A travers sa série « Passersby », le peintre coréen Jaeyeol Han peint des portraits abstraits et violents. Avec des sujets aux visages parfois dévastés par les mouvements du pinceau, l’artiste livre des portraits qui ont une dominante de jaune et de rouge. Une sélection de sa série est disponible dans la suite de l’article.
L’artiste brésilienne Tassia Bianchini signe la série « Fear and Surrender » qui s’inspire des motifs symétriques du test de Rorschach. Elle livre un travail photographique qui joue avec la retouche, l’eau et la peinture. Des formes abstraites à interpréter selon notre oeil et ce qu’on veut y voir.
L’artiste américain Kim Keever a fait de nouvelles créations abstraites pour son exposition « Across the Volumes » à la Waterhouse & Dodd en Avril 2014. A partir d’un mélange de peinture et d’eau, des sortes de volutes colorées apparaissent dans les airs, sous forme de nuages, champignons ou méduses.
Le photographe américain Nicholas Alan Cope, dont nous avons déjà parlé sur Fubiz, a choisi de s’intéresser à notre perception de l’abstraction avec sa série « Aether ». Il mélange chimie et photographie, eau et peinture, pour faire apparaître des motifs esthétiques en jouant avec les différents liquides.
Nicholas Alan Cope’s portfolio.
L’artiste canadien Michel de Broin fait des installations créatives et loufoques dans différents pays d’Europe et d’Amérique. Des chaises, des tables mises en bloc, une télévision-cheminée ou une Statue de la Liberté retournée sur sa flamme, cet artiste nous surprend à chaque idée. Le tout est à découvrir dans la suite.
Molecule.
Molecule.
Révolution.
100watts to 3watts.
Black Whole Conference.
Braking Matter.
Dead Star.
Epater la galerie.
Etant donnés.
Late Program.
Late Program.
Leak.
Majestic.
Overpower.
Relief.
Revolutions.
Revolutions.
Revolutions.
Testudo.
The Abyss of Liberty.
Trompe.
Cut into the dark.
Coup de cœur pour Nick Albertson, un photographe américain passionné par les objets de notre quotidien qu’il aime accumuler et disposer afin de prendre des clichés abstraits d’une grande qualité. Des images et une série « Abstract Arrangements of Objects » à découvrir dans la suite de l’article.
Masking Tape
Pink Napkins
Toilet Paper Cube
Straws
Sandwich Bags
Rubber Bands
Rubber Bands
Paper Plates
Hangers
Envelopes
Brown Paper Bags
White Napkins
Straws
Straws
Novina Studio a réalisé récemment Beginning Water Projection lors de l’évènement « Revocation end of the world » organisé en juin dernier. Avec un sound design d’Adam Hryniewicki, cette création visuellement bluffante a servi d’introduction à l’évènement en proposant une animation à couper le souffle.
Laser-cut wooden vases painstakingly assembled by hand, piece by piece
As an architect, Jon Kleinhample explored an “ideal aesthetic” through modern forms and daring techniques. Now, Kleinhample brings the same sense of exploration to Belgium-based fabrication studio LMBRJK, which takes a multi-disciplinary approach to creating custom art objects from natural materials. Drawing on CAD-based methods of fabrication as well…
Continue Reading…
Phenomenological art from a Detroit native
Discovered on our recent trip to Re:view Gallery in Detroit, Greg Fadell is an abstract artist hell-bent on taking messaging out of art. His massive grayscale aesthetic channels the rawness of abstraction and makes for a piece that is nothing if not experiential. The brother of Tony Fadell—former iPod designer and inventor of the Nest Learning Thermostat—Greg Fadell seems to share his brother’s desire to innovate and change. We recently caught up with Fadell in his Detroit studio, situated in an old public school building that has been converted—in that patently Detroit sort of way—into a movie theater, Montessori school and studio space.
The concept for Fadell’s current series, “Nothing”, came during a Parisian sojourn. Walking down the street, he came across a building undergoing renovation. The windows had been whitewashed for protection, and Fadell became obsessed with the spectral quality of the material. With his elementary command of French, he was able to ask the owner, “Qu’est-ce que c’est le blanc?” or “What is the white?”
Fadell went on to buy the substance, a fine powder, and develop his own paint using polymers and an acrylic base. Applying the paint with homemade brushes, Fadell quickly realized that the paintings lost depth from layering day after day. “I have to work wet, so once I start I cant stop,” he explains. With nearly two gallons of paint used for each work, it’s surprising that the works dry perfectly flat. The difference between white-on-black and black-on-white pieces is vast—white produces a cold color temperature while black is notably warmer.
The result of his effort is a painting that has a great degree of perceived depth, yet on close inspection appears to be a digital print. The sharpness disappears and the lines becomes noisy and indistinct. The effect is so convincing that a New York gallerist once accused Fadell of photoshopping his work. Her mind was changed when the piece was reversed and the paint-covered edges could be seen through the floating frame. Following this, Fadell learned the importance of showing his hand, and now exhibits the series unframed.
There is a lot of theory behind Fadell’s work, mostly surrounding the phenomenological notion of art as experiential and viewer-informed. This makes the work essentially irreproducible online, where the enveloping effect of his floor-to-cieling works is lost. Fadell is adamantly opposed to cleverness, and the title “Nothing” is more of an invitation to viewers rather than an artist’s statement. “There’s all this issue art,” says Fadell. “I have enough issues. I don’t need to create any more. I wanted to create something that allowed the viewer to bring their own impressions to it.”
An artist like Fadell is a rare phenomenon in the art world. Painters are increasingly a dying breed as concept art moves from the fringe into the mainstream. Mostly, his point of differentiation goes back to his years of skateboarding before skate culture had developed. Back when the sport was new, Fadell explains that there was nothing preset, no sense of what he was doing or why. “It’s like detroit,” he says. “I saw opportunity and potential in skateboarding.” That spirit eeks into his works, which have a spirit and energy that extend outside of time and place.
A mad tea party of paintings
Initially catching our eye at the recent NADA NYC fair, Michael Bauer has made an impression in the European art market for years with his energetically moody compositions. The German artist recently set up shop in New York, and in celebration of his move from Berlin to NYC he is holding his first solo show at Lisa Cooley Gallery, dubbed “H.S.O.P. – 1973“.
Bauer spent much of 2012 experimenting with collage and drawing, a practice that has invigorated his new paintings with what the gallery calls an “openness, dynamism, lightness and mischievous humor” not seen in his previous work. Still, certain elements from his early career remain, most notably his small, meticulous markings and his predilection for highlighting and obscuring physical deformity. According to the Saatchi Gallery, “Bauer uses the qualities of abstract painting as a deviation of representational portraiture, allowing the media to replicate the characteristics of physical matter.”
Even as his compositions become tighter and more centralized, Bauer seems consumed with making figurative elements from the marking of his medium. He describes the work in “H.S.O.P – 1973” as “portraits of gangs, families, music bands, collectives, or mobs—a grouping of characters revealed through the occasional eye or profile emerging from shadowy abstraction. Flat, crisp, bright, patterns usually provide the structure from which these organic nebulas originate.”
The title for the exhibition is a little obscure, and Bauer calls “H.S.O.P.” an “arbitrary reference” to the Hudson River School of painting, and because there’s a foot or foot-like shape in each painting, the accompanying numbers indicate European shoe sizes. The other elements aren’t quite so random. Bauer adds circular shapes to the corners to make them more like playing cards, with each painting like a “character in an unfolding cast, a mad tea party of sorts.”
”H.S.O.P. – 1973” is on view at Lisa Cooley Gallery through 17 June 2012.
This is site is run by Sascha Endlicher, M.A., during ungodly late night hours. Wanna know more about him? Connect via Social Media by jumping to about.me/sascha.endlicher.
