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Aluminium Landscape

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This object may seem as a creation of nature in away it visualizes the transitions or surrounding nature, such as changes in weather and sun rays or colors of sky and surroundings. Yet it very artificial as it comprises complex geometrical balance achieved by one piece of huge aluminum sheet. The conflicts within the architecture create its complex expressions. For instance, aluminum is hard but is smooth in its impression. The exhibit is organically formed and yet consists of innumerable geometrical shapes. The exhibit will be placed on the sunken garden in the second basement floor. Visitors can enjoy in many ways,by walking on the exhibit or seeing its whole picture from the ground level, 8 meters above. Location : Museum of Contemporary Art, Tokyo. Link here.

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John Wesley

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John Wesley (American, born November 25, 1928) is an American painter whose work bridges the aesthetics of Pop Art and Minimalism in both subject matter and style. A self-taught artist, Wesley began painting in 1953, while working as an illustrator for Northrop Aircraft in Los Angeles. His early career in the aircraft industry influenced his art, and lead to the presence of the airplane as a recurring motif in his work. In 1959, he married the American painter Jo Baer (b.1929), and one year later the couple moved to New York City, where Wesley would become part of the Pop Art movement and maintain close friendships with American Minimalist sculptors Donald Judd (1928–1994) and Dan Flavin (1933–1996). Although Wesley’s work often expressed more playful qualities than the work Judd created, Judd was an immediate and important sponsor of Wesley’s paintings, positively reviewing his shows and helping him to establish his reputation as an artist. Although Wesley adopted the flattened and brightly colored forms of Pop Art, his work did not criticize consumerism and seemed removed from Pop Art’s goals as he turned more to narrative, combining cartoon elements into his particular brand of high art.

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Chris Riccardo

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” I make ceramic sculpture that some have said is shocking or disgusting. I believe I am only showing what we are all truly thinking or desire in some way. I do not set out to shock, because I don’t believe anything I have created is shocking, I believe it is truth and honesty. If my work does shock or offend then I have struck a nerve in the viewer and I say, ‘well done SIr!”. It’s the hypocrites I want, to present them with something so shocking, yet sculpturally beautiful that they can’t take their eyes off of it!” – Chris Riccardo

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Stephen Finkin

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So much gorgeous ocean paintings from Stephen Finkin. Click the link for more.

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Soheyl Bastami

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Check out these incredible art sand sculptures by Iranian artist Soheyl Bastami. Hopefully this will inspire you to create one of your own next time you go to the beach.

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Lukasz Wodynski

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” I am fascinated by the notion of time and the game of body and time. Transparency and mutual merging of the two create continuous interaction, transformation and transgression. By merging between the spheres of physicality and image I want to look closer at the processes and their metaphysics.” – Lukasz Wodynski

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Debra Hurd

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“Art and music are my passions but it’s all art to me.” Internationally acclaimed artist Debra Hurd studied art at both Southern University in Chattanooga, Tennessee and the Ringling School of Art and Design in Sarasota, Florida. For 15 years she was a graphic designer in Florida and Austin, Texas. She is also an accomplished pianist, having studied music since early childhood. Debra’s wild boogie-woogie and honky-tonk style still finds her in the recording studios and at live performances in Austin. She loves jazz, classical, and salsa styles, too.

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David Ogle

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” Much of my work to date has dealt with exploring notions of materiality, of permanence and of the perception of objects in space. Using light as a sculptural medium, my work is innately ephemeral. It begins as a set of strict mathematical procedures that are played out within an environment. The space simultaneously shapes the work and becomes manipulated by it. Through negating material properties, my current practice seeks a mode of fragility. It rests on the edge between a sculptural form and an environmental effect of light within a space; a context from which the work is inseparable. Such pieces utilise both ambient and artificial light, channeling it and molding it into sculptural works that completely divorce themselves from static material: sculptures without mass and forms without structures. ” – David Ogle

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Pam Ingalls

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Pam Ingalls‘ education in art began early. She first studied with her father, Richard Ingalls, who created the Art Department at Gonzaga University in Spokane, WA. She continued at the Accademia Delle Belle Arte in Florence, Italy in 1977, then returned home to earn her Bachelor of Arts degree from Gonzaga in 1979. She later worked with Frederick Frank in New York and subsequently studied oil painting under Ron Lukas in Seattle. More recently she has studied with Richard Schmid and Burt Silverman. Strong color and sound drawing are primary in her paintings. Her choice of simple subject matter is surprising, sometimes humorous, and always full of emotion. Portraits, still lifes and interior scenes populate her studio. A table with chairs, a diner counter top, rubber boots standing by a kitchen door, even a bowl of cherries – all evoke a sense of humanity and presence, as if someone is either about to enter the frame or has just left it. Pam has exhibited in over 125 national and international juried art shows, where she’s won more than 60 prizes. Her work has exhibited in 28 states, and is in collections in numerous countries.

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Troy Coulterman

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” How do you visually represent the nightmarish hallucinations you get in your sleep after accidentally eating old sweaty cheese or recalling a dream or a memory from your past only to realize it was actually from something you saw on TV? These are just two fleeting moments we choose to ignore or are just too damn embarrassed to admit. They are absurd anomalies– glitches in the system–that are a testament to our confusing lives. All of my work starts from similar confusing happenings that we may experience in one way or another. In my sculptures I embrace these experiences and translate them into tangible moments that manage to be even more absurd than that from which they came.” – Troy Coulterman

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