Sep 21, 2015
(born 8 October 1948) is an Austrian-Irish visual artist. He has worked as a painter, draftsman, photographer, muralist, sculptor, installation and performance artist, using a wide variety of techniques and media. Helnwein studied at the University of Visual Art in Vienna (Akademie der Bildenden Künste, Wien). His early work consists mainly of hyper-realistic watercolors, depicting wounded and mistreated children, as well as performances – often with children – in public spaces. Helnwein is concerned primarily with psychological and sociological anxiety, historical issues and political topics. As a result of this, his work is often considered provocative and controversial. Helnwein lives and works in Ireland and Los Angeles.
Sep 18, 2015
" In my most recent work I am using clay to build figurative sculptures of humans encased in animals. I use delicate and emotive gesture, rich texture, and subdued, sepia tones to create telling, intimate objects that capture current psychological, environmental, and cultural feelings. The figures are contemplative and inward thinking, seeing a future outcome that is uncertain. The animals I use are either extinct or have become endangered due to human impact in this era of “great acceleration” since the Industrial Revolution. The concepts behind the work are about our contemporary environmental issues while the visual structure pursues a totemic feel. I am looking at visual material including Native American ceremonial masks and regalia, Byzantine and Renaissance devotional painting, secular portraits and altarpieces, and Egyptian antiquities. I am interested in how human advancements in technology, agriculture, and urbanization have imposed stress on natural ecosystems and the species that live within them. Through my sculptures I try to humanize these ideas and present them in a way that is accessible, interesting, and conversation provoking. I hope that the viewer comes away from my work thinking and asking questions about our role as humans on the earth and our relationship to other living beings. I hope to raise awareness of these urgent issues while also showing our humanity, ingenuity, and ability to be flexible and innovate as species." - Crystal Morey
Sep 10, 2015
When Jan Kaláb
was born in 1978 in Czechoslovakia, graffiti was not to be seen in the Eastern World. In the nineties, as the country was opening itself to western influences, he became one of the pioneer of the local scene, and founded an iconic crew, the DSK. Sleepless nights around train yards, light tubes at police stations and above all hard work on his style: he went through all the classical steps of a writer’s career. Through Europe, he made a name for himself as Cakes. Next step to the Hall of fame: New York, where he made a big impression by painting whole cars in 2000, alongside with Key and Rome. Around the same time, he found a new way to push his own limits and challenge himself: 3-D Graffiti. Under the name of Point, he sculpted huge abstracts letters he chose to put in the streets and on the walls. The highest the better. This was another form of graffiti, in daylight, and without a spray, but truthful to the spirit of competition and innovation of the urban scene. Those sculptures lead him to abstraction, a path he’s been exploring through canvas from 2007, using acrylic painting and brushes. In the meantime, this admirer of Kupka graduated from the Academy of fine Arts of Prague – becoming the first Czech writer to do so. Jan Kaláb had his first solo exhibition in 2008 in Prague. Others solos took place in Romania, Argentina, Germania or in the United States. With time, his forms became more and more geometric. He used colourful squares and circles as an obsessive vocabulary for infinite variations around depth, time, and motion. Playing with circles conveyed organic imperfection and swing into his work. Dynamic is also crucial in his recent experiments, when he took pictures of some of his paintings in the streets of New York or other cities. The project became a social one when he realised he needed help from strangers to carry the canvas. This is no surprise, since collective energy is crucial in his creative process. The artist is very invested in collective events. He’s the co-creator of a highly dynamic cultural space in Prague, called Trafačka. More than 160 exhibitions took place there from the opening in 2006 till the closure in 2015. On his own or collectively, the motto is the same: always getting higher, always inventing new forms – a tribute to the soul of graffiti.