An Artist a Day

‘One Year, One Day’ exhibition image on Talbot...

Wed, 15 May 2013 11:43:27 +0100

‘One Year, One Day’ exhibition image on Talbot Gallery homepage

‘One Year, One Day’ graphics designed by Claire McCluskey

“Started in ’99, this is my life work. I individually cut single...

Wed, 24 Apr 2013 23:37:57 +0100

“Started in ’99, this is my life work. I individually cut single sheets of paper by free-hand and stack them together. The work consists of positive or negative shapes. I am trying to embody relationships among humans, time and nature.” — Noriko Ambe

vanished: Ann Hamilton - The Event of a Thread

Wed, 24 Apr 2013 23:25:05 +0100

vanished:

Ann Hamilton - The Event of a Thread

Listen... [Ogden Nash]

Mon, 22 Apr 2013 15:27:00 +0100

Listen…

There is a knocking in the skull,
An endless silent shout
Of something beating on a wall,
And crying, “Let me out!”

That solitary prisoner
Will never hear reply.
No comrade in eternity
Can hear the frantic cry.

No heart can share the terror
That haunts his monstrous dark.
The light that filters through the chinks
No other eye can mark.

When flesh is linked with eager flesh,
And words run warm and full,
I think that he is loneliest then,
The captive in the skull.

Caught in a mesh of living veins,
In cell of padded bone,
He loneliest is when he pretends
That he is not alone.

We’d free the incarcerate race of man
That such a doom endures
Could only you unlock my skull,
Or I creep into yours.

- - Ogden Nash

'Synthesis' exhibition text written by Jessica Maybury:

Mon, 22 Apr 2013 15:23:15 +0100

Although humans have the same range of emotional experience, each individual experiences that range and those emotions differently. What for one man becomes a flower for another man becomes a weapon.
There is that cliché of the teenager who believes that nobody can understand them and nobody has ever loved/hated this much before – when of course, everyone has, and everyone does. What is it inside each person that distinguishes them from their fellows? In which ways are we the same and in which are we forever different?
Synthesis is an exploration into these uncharted territories. It is an investigation through the changing nature of material reality into structure and forms – both physical forms themselves, and the ideological constructs that we create around us in society.
In Listen… the poet Ogden Nash writes about that quintessential isolation of mankind, that cold truth that, ultimately, we can never truly know another person.
We are all alone inside our skulls.
Synthesis, as a fusion of and flow between the works of two very different artists, constitutes that moment when the prisoner inside one skull lays their hand against the bone to almost touch a hand laid on the other side. This is the cataclysm, this need to join with others, to understand and to express. Maybury and McCluskey’s works respond to each other here, at odds with each other but attempting a clear, communicative dialogue.
Synthesis is that point where a solitary bird joins another bird, and they join others, until from one starling there forms a murmuration; and while the birds flock together, there is something startling, and beautiful, and new.

'Synthesis and Prism' by Jonelle Mannion

Mon, 22 Apr 2013 14:57:08 +0100

'Synthesis and Prism' by Jonelle Mannion:

A response to the exhibition Synthesis by Claire McCluskey and Steven Maybury, 21st March - 21st April, Eight Gallery, Dublin 2

artandsciencejournal: Rosaline de Thelen’s Homos...

Wed, 17 Apr 2013 23:00:53 +0100

artandsciencejournal:

Rosaline de Thelen’s Homos Luminosos

Spanish artist Rosaline de Thelen borrows and bends fiber optic technologies to create her haunting Homos Luminosos: floating human forms made of shimmering light. Currently on display at the Kinetica Art Fair in London*, de Thelen’s various fiber optic creations have been capturing audiences for some time, but to imbue the medium with human characteristics certainly introduces a special, even poetic element to her artworks. Homos Luminosos are at once sculptural and ephemeral, their physicality resolving and vanishing as visitors move about the space. It comes as no surprise then that reactions to de Thelen’s work range from childlike fear to spiritual reverence (indeed, one exhibition in 2011 had her work installed in a church). De Thelen is able to contemplate the mysteries of light and illusion while also satisfying our taste for technology.

See more work by de Thelen at her website here, and check out more work by Kinetica artists here.

- Erin Saunders

*Kinetica ended March 3rd of this year — thanks for the correction hellenias!

likeafieldmouse: David Maisel - Library of Dust (2008) “In...

Mon, 08 Apr 2013 16:49:48 +0100

likeafieldmouse:

David Maisel - Library of Dust (2008)

“In 1913, the Oregon State Insane Asylum began to cremate the remains of unclaimed patients and their ashes were stored in copper canisters.

After decades in storage the canisters have undergone chemical reactions resulting in explosions of vivid blue-green corrosion. Maisel was granted access to the room in which the canisters were stored to document them for his book.”

Artist’s statement:

“Among my concerns with Library of Dust are the crises of representation that derive from attempts to index or archive the evidence of trauma; the uncanny ability of objects to portray such trauma; and the revelatory possibilities inherent in images of such traumatic disturbances.

While there are certainly physical and chemical explanations for the ways these canisters have transformed over time, the canisters also encourage us to consider what happens to our own bodies when we die, and to the souls that occupy them.”

itscolossal: A Suspended Boat of 8,000 Sheets of Rice Paper...

Sat, 06 Apr 2013 16:58:02 +0100

itscolossal:

A Suspended Boat of 8,000 Sheets of Rice Paper Draped on Bamboo by Zhu Jinshi.

showslow: Layered MRI Self-Portraits Engraved in Glass Sheets...

Sat, 06 Apr 2013 00:44:48 +0100

showslow:

Layered MRI Self-Portraits Engraved in Glass Sheets by Angela Palmer

“Huit carrés.” Orangerie du Chateau de Versailles,...

Sat, 30 Mar 2013 01:55:04 +0000

“Huit carrés.” Orangerie du Chateau de Versailles, Versailles, France, 2006. Felice Varini.

John Mayock’s sculptures have always been rooted in his...

Fri, 29 Mar 2013 11:29:56 +0000

John Mayock’s sculptures have always been rooted in his interest in music and language and especially in the influence of landscape on the Irish language and on traditional Irish music. Much of his work up to the late 90s attempts to interpret these influences in physical space with an emphasis on rhythm, the cyclical repetition of forms and the generation of meaning through abstraction. From a formal point of view the work has also been influenced by an interest in the human figure and in the complexities of our interaction with the physical world. As a traditional sculptor he has worked predominantly in natural materials, wood and stone in particular. This decision wasbased on a number of factors his interest in the skills and techniques associated with these materials, an interest in the role of physical work in the creative process and pursuit of a rural rather than an urban idiom.

Daniel Rozen, Twisted Strips, 2012 “a line of 21 motorized...

Thu, 28 Mar 2013 23:11:20 +0000

Daniel Rozen, Twisted Strips, 2012 “a line of 21 motorized strips twist and turn to form images.”

Louis Bourgeois, A loose sheet in English, circa 1962

Thu, 28 Mar 2013 21:43:48 +0000

Louis Bourgeois, A loose sheet in English, circa 1962

Picasso, Constellation drawings, 1924.

Thu, 28 Mar 2013 21:38:01 +0000

Picasso, Constellation drawings, 1924.

artandsciencejournal: Human Webs The traditional web design is...

Thu, 28 Mar 2013 21:33:40 +0000

artandsciencejournal:

Human Webs

The traditional web design is being transformed to create amazing works of art. Artists such as Janet Echelman, Megan Geckler, and Marie-Josée Laframboise take string, netting, tape and various other materials to create their site specific installations that not only transform a room or city, but how we view these materials.

For Echelman, the beginning of her work started in India, when she used fishing net to create a last minute sculpture for her exhibition. The work was a success, and it led her to use lighter materials to create large-scale works in city centers, such as Sydney and Amsterdam. One of her works, 1.26 (2010-ongoing), was created originally in Denver, Colorado, and uses data taken from the 2011 earthquake off the coast of Chile, to ‘sculpt’ her piece in order to look like the wave pattern. It is a mesmerizing display of colour and form.

The work of Megan Geckler, on the other hand, does not move as fluidly as Echelman’s, nor is it as large, but Rewritten by machine on new technology (2012-2013) is still large-scale enough to engulf the viewer into a vortex of colour. Like Echelman, Geckler’s site-specific pieces work with the rooms that they are put in, playing with the architecture.

With Marie-Josée Laframboise, her work seems to be a mixture between the rigid geometry of Geckler’s works and the natural fluidity of Echelman’s works. Her webs are site specific, but there is little rigidity. Instead her work evokes the idea of a wave, engulfing the viewer, or even a web. It is not ominous, but enchanting.

These web-works demonstrate a fresh new take on what we can do with malleable materials, and the results, are truly spectacular.

-Anna Paluch

7knotwind: Javier Cruz | via: lines-form-spaces

Thu, 28 Mar 2013 21:30:25 +0000

7knotwind:

Javier Cruz | via: lines-form-spaces

showslow: Bloom - 28,000 Potted Flowers Installed at the...

Wed, 27 Mar 2013 09:48:21 +0000

showslow:

Bloom - 28,000 Potted Flowers Installed at the Massachusetts Mental Health Center by Anna Schuleit

arpeggia: Josef Albers - Structural Constellation,...

Sun, 24 Mar 2013 21:00:16 +0000

Structural Constellation, Transformation of a Scheme, No. 12, 1950

Structural Constellation, Transformation of a Scheme, No. 23, 1951

arpeggia:

Josef Albers - Structural Constellation, Transformation of a Scheme, No. 12, 1950 (top); No. 23, 1951 (bottom)

spatula: (via Minimal Waste Table by Fraaiheid - Design Milk)

Sun, 24 Mar 2013 16:56:32 +0000

spatula:

(via Minimal Waste Table by Fraaiheid - Design Milk)