Chad Wright’s “Masterplan” conflates a child’s sandcastle with architecture typifying postwar American suburbia. The three-part series culls artifacts from his childhood, investigating suburbia in its vision and legacy.
Photography by Lynn Kloythanomsup of Architectural Black
Daniel Barkley is a Canadian artist whose paintings are at their core reworkings of biblical and mythological stories. Portraying the emotional essence of the dramas, his mostly male subjects display a captivating raw vulnerability.
See also: animals and death
Erick Swenson, Untitled, 2004
Idots (Afke Golsteijn and Floris Bakker), Getting into science, 2009
Daniel Firman, Wursa, 2008 (at Fontainebleau Castle, Paris)
Cai Guo-Qiang, Heritage, 2013
Annie McKnight, Untitled, (silver and taxidermied mice)
Carl Melegari explores both the human form and the urban landscape. He primarily focuses on the semi-abstraction within the figure. Often working from life and models, Melegari explores how the physicality of the paint combined with the density of pigment can give a sense of life radiating from the canvas. Through the veils of layers, achieved by continuously accumulating and scraping back the paint, a figure emerges as if to suggest how the sitter itself has become enveloped and partly obscured by the energy of the paint.
Clara Adolphs’ portraits are inspired by memories and captured in what might be described as a retro-perspective coupled with a thick impasto technique.
Italian sculptor Matteo Pugliese (1969) creates restless sculptures that are seemingly trapped in walls.
Scottish artist Paul Chiappe creates pencil drawings derived from old photographs. These drawings are meticulously small (some so small that the use of a magnifying glass is required), and upon closer examination, reveal odd smudges and white-outs that seemingly construct distorted versions of the anonymous memories they represent.
Swiss artist and photographer Fabian Oefner (1984) is a curious investigator, photographer and artist, whose work moves between the fields of art and science. His images capture in unique and imaginative ways natural phenomena that appear in our daily lives, such as sound waves, centripetal forces, iridescence, or the unique properties of magnetic ferroliquids. His exploration of the unseen and poetic facets of the natural world is an invitation, as he says, “to stop for a moment and appreciate the magic that constantly surrounds us.”
A bursting ballon filled with corn starch. For a tiny amount of time, the starch still keeps the shape of the balloon, forming this blossom-like structure, before it collapses.
Black Hole is a series of images, which shows paint modeled by centripetal force. Various shades of acrylic paint are dripped onto a metallic rod, which is connected to a drill. When switched on, the paint starts to move away from the rod, creating these amazing looking structures.
The combustion of alcohol. A flame is stopped in time as it travels through a glass bottle, containing whiskey and oxygen.
Fabian Oefner’s TED Talk
Influenced by a hate crime against him and his partner in 2008 at a music festival, Canadian born London-based artist Andrew Salgado (1982) painted bold, largescale figurative paintings that explore psychological states focusing on ideas of sexuality, masculinity and identity.
His current exhibition The Acquaintance at The Art Gallery of Regina moves away from that particular personal history to reveal stories of others in his familiar Baroque influenced style.
Italian designer Giuseppe Randazzo’s Stone Fields are created from several fractal subdivision strategies.
“I love the work by Richard Long, from which this project takes its cue. The way he fills lonely landscapes with arcaic stones patterns and its eroic artistic practice, in his monumental vision, is in strong contrast with this computational approach that – ironically – allows virtual stones creation and sorting in a non phisical, mental way, a ‘lazy’ version, so to speak. The virtual stones created from several fractal subdivision strategies, find their proper position within the circle, with a trial and error hierarchical algorithm. A mix of attractors and scalar fields drives the density and size of the stones.”
David Maisel’s large-scaled, otherworldly photographs chronicle the complex relationships between natural systems and human intervention, piecing together the fractured logic that informs them both. His series History’s Shadow consists of re-photographed x-rays of art objects from antiquity.
“I have culled these x-rays from museum archives, which utilise them for conservation purposes. Through the x-ray process, the artworks of origin become de-familiarised and de-contextualised, yet acutely alive and renewed.”
Italian artist Rabarama creates human or human-like sculptures in distress, whilst contrasting these poses by covering their skins in decorations of patterns and symbols.
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
Canadian artist Linda Vachon creates these intriguing dreamlike pieces of work through
photography, painting and digital manipulation.
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: firstname.lastname@example.org
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.
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
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.
Ecorce #10, 2013, cut paper
Carbon, 2011, cut paper and graphite
Ecorces, 2013, cut cardboard and acrylic
Carbon #11, 2012, cut paper and graphite
Venezuelan artist Benjamin Garcia graduated specialising in illustration for 2d/3d animation before he started to paint full time, which explains his odd combination of influences, coming from comic artist Moebius as well as painter Lucian Freud.
His style is very much inspired by the nebulous and unclear images of the mind and dreams.
Using nothing but charcoal, sandpaper and scalpel blades (the latter two for applying texture), Scottish artist Douglas McDougall creates hyper-realistic portraits with a stunning lifelike
depiction of weathered skin and grey hair.
“My medium is charcoal/graphite on 300gsm Snowdon Cartridge, it’s a combination of drawing/painting/sculpture with a nod towards the discipline of trompe l’oeil; an ongoing
tribute to the classical history of drawing.”
Robert and Shana ParkeHarrison are a husband and wife creative duo that create works in
response to the ever-bleakening relationship linking humans, technology, and nature. Their
poetic surrealistic works feature an ambiguous narrative that offers insight into the dilemma posed by science and technology’s failed promise to fix our problems, provide explanations, and furnish certainty pertaining to the human condition.
For her project Relics, artist Carrie Witherell uses animals that had a big presence in her childhood as a starting point. The animals each represent a part of her life; a period of time where the animals her parents kept were a backdrop to the memories and emotions she dealt with at the time.
The process itself is based on the simple principle of contact printing. Carrie starts out by drawing an animal form to scale on paper. She studies reference pictures of animal anatomy and skeletal structures, but the final composition is essentially her own. She traces various parts of it onto tracing paper, after which she carefully cuts out all the layers and glues them together. With the complete animal form transformed into a tracing paper negative, she then contact prints it onto paper treated with a self made cyanotype chemistry.
Japanese artist Yu Kawakita (1983) uses natural phenomena, such as the movement of water and vaporisation as her brushes to create her paintings.
Intrigued by the impermanence of life, French artist Stephane Villafane captures its transient nature.
Philippine artist Januz Miralles manipulates his photos in a paint-like manner, seemingly dissolving them.
Swiss artist Andy Denzler (1965) endeavours to fathom the borderlines between fiction and reality. His works are snap-shots of events that take place, blurred, distorted movements, freeze frames.