” My latest expression are these light sculptures that I’ve created. The idea came about when I was left with a bunch of edison bulbs after different DIY build and while hanging out with a friend, I’d noticed he had a bunch of offcut wood laying around. Using the wood as the base, I drilled holes for the bulb(s) and dowels and played around with compositions. I wanted to create a sense of atmosphere and I did this by using different width and length dowels. A perception of depth and space is also created by the shadows. I hope you enjoy them.” – Huy Lam
With a practice that includes photographs, found objects, text, video-projection and sculpture, Matt Sheridan Smith manipulates a variety of mediums to address notions of authorship, the readymade, originality, and value. Considering the value of artist’s labor, its relevance within a historical context, means of self-portraiture, and the precarious relationships between language, objects and representation, Smith employs ready-made, standardized or prescribed material to reveal the poetic effects of seemingly banal content, technologies, or conventions. As a platform for critical discourse, his practice is specifically designed for the fluid exchange of ideas between artist and viewer, viewer and art. In The Front Room, Smith presents a new suite of text paintings and sculptures derived from a game in Julio Cortazar’s 1963 novel Hopscotch, in which characters join the dictionary definitions of two homonyms using a conjunction such as “isn’t that.” Creating a false equivalence through proximity and a set of found poetry, these generative texts seek simultaneously to objectify the original word and force it to disappear in the face of its meaning. In presenting these texts–one from the novel and one by Smith–with a series of sculptural analogs and correspondences that give no indication as to which came first, Smith complicates the relationships between text and illustration, object and caption. (via Contemporary Art Museum St. Louis)
” Pop culture fuels most of my work, and I tend to be drawn towards women in the public eye. My debut solo exhibition “American Beauty” is a collection of oil-on-canvas portraits of beautiful, talented, and troubled women in the public eye whose well-documented struggles have been proliferated across the media worldwide. Lindsay Lohan is a central figure in the collection, as I personally relate to her issues with addiction and self-destructive behavior- as well as her perseverance and talent. The images in my paintings aren’t always flattering, but they are all beautiful in my eyes. I try to use color, sensitivity, humor, and honesty in my paintings to convey these women as I see them. By having an empathetic (though not always sympathetic) eye, I’m able to make something beautiful out of images that have been widely considered ugly or damaging.” – Jon Eisenmann
” The photographic performance of this project is to overlay a material reality with a virtual one, erasing the border between the two worlds. It is a response to the proliferation of visual projects that take place in virtual spaces. It is a questioning about the notion of border and territory. A mix of two distinct realities into a single image. I want to show that we can use a virtual space in conceptual photography and approach these areas with the same sensitivity as the physical space. “- Benoit Paillé
‘Richard Wright continues his work with York Glaziers Trust – Britain’s oldest stained glass conservation studio, who have a special connection to the medieval windows at York Minster. For this project he has made four leaded glass skylights in the ceiling at Aird’s Lane. Utilising the four rectangular skylights, Wright’s new work incorporates handmade, blown glass and leading, following a complex design developed by the artist. In response to the horizontal structure of the skylights, Wright has adapted the technique initially employed in his recent commission for Tate Britain’s eastern windows, in the Milbank foyer.’ (via The Modern Institute)
FriendsWithYou is the fine art collaborative of Samuel Borkson and Arturo Sandoval III, working collectively since 2002 with the sole purpose of spreading the positive message of Magic, Luck, and Friendship™. As artists working in a variety of mediums, including paintings, sculpture, large-scale experiential installations, public playgrounds, published works and live performances, FriendsWithYou’s mission is to affect world culture by cultivating special moments of spiritual awareness and powerful, joyous interaction.
A set of furniture designed by Gigi Barker made to look (and smell) like blobs of human flesh. “Barker’s skin chair and skin stool set were created as part of a project called A Body of Skin, where she studied the ‘texture of skin and the shape of the body’, exploring ‘the intricate subtleties and varieties of the skin surface and the volume of the flesh’.” More here.
Keith Tyson (born August 23, 1969) born Keith Thomas Bower is a British artist. In 2002, he was the winner of the Turner Prize. His work is concerned with an interest in generative systems, and an embrace of the complexity and interconnectedness of existence. Tyson works in a wide range of media, including painting, drawing and installation.
Richard Long CBE (born 2 June 1945) is an English sculptor, photographer and painter, one of the best known British land artists. Long is the only artist to be shortlisted for the Turner Prize four times, and he is reputed to have refused the prize in 1984. He was nominated in 1984, 1987, 1988 and he then won the award in 1989 for White Water Line. He currently lives and works in Bristol.
From the architect (amano design office): This is a conversion project that totally renovated a 25-year old office building, located on a back street of Omotesando in Tokyo, in order to facilitate commercial functions. The client requested a design that would have a façade expression differentiated from the surrounding buildings, and that would be a part of future tenants’ branding. We aimed at a design with a soft expression that would be favorably accepted by passersby, while standing out from the surrounding buildings that tended to have physically hard expressions. (Continue..)