Focus sur cette vidéo réalisée par Ben Newman marquant l’association entre Asos et Puma. Cette création appelée « Os Pixadores » suit un groupe d’activistes et graffeurs brésiliens sur les toits de São Paulo, expliquant leur philosophie. Une création à but commerciale à découvrir dans la suite.
L’artiste Alejandro Maestre a demandé à un de ses amis Julian d’utiliser son corps pour créer des œuvres photographiques d’une beauté envoutante. Autour de ces portraits, l’artiste s’intéresse à la compréhension du corps. Une série incroyable à découvrir dans la suite de l’article.
Drawings of daily chaos on Canal Street in Jason Polan’s latest solo show
Specializing in the unconventional and often overlooked, NYC’s Boo-Hooray Gallery and 6 Decades Books present “A Slow Walk,” a solo exhibit of illustrator Jason Polan. Opening today, 5 October, the show centers on a new, previously unseen letterpress renditions of 10 sketches of Canal Street done over a 10-day…
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Vivant à Los Angeles, l’artiste Jean-Paul Bourdier est un photographe, peintre et architecte français. Avec ces clichés, il peint avec brio le corps humain pour l’incruster et le faire interagir dans un paysage naturel. Un rendu proche du camouflage splendide, à découvrir dans la suite de l’article.
L’artiste suisse Tigran Tsitoghdzyan nous propose de découvrir ses peintures à l’huile au rendu incroyable. Ultra-réalistes, ses œuvres jouent avec la question de l’anonymat et de l’identité. Des toiles immenses d’un réalisme étonnant, à découvrir avec cette série d’images dans la suite de l’article.
Wave Paint Bucket is a paint-can redesign that is done pretty impressively. What you have is a lid that is fashioned with a wave and the paint tin that features a groove around the rim. It’s been done before, but this is a refined version. Essentially, the groove kinda doubles up as a funnel to pour out the paint, the lid doubles up as a palette and the functional style of opening the can makes the whole user experience a lot better! Super!
Designers: Yin-Kai Lee, Fu-Yu Cai and Shuo-Ren Shy
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(The Wave Makes It Better was originally posted on Yanko Design)
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Chuck Close est un peintre américain mondialement reconnu qui réussit a produire des portraits très détaillés en peignant uniquement avec ses doigts. Visuellement impressionnants, les portraits de cet artiste qui continue à se perfectionner malgré des problèmes de santé sont à découvrir dans la suite.
Our interview with the artist about sand-blasted books, ethereal paintings and a transcendental point of view
Examining evolution through the dual lens of spirituality and science, Montreal-based book sculptor Guy Laramée creates miniature landscapes from antiquated paperbacks. Drawing upon over three decades of experience as an interdisciplinary artist (including a start as a music composer) and an education in anthropology, Laramée carves out an existentialist parallel between the erosion of geography and the ephemeral nature of the printed word.
Laramée also evokes notes of nostalgia and the passing of time with his paintings of clouds and fog. A self-professed anachronist, Laramée takes inspirational cues from the age of Romanticism and the transcendentalism of Zen, exploring “not only what we think, but that we think.” Laramée’s distinct, conceptual medium and thematic study of change has involved him in such contemplative projects as the “Otherworldly” exhibition at the Museum of Arts and Design and an impromptu collaboration with WIRED UK.
We caught up with Laramée during his recent exhibition, “Attacher les roches aux nuages” or “Tying Rocks to Clouds”, at Expression: Centre d’exposition de Saint-Hyacinte in Quebec, to learn more about his process and philosophy.
The bookwork came in the alignment of three things: a casual discovery, my undertaking of an MA in anthropology and the building of La Grande Bibliothèque du Québec. The undertaking of this grand library fascinated me because at that time (2000) I thought that the myth of the encyclopedia—having all of humanity’s knowledge at the same place—was long dead. I was, myself, going back to school to make sense of 15 years of professional practice and was, once more, confronted with my love/hate relationship with words. Then came this accident, so to speak. I was working in a metal shop, having received a commission for a theater set. In a corner of the shop was a sandblaster cabinet. Suddenly, I had the stupid idea of putting a book in there. And that was it. Within seconds, the whole project unfolded.
Tom Cheshire, one of the associate editors of WIRED, wrote me one day, saying that he loved my work and inquiring about my future projects. Off the top of my head and half jokingly, I told him that I had the idea of doing a piece with a pile of their magazines (that was not true). He picked up on the idea and suddenly, a pile of magazines was being shipped to my studio. I had had a lot of offers for commissions—all involving my work with books—and I refused them all because they all made me so sad. People were trying to use my work to fit their agendas but the collaboration with WIRED truly inspired me because it fit perfectly with a project I had on my bench for a while, and for which I had found no outlet. The Great Black Tides project is the continuation of The Great Wall project. It gives flesh to a short story written in the mode of an archeology of the future.
The first piece that came out of this project is WIRELAND. It is both ironic and beyond irony. It is ironic that a high-tech magazine would include such a low-tech work in their pages—and foremost a type of work that looks so critically at the ideologies of progress. And it is beyond irony even, because the piece is beautiful. It is beautiful for mysterious reasons but I like to think that the way Tom Cheshire trusted me was a big factor in the success of the enterprise. So if there is a message in all this, I would like to think that it is this: never stop relating to people who defend worldviews, which seem to contradict yours. There is a common factor beyond all points of view.
The 19th century painter and emblematic figure of Romanticism, Caspar David Friedrich, said, “The eye and fantasy feel more attracted by nebulous distance than by that which is close and distinct in front of us.” That sums it up all very nicely. What is blurred and foggy attracts your eye because you want to know what is behind that veil. It is a dynamic prop to set you in motion.
The Great Nostalgia is my main resource. It is not nostalgia about a lost golden age (which never existed). It is the nostalgia, here and now, of the missing half. We live between two contradictory and simultaneous worldviews: the participant and the observer. I work along the thesis that all of humanity’s joy and sorrow come out of this basic schism, something most of the great religions (Buddhism, Sufism, etc.) evoke abundantly.
My work is existential. It may depict landscapes that inspire serenity, but this is the serenity that you arrive at after traversing life crisis. You can paint a flower as a hobby, but you can also paint a flower as you come back from war. The same flower, apparently, but not really the same.
Originally the project was a commission for a local biennale here in Quebec, an event that celebrates linen. The theme of that biennale was “Touch”. I started with used rags, the ones that are used by mechanics and that are called “wipers”. I started by sowing them together without really knowing what I was doing. I was attracted to the different shades of these rags. They are all of a different grey, due to the numerous exposures to grease and the subsequent washings but meanwhile, my mother died. I was with her when she gave her last breath. Needless to say, that gave the project a totally different color.
So, I decided that this project would help me pass through the mourning of this loss. I decided against all reason—you don’t do that in contemporary art— that I would carve a statue of Guan Yin, the Chinese name for the Bodhisattva of compassion in Buddhist lore. It took me four months. I had never carved a statue in wood. Finally, the statue came out of a syncretic version of the original. It is still faithful to one of the avatars of these icons but there is a bit of the Virgin Mary in there. Then, I built an altar over the statue and put the altar on this 16×16 feet tablecloth made of 500 used rags. The piece was first shown in an historic Catholic church which was almost a statement about the possibility of an inter-faith dialogue—even if that was far from my concern at the time when I put it up there. To me, these rags, with the hands of these women over them, became the metaphor of our human condition. As a Japanese proverb says, “The best words are the ones you did not say.”
“Attacher les roches aux nuages” will run through 12 August 2012 at the Centre d’exposition de Saint-Hyacinte.
Centre d’exposition de Saint-Hyacinte
495, Avenue Saint-Simon
Saint-Hyacinthe (Quebec), J2S 5C3
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.
Shanan Campanaro reflects on her “Poolside” collection and the art of designing patterns
Using little more than Muji gel ink pens Shanan Campanaro creates highly detailed drawings then degrades them with a dash of water to reveal unexpected patterns for her line of wallpaper, pillows and scarves, Eskayel. Her simple set of tools provides the foundation for an extensive process that involves painting and then digital manipulating her analog work. We recently caught up with the self-proclaimed neat freak at her Williamsburg studio to learn more about her latest collection, and the surprising way in which she creates such whimsically structured motifs.
Campanaro starts by drawing, usually working small. She uses the water-soluble Muji pens (or sometimes Higgins inks) to paint primarily pictures of animals, and then distorts the lines by flicking water onto the paper to make the ink bleed. “I like to work on a couple pieces of paper on top of each other so that it sinks through, and then I’ll draw the same thing a couple of times,” she explains. While she prefers pens over brushes for cleaner lines, she then counteracts that precision with a loose application of water. Campanaro demonstrated her method for us on a painting of a rooster she is doing for an upcoming exhibition called “Rare Birds”. Although “everything comes from a painting”, at the end of the day “everything has to be done on the computer”.
While she says she always paints stuff “not for wallpaper”, this medium is often at the back of her mind. While painting, Campanaro tends to notice an element that might look good as wallpaper so she’ll stop and photograph the work at that point because, she explains, “for the painting to have more contrast and depth and look good as a painting, you kind of have to ruin the part that was good as wallpaper.”
The creation of the pattern marks the beginning of the digital aspect of the process. After scanning in a photograph of her painting, she begins to inspect it in Photoshop, looking for interesting areas where the ink has bled. This begins a lengthy trial-and-error process where Campanaro zooms in on and crops a fraction of the painting, copies it, multiplies it and decides if it makes a harmonious pattern. As we saw on our visit, this part of the operation relies heavily on Campanaro’s trained artistic eye and experience as a designer.
The Central St. Martins grad is mostly inspired by travel, and she enjoys bohemian settings in places like Indonesia, Mexico or Capri. These destinations tend to show up as the themes for her collections, although her latest, “Poolside“, draws from time spent back home at her parents’ house in San Diego. The collection includes eight different patterns, and spans bold geometric designs in “Solitaire” to the abstract motif of “Splash”.
Campanaro—who’s also an unexpected sneaker freak—likes working in the commercial realm of art. After receiving her degree in fine art, she began looking for jobs at streetwear labels and ended up making T-shirts in London with two friends from school. This actually marked the beginning of Eskayel, whose name is a phonetic combination of their initials, S, K and L. The company is now a solo act with a different purpose, but Campanaro still collaborates frequently, and she co-founded the charitable arts organization FOOLSGOLD with her friend Maria Kozak, where many of her wildlife paintings end up on display.
The industrious designer never stops thinking of ways to expand her talents. Whether experimenting with different types of paper, creating custom textiles for furniture upholstery or adding new products to her shop—last year she threw woven baskets into the mix of wares comprising her online shop—Campanaro continues to successfully combine fine art with commercial sensibility. Keep an eye out for her at the Javits Center during the upcoming ICFF in NYC, and for her next collection, “Akimbo”, debuting July 2012.
Images by Karen Day. See more in the slideshow below.
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