Baptiste Debombourg’s finite Flow

July 1, 2013, 2:00 am

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Baptiste Debombourg‘s latest installation FLOW is a contextual glass installation made from car windscreens arranged in such a manner that they resemble a catastrophic flood.

“FLOW is the sudden mirror of our mass consumption society that kills human beings and the objects it mass-produces. We do not swim in a sea of windscreens, we remain under the glass, suffocating as if under ice, devoured by our own creations. That is the experience we are invited to join in: becoming aware of our folly and our finiteness, that we are bringing about ourselves .”   – Antoine Melchior

(Movie in French)

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Zhu Yi Yong’s Memories of China

July 5, 2013, 2:00 am

≫ Next: Gabriela Bodin’s forsaken figures

≪ Previous: Baptiste Debombourg’s finite Flow

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As a witness to the Cultural Revolution, Zhu Yi Yong shows us the Chinese “collective memory” and challenges us to think again of what the “Red Five Star” symbol means today. A perfect contradiction, the innocence of the children, but each one holding the powerful symbol of China. Via Art Square

Gabriela Bodin’s forsaken figures

July 10, 2013, 2:00 am

≫ Next: Irina Werning’s past and present

≪ Previous: Zhu Yi Yong’s Memories of China

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Gabriela Bodin’s figures appear isolated while at the same time longing for connection.

Irina Werning’s past and present

July 15, 2013, 2:00 am

≫ Next: Alex Kanevsky’s mysterious motion

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Photograper Irina Werning loves old photos. As a result she started (in 2010) inviting people to go back to their future…

Lali 1978 & 2010

Tommy 1977 & 2010 Buenos Aires

Irina’s parents 1970 & 2010

Cecile 1987 & 2010

Marita and Coty 1977 & 2010

Pancho 1983 & 2010

Alex Kanevsky’s mysterious motion

July 17, 2013, 2:00 am

≫ Next: ​Sophie Kahn’s conflicting spatial coordinates

≪ Previous: Irina Werning’s past and present

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Artist Alex Kanevsky’s intriguing paintings seem to capture the dynamics of time rather than a specific moment and drag the viewer into a mysterious world.

​Sophie Kahn’s conflicting spatial coordinates

July 22, 2013, 6:08 am

≫ Next: Chen Jiagang’s silk road

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Artist Sophie Kahn uses new and old media to construct her sculptures, combining ancient bronze casting techniques with cutting-edge technology, like 3d laser scanning. The latter never designed to capture the body – that is always in motion – receives conflicting spatial coordinates, generating fragmented results.

“They also speak to the impossibility of ever capturing more than a trace of the past, or of a living, breathing body, despite our grandest efforts to fix it in place. This concern with the instability of memory and representation is the common thread that weaves together the ancient and futuristic aspects of my work.”

Chen Jiagang’s silk road

July 25, 2013, 2:32 am

≫ Next: Spencer Herr’s states of mind

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Chen Jiagang, 1962, China, studied architecture and became a full-time photographer in 2001. His large-scale images are a mix of documentary, conceptual and staged photography. In Silk Road (2009) Jiagang retraces the ancient path of civilisation that established contact between East and West.

“The Silk Road is a lens, allowing us to consider today’s events in light of those of the past. One could venture to say that after the crisis, the end of ideological art has been declared, and that we have entered the era of globalisation and information.”

Spencer Herr’s states of mind

August 2, 2013, 10:39 am

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Spencer Herr is a self-taught painter from Arizona. His use of layering expresses an interest in the perception of memory. Having grown up in the southwest, Herr is fascinated with rough environments; his work represents this through journalistic portrayals of states of mind, as opposed to landscapes. Herr uses pencil, charcoal, house paint, and acrylics on canvas or birchwood.
Source: Wikipedia

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Patricio Reig’s new forms of expression

August 5, 2013, 2:00 am

≫ Next: Jacob Ring’s multiple layers of reality

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Patricio Reig’s ambition to dig deeper into the essential aspects of the human condition started at a young age. He ended up studying architecture, which widened his vision of society; but ultimately photography became the most effective means to analyse his own reality.

In his work, he always uses alternative methods, such as hand build stenopeic cameras.
“They have allowed me to explore and find new forms of expression. The simpler the system is, the more elaborate are the results. The unknown is at stake. Accidents and unaccounted features manifest themselves as a result.”

– Oil Portrait

– Cuadernos Bogotanos

– La Ciudad Infinita1

– Habitación 85

– En el Laberinto

Jacob Ring’s multiple layers of reality

August 12, 2013, 10:52 am

≫ Next: Tiina Kivinen’s explorers

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Jacob Ring (1987, Auckland, New Zealand) creates experimental photographic works. Considering scenes that are unmonumental in occurrence, the works become vast in referential impact. Much of his work is concerned with portraying multiple layers of reality, and an image is often built through repeated experiments in process, rather than captured. Ring is a chromesthete, affected by the sound to vision variety of the neurological condition synaesthesia. Visualising sound as colour and imagery is a trait that constantly influences his practice at a core level.

Tiina Kivinen’s explorers

August 14, 2013, 11:30 am

≫ Next: To practice any art…

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Tiina Kivinen (1971) started her career by depicting abstract landscapes using the mezzotint method, which is a slow, laboursome process; a subtle rebellion against the haste of modern way of living. The charasteristics of the mezzotint method are a deep, voluptuous black tint. Kivinen’s latest artworks include humans as explorers of her landscapes.

To practice any art…

August 18, 2013, 11:30 am

≫ Next: Pascale Vergeron’s theatrical figures

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Pascale Vergeron’s theatrical figures

August 19, 2013, 11:30 am

≫ Next: Michael Kukla’s nature-like structures

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When French artist Pascale Vergeron was invited to exhibit in the lobby of a theater, he became inspired by the everyday theatricality we all carry around with us. The representation of his figures is deliberately androgynous as gender identity is merely a detail and the focus lies primarily on the distraught characters per se.

Michael Kukla’s nature-like structures

August 21, 2013, 11:30 am

≫ Next: Zhang Haiying’s desirable and degrading portrayals

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Czech artist Michael Kukla takes his cues from potent acts of nature: cells rapidly dividing, the searing effect of wind, roots pushing through earth, and employs a range of materials to explore form in both two and three dimensions.

In his drawings, he uses hexagonal shapes that can be manipulated into cubes or flattened into endless nets through a subtle shift in mark-making. His sculpture, however, is primarily focused on carving or subtracting material to reveal a hidden structure. He pierces slabs of marble, pieces of slate or laminated plywood to allow holes of light to permeate the form.

“Though the act of carving is nearly the opposite of ‘building’ shapes in my works on paper, the two pursuits inform one another.”

Untitled 15, 2009, gouache on paper

Hexduo Dark, 2010, gesso and silverpoint on panel

Aircooled 25, 2009, gouache on paper

Beneath South, 2009, marble

Plyflow, 2009, laminated plywood

Zhang Haiying’s desirable and degrading portrayals

August 23, 2013, 11:30 am

≫ Next: Mathilde Roussel’s echoes

≪ Previous: Michael Kukla’s nature-like structures

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Zhang Haiying’s (1972, Beijing, China) Anti-Vice Campaign series takes as its subject the Chinese government’s recent initiatives in eradicating prostitution and pornography. Executed on monumental scale and in faux social realist style Zhang’s paintings use the devices of propaganda for non-politicised means: his works neither advocate nor criticise illicit activity, but draw from the associated issues of power, exclusion, vulnerability, and perception to create images of emotive discord.
Finding his source material on the internet, Zhang translates photographic images with subtle painterly manipulations to enhance mass media aesthetics and its conflicting messaging. His stylised figures are made to look strangely hyper-real, like computer generated avatars, or celebrities overexposed in paparazzi swarms; women objectified by their equally desirable and degrading portrayal.

Source: Saatchi Gallery

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Mathilde Roussel’s echoes

October 14, 2013, 1:30 am

≫ Next: Gottfried Helnwein’s wounded children

≪ Previous: Zhang Haiying’s desirable and degrading portrayals

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French artist, Mathilde Roussel’s fusion of materials from organic and synthetic materials poetically echoe natural processes and concepts. Though seemingly sourced from the world of science, her works have deep roots in the philosophical with importance paid to natural processes, particularly life and death.

Source: SiouxWire

Ecorce #10, 2013, cut paper

Carbon, 2011, cut paper and graphite

Ecorces, 2013, cut cardboard and acrylic

Carbon #11, 2012, cut paper and graphite

Gottfried Helnwein’s wounded children

October 16, 2013, 1:30 am

≫ Next: Machiko Agano’s soft drapes

≪ Previous: Mathilde Roussel’s echoes

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Austrian artist Gottfried Helnwein (1948) has worked as a painter, photographer, muralist, sculptor, installation and performance artist, using a wide variety of techniques and media. The human condition as his subject matter has emerged and stayed consistent throughout his career. The metaphor for his art, although it included self-portraits, is dominated by the image of the wounded child, scarred physically and emotionally.
Source: Wikipedia

The murmur of the innocents series, 2009-2013, oil and acrylic on canvas

Sleep 11, 2004, oil and acrylic on canvas

The disasters of war, 2007, oil and acrylic on canvas

head of a child, 1991, oil and acrylic on canvas

Machiko Agano’s soft drapes

October 27, 2013, 1:38 pm

≫ Next: Linda Vachon’s montages

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Machiko Agano was initially trained as a weaver, undertaking her education at the Kyoto City University of Arts in Japan. She now creates large, often monumental installations using the most basic of techniques and equipment and a wide range of materials. Paradoxically, although the work has the appearance of soft drapes and folds, the materials themselves are not soft. The form and tension of the work is created by its particular hang.
Via Culturebase.net / Author: Diana Yeh, Visiting Arts: culturebase@visitingarts.org.uk

Linda Vachon’s montages

October 30, 2013, 2:00 am

≫ Next: Valerie Hegarty’s destructions

≪ Previous: Machiko Agano’s soft drapes

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Canadian artist Linda Vachon creates these intriguing dreamlike pieces of work through
photography, painting and digital manipulation.

Valerie Hegarty’s destructions

November 1, 2013, 2:00 am

≫ Next: Rabarama’s human decorations

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For Valerie Hegarty, the joy of her work lies in its destruction rather than its making. Centring her practice on the politics of the American myth, Hegarty’s canvases and sculptures replicate emblems of frontier ethos – colonial furniture, antique dishware, and heroic paintings of landscapes and national figures only to demolish them by devices associated with their historical significance.
Via Saatchi Gallery