; there’s a passageway right there in the middle, a portal, and Smith invites us to openly transverse between the two. This way we see the honest connection between the colourful light and all those dull, grey wires that are working so hard to create it. They might not be as pretty or as celebrated, but they’re responsible for all the shiny glory shimmering on the other side.
For “Green/Blue Horizontal”, inspired by the ubiquitous Windows wallpaper “Bliss”, he created a walk-in corner installation from more than 60 computers. Programmed to glow blue and green, people could walk inside the amazing luminescence created by the piece and find some bliss of their own.” – via shape+colour.
via Triangulation Blog.
"
Nucleo
New Pieces by Nucleo: "
During this year’s Design Miami/Basel, Nucleo presented some new pieces.
In the Gallery Nilufar booth, they presented their latest collection called Presenze. Made of resin, the Presenze chairs and console have an almost candy-like appearance. Reminds me of that crystal candy that comes on a stick. These are probably root beer flavored.
Their Bronze Age table and Resin Fossil Coffee Tables were also on display at Gabrielle Ammann Gallery.
The Bronze age table is part of the Metals collection, which consists of three tables made with three different materials that are based on the age of metals: Copper Age, Bronze Age and Iron Age.
The Resin Fossil Coffee Tables are part of the Resinite collection (we featured the Resinite table last year), which “plays on the presumption to design the objects from the future and create fossils of these items. In the same way as we find imprints of the original items in trace fossils, we have created an imprint from the future. The birth of the new remains leads to the destruction of the original body, and left is the shell, a trace of what was there but in its self a new form.”
During this year’s Design Miami/Basel, Nucleo presented some new pieces.
In the Gallery Nilufar booth, they presented their latest collection called Presenze. Made of resin, the Presenze chairs and console have an almost candy-like appearance. Reminds me of that crystal candy that comes on a stick. These are probably root beer flavored.
Their Bronze Age table and Resin Fossil Coffee Tables were also on display at Gabrielle Ammann Gallery.
The Bronze age table is part of the Metals collection, which consists of three tables made with three different materials that are based on the age of metals: Copper Age, Bronze Age and Iron Age.
The Resin Fossil Coffee Tables are part of the Resinite collection (we featured the Resinite table last year), which “plays on the presumption to design the objects from the future and create fossils of these items. In the same way as we find imprints of the original items in trace fossils, we have created an imprint from the future. The birth of the new remains leads to the destruction of the original body, and left is the shell, a trace of what was there but in its self a new form.”
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