Space age abstraction – the power of design tools. Bechira Sorin’s recent digital work, especially the one above, retain a Neo-Dali aesthetic. I love how seamlessly everything ties together, and how fluid his composition is. That said, the futuristic surrealism does not speak for all his work, check out his other illustrations and experiments with typography after the jump.
"Head For The Stoic," wood,veneer, jeans, concrete, streamed video loop "emo blowjob" 2009
Ben Schumacher creates art in many traditional and non tradition forms, whether it be through drawings or exploring new ways to conceptualize and present art via and about the internet with an ironic sense of humor that could only have been developed by long hours mulling over the way we use and relate to the tools specific to our cyberspace generation. Ahh, the day I’m tired of it is the day I’m dead!
In a series of eerie, 3D printed dioramas, Canadian artist Guillaume Lachapelle expands miniature scenes into voids of seemingly infinite space. Entitled Visions, this series depicts ordinary spaces we see every day, such as a suburban neighborhood, parking lot, corridor, and library. However, when compressed, cast in shadows, and stretched into infinity, these rooms and urban landscapes take on a different emotional significance; the familiar becomes uncanny, instilling the imagination with both excitement and fear of the unknown. Where does the neighborhood end? And where does the hallway lead? As the exhibition description for Visions intriguingly states, “Lachapelle’s miniatures act as a threshold between what is seen and not seen” (Source).
During their exhibition, each of the tiny scenes were positioned atop solitary pillars. Seeing them from the outside almost lends the viewer a god-like perspective — we can perceive everything the mirrored spaces contain, including their hidden symbolism. The effect is somewhat alienating, as the illusory vastness intensifies an uncomfortable sense of loneliness; the parking lot, for example, becomes a dead zone of concrete and pale light that stretches on forever. However, on this existential plane, the universe is not entirely uncaring: there are signs of life and comfort, such as the lights from within the houses, and the books containing all the marks of human history. Looking past our dread of infinitude and emptiness, there is a greater, warmer, symbolic core in Lachapelle’s dioramas, and with the mirrors providing infinite space, the meaning we can pour into them is limitless.
Julio Le Parc is the precursor of op art. Originally from Argentina, he moves to Paris, France after his art studies to discover what the city has to offer. Today, he is displayed next to Vasarely’s immersive art pieces. The artist uses fourteen pure colors to create combinations on its paintings. This starting point allows him to work around real movement, multiplication of images, transparency, coloring, space and light. Experimentation is how Julio Le Parc likes to work, that includes making mistakes and taking risks. In another black and white series where he uses spray paint he is looking to experiment with multi surfaces, dynamic visuals and different levels of shades.
Behind the numerous studies of light and movement there is a need for Julio Le Parc to search for a shortcut between the creation of a piece and the experience of the viewers. By rejecting psychology, his aim is to reach the mass with no third party involved. He is taking his political message, his “general analysis of the situation” directly to the eyes of the viewers. He condemns the government method to impose its vision and to leave aside the ideas and opinions of the people. Ideally, he wants a new method to acknowledge ideas wether it’s by a State or an art gallery. For Julio Le Parc, people don’t appreciate art in its time and that’s the fault of galleries and museums imposing their opinions and deciding who will be the next “famous and hot” artist instead of letting the people decide.
Julio Le Parc’s art pieces will be displayed this week at Art Basel and sixty of his work will be printed on silk scarves in collaboration with Hermes.
Childrens’ Pop Culture icons and S&M…who wouldn’t want to see that twisted combination come to life?
Playing with this juicy idea, Richard Ankrom juxtaposes the familiar and the innocent with the unlikely and devilish by creating the figurines you see here. From a masked Tinkerbell and Cinderella, to a naughty bust of Gone in the Wind’s leads, Ankrom captures conflicting, yet hysterical imagery by combining iconic visuals of our childhood idols and S&M gadgetry.
These sculptures were exhibited at the Aqua Art Miami this year, and while we missed it on our trip to Miami, we gathered a couple of sentences from the artist’s statement on this work:
‘The contempt for effusive sentimental goods, that pander to nostalgic consumers led me to take these objects and disable them. In this process mass produced figurines become individual and surreal. These ideas are in conjunction with Duchamp’s ready-mades, Rauschenberg’s erased de Kooning, Paul McCarthy and Jeff Koons.’
Ankrom also explains that the ‘objects are selected by their character, cleaned, masked, dipped or poured several times with synthetic rubber. Zippers are tucked in with dental tools and sealed with rubber, and some zippers are painted gold.’
“I started as a furniture-maker, but eventually felt limited by conventional notions about what furniture was supposed to look like and how it should be built. I now approach my work fundamentally as sculpture, but likewise have resisted passing over the line into pure or nonfunctional form.” – Michael Coffey
According to Michael Coffey, design is not just about art. It’s also a form of “problem solving.” He sees commissions as creative collaboration– loving most when patrons desire something entirely new, more different than his previous work.
As far as process is concerned, Coffey begins with a small wooden model, then develops a design on paper with set dimensions. First cuts generally begin with the buzz of a chainsaw, followed by the use of smaller, more refined, cutters and discs. Part of the fun is figuring out which tools will service the work best. Click on the video after the jump to see more of his work and philosophy.
Kansas City grandmother Holly Stewart is arousing lots of love and laughs over her current art show at the University of Missouri-Kansas City, featuring intricately crafted penises. Some beaded, some quilted, they range in size and shape, as do those which they are modeled after. Using Kickstarter to fund this show, which is titled “Local Grandmother Quilts Giant Penises,” she has had no trouble drawing in a crowd. Her impetus to create these sorts of pieces came from a past job working in a sex toy factory, where Stewart de-molded dildos. As a painter, she was exploring penis themes when one day she randomly had an impulse to put pins into some foam core in a certain assortment, which her professor told her “looked like a dildo.” And thus craft penis-ing was born.
“Local Grandmother Quilts Giant Penises,” is up now until September 19th at the UMKC Gallery of Art. One reporter spoke very highly of the show, saying:
“Now that the exhibition is up and running, we can officially report that the massive, quilted man parts are more wondrous than we ever imagined. The works are as feminist as they are hilarious, as affirmative as they are transgressive. Sparkly, colorful, big and small, hard and soft, the penises on display truly capture the manifold possibilities of a phallic shape when separated from the shackling confines of human flesh.” (Source)
Stumbled onto some delightfully curious paintings by Cassandra Simon last night that have the smoothly detailed qualities of a perfectly executed relief print. Robust with color, these images seem to be a mix of mystery and folklore.