Aurelia Butler

More stories

  • 163 Shares189 Views

    in Art

    Glowing Geometric Light Paintings Dance Above Sparse Landscapes in Reuben Wu’s Audiovisual Works

    
    Art
    Photography

    #audio
    #drones
    #landscapes
    #light
    #light painting

    April 26, 2021
    Grace Ebert

    
    Paired with static, beeps, and soft melodic sequences, a series of glowing geometric shapes by Reuben Wu (previously) appear to emerge from the air in his new project, EX STASIS. Created in his signature otherworldly style, the Chicago-based photographer draws on both his Lux Noctis and Aeroglyph series, which use a combination of drones and light painting, to illuminate the rugged topographies with rings, tubes, and dots that spin and contort in hypnotic motion.
    For EX STASIS, Wu programmed a stick of 200 LED lights to shift in color and shape above the calm landscapes. He captured the mesmerizing movements in-camera, and through a combination of stills, timelapse, and real-time footage, produced four audiovisual works that juxtapose the natural scenery with the artificially produced light and electronic sounds. “As it gets dark, my surroundings cease to be an exterior experience and become a subliminal space, and that’s when I feel most connected and aware of my sense of being,” Wu says. “This dynamic terrestrial chiaroscuro synchronizes with my sound design and music to form singular looping pieces.”
    Find more of the photographer’s light-focused works on Instagram, Twitter, and Behance.

    A still from “EX STASIS I”
    A still from “EX STASIS III”
    A still from “EX STASIS II”
    A still from “EX STASIS IV”

    #audio
    #drones
    #landscapes
    #light
    #light painting

    Do stories and artists like this matter to you? Become a Colossal Member and support independent arts publishing. Join a community of like-minded readers who are passionate about contemporary art, help support our interview series, gain access to partner discounts, and much more. Join now!

     
    Share this story
      More

  • 213 Shares199 Views

    in Art

    Interview: A Conversation with Curator Tam Gryn Unpacks the Innovative Mix of Art and Retail Behind SHOWFIELDS

    
    Art
    Colossal

    April 26, 2021
    Christopher Jobson

    Perrier x Murakami collaboration at SHOWFIELDS NYC. All images © SHOWFIELDS, shared with permission
    We recently sat down with SHOWFIELDS head curator Tam Gryn for a conversation about the unique blend of shopping, art, brand activations, and events that drive the innovative retail concept. With locations in New York City and Miami, the relatively new space already has generated fruitful collaborations between an impressive array of artists, companies, and organizations, including Perrier x Murakami, Tax Collection, Brooke DiDonato, Kenny Sharf, Ekaterina Popova, Filthy Luker, and the Whitney and Brooklyn museums.
    Often working in response to cultural shifts and consumer demands, Gryn’s curatorial decisions are geared toward sustainability and collective movement. She explains:
    As a curator, I try to find patterns in generational truths. What I see since last year is that our whole generation is screaming for healing at the top of their lungs: healing from this pandemic, healing medically, healing holistically with all kinds of contemporary spiritual practices, healing as a society. Therefore, I am showcasing artists who can interpret this phenomenon, and we are partnering with small businesses who are giving consumers what they are asking for.
    In this interview, Colossal editor-in-chief Christopher Jobson spoke with Gryn about the efficacy of structuring collaborations based on shared missions, the humor and play that permeate both SHOWFIELDS locations, and what we can collectively gain from blurring the boundaries of art and branding.

    Filthy Luker tentacles popping out of the SHOWFIELDS Miami facade

    Do stories and artists like this matter to you? Become a Colossal Member and support independent arts publishing. Join a community of like-minded readers who are passionate about contemporary art, help support our interview series, gain access to partner discounts, and much more. Join now!

     
    Share this story
      More

  • 138 Shares199 Views

    in Art

    Monumental Murals of Anatomical Creatures by ROA Celebrate Puerto Rico’s Biodiversity

    
    Art

    #animals
    #murals
    #public art
    #Puerto Rico
    #street art

    April 26, 2021
    Grace Ebert

    Red Tail Hawk in Humacao, November 2018. Photo by Edgardo Santiago, image courtesy of Taller 2C1, shared with permission
    Belgian street artist ROA (previously) has been touring Puerto Rico painting his signature monochromatic menagerie around the island. Depicting both native creatures like parrots and seahorses and invasive species like lionfish, the massive pieces celebrate the region’s biodiversity and the biologists and conservationists working tirelessly to preserve it. Many of the murals are anatomical and juxtapose life and death, a recurring theme in ROA’s body of work and one that’s apparent in his most recent rendering in Isla de Cabras. Spanning 160 feet, the massive artwork positions a plump, wrinkled manatee alongside a lengthy skeleton.
    The ongoing project has produced 15 murals so far and is a collaboration with Elegel Group. You can find out more about the impetus behind each animal on Instagram. (via Street Art News)

    Manatee in Isla de Cabras, April 2021. Photog by Four Two Photography
    Puerto Rican Parrot in Utuado, July 2019. Photo by Edgardo Santiago, image courtesy of Taller 2C1, shared with permission
    Octopus in Playa Escambron, July 2019. Photo by Edgardo Santiago, image courtesy of Taller 2C1, shared with permission
    Lionfish in Naguabo, June 2019. Photo by Pedro “Huck” Rosa, image courtesy of Taller 2C1, shared with permission
    Seahorse in Playa Escambron. Photo by Edgardo Santiago, image courtesy of Taller 2C1, shared with permission
    Snail in Aibonit, January 2019. Photo by Edgardo Santiago, image courtesy of Taller 2C1, shared with permission
    Monkey in Naguabo, November 2018. Photo by Edgardo Santiago, image courtesy of Taller 2C1, shared with permission
    Lizard in San Juan. Photo by Edgardo Santiago, image courtesy of Taller 2C1, shared with permission
    Tortuga. Photo by Edgardo Santiago, image courtesy of Taller 2C1, shared with permission

    #animals
    #murals
    #public art
    #Puerto Rico
    #street art

    Do stories and artists like this matter to you? Become a Colossal Member and support independent arts publishing. Join a community of like-minded readers who are passionate about contemporary art, help support our interview series, gain access to partner discounts, and much more. Join now!

     
    Share this story
      More

  • 188 Shares99 Views

    in Art

    Olafur Eliasson’s Newest Exhibition Floods Fondation Beyeler with a Bright Green Pond Filled with Plants

    
    Art

    #installation
    #nature
    #plants
    #water

    April 22, 2021
    Grace Ebert

    “Life” (2021), installation view at Fondation Beyeler, Riehen/Basel. Photo by Mark Niedermann, courtesy of the artist; neugerriemschneider, Berlin; Tanya Bonakdar Gallery, New York / Los Angeles, © 2021 Olafur Eliasson
    A flood of murky water overwhelms the stark white galleries of Fondation Beyeler in Basel, Switzerland. The new exhibition, simply titled “Life,” is the work of acclaimed Danish-Iceland artist Olafur Eliasson (previously), who set the Swiss institution awash in floating ferns, dwarf water lilies, shell flowers, red root floaters, and water caltrops.
    To install the sprawling project, Eliasson removed the windows on one side of the museum’s facade, which allows visitors and nearby wildlife to enter the space at any time of day or night. The open-air environment subjects the manufactured reservoir indoors to the naturally occurring elements outside the building, like the weather, daylight, humidity, and smells and sounds of nearby public gardens. At night, a combination of UV lights and a fluorescent dye called uranine radiate brilliant colors throughout the water.
    A prismatic livestream—Eliasson outfitted some of the cameras with apparatuses that mimic the sensory experiences of animals and insects—captures how the immersive space changes with each moment, especially as the surface reflects shadows and passersby. These interactions between human and non-human species foreground the project, which was inspired by anthropologist Natasha Myers who’s advocated for the advent of the “planthroposcene.” An alternative to the anthropocene, Myers’ concept is “rooted in the knowledge that plants are what made this planet liveable,” a statement says, clarifying that although the gallery is overrun with water, Eliasson’s goal is to evidence the interconnectivity inherent in nature.
    Fondation Beyeler is housing Eliasson’s “Life” through July. Find more of the artist’s monumental projects on his studio’s site and Instagram. (via Artnet)

    “Life” (2021), installation view at Fondation Beyeler, Riehen/Basel. Photo by Mark Niedermann, courtesy of the artist; neugerriemschneider, Berlin; Tanya Bonakdar Gallery, New York / Los Angeles, © 2021 Olafur Eliasson
    “Life” (2021), installation view at Fondation Beyeler, Riehen/Basel. Photo by Pati Grabowicz, courtesy of the artist; neugerriemschneider, Berlin; Tanya Bonakdar Gallery, New York / Los Angeles, © 2021 Olafur Eliasson
    “Life” (2021), installation view at Fondation Beyeler, Riehen/Basel. Photo by Pati Grabowicz, courtesy of the artist; neugerriemschneider, Berlin; Tanya Bonakdar Gallery, New York / Los Angeles, © 2021 Olafur Eliasson
    “Life” (2021), installation view at Fondation Beyeler, Riehen/Basel. Photo by Mark Niedermann, courtesy of the artist; neugerriemschneider, Berlin; Tanya Bonakdar Gallery, New York / Los Angeles, © 2021 Olafur Eliasson
    “Life” (2021), installation view at Fondation Beyeler, Riehen/Basel. Photo by Pati Grabowicz, courtesy of the artist; neugerriemschneider, Berlin; Tanya Bonakdar Gallery, New York / Los Angeles, © 2021 Olafur Eliasson
    “Life” (2021), installation view at Fondation Beyeler, Riehen/Basel. Photo by Pati Grabowicz, courtesy of the artist; neugerriemschneider, Berlin; Tanya Bonakdar Gallery, New York / Los Angeles, © 2021 Olafur Eliasson

    #installation
    #nature
    #plants
    #water

    Do stories and artists like this matter to you? Become a Colossal Member and support independent arts publishing. Join a community of like-minded readers who are passionate about contemporary art, help support our interview series, gain access to partner discounts, and much more. Join now!

     
    Share this story
      More

  • 163 Shares179 Views

    in Art

    Lustrous Seas of Layered Glass Are Sliced into Cross-Sections in Ben Young’s Sculptures

    
    Art

    #glass
    #ocean
    #sculpture
    #water

    April 21, 2021
    Grace Ebert

    “Solitary Catch Awaits,” laminated clear float glass with cast concrete, bronze, and stainless steel frame, 300 x 300 x 180 millimeters. All images © Ben Young
    Calm bodies of hand-cut glass pool atop jagged concrete in Ben Young’s aquatic sculptures. The New Zealand-based artist (previously) is known for his marine landscapes that position miniature figures in vast expanses of the translucent material, creating a contemplative environment that juxtaposes a minuscule representation of humanity alongside the immensity of the oceans and other bodies of water. Each piece similarly contrasts the organic topography with the perfect right angles that provide the cubic shape and revealing cross-sections.
    A few of Young’s sculptures are currently available at Black Door and Red Sea galleries, and you can find prints in his shop. Explore a larger collection of his works on Behance and Instagram.

    “Sea of Separation,” laminated float glass, cast concrete, bronze, and stainless steel stand, 600 x 350 x 170 millimeters
    “Sea of Separation,” laminated float glass, cast concrete, bronze, and stainless steel stand, 600 x 350 x 170 millimeters
    “Still Water”
    “Diverge”
    “Diverge”
    “Daydream”
    Detail of “Daydream”
    “Weathering the Storm”
    “The Divide,” laminated float glass and cast concrete, 930 x 375 x 165 millimeters

    #glass
    #ocean
    #sculpture
    #water

    Do stories and artists like this matter to you? Become a Colossal Member and support independent arts publishing. Join a community of like-minded readers who are passionate about contemporary art, help support our interview series, gain access to partner discounts, and much more. Join now!

     
    Share this story
      More

  • 188 Shares129 Views

    in Art

    Artist Amy Sherald Depicts a Vast Array of Black Leisure through Monumental and Nuanced Portraits

    
    Art

    #painting
    #portraits

    April 20, 2021
    Grace Ebert

    “A Midsummer Afternoon Dream” (2020), oil on canvas, 106 x 101 x 2.5 inches. All images courtesy of Hauser & Wirth, shared with permission
    Amy Sherald plumbs the multitudes of Black leisure in The Great American Fact, a series of arresting portraits that are currently on view at Hauser & Wirth Los Angeles. From a woman resting on a bicycle to two surfers readying for the water, the oil-based paintings observe moments of respite and pleasure at a monumental scale, sometimes spanning nearly nine feet across.
    Although she surrounds her subjects with vivid patches of color and portrays them wearing bright garments, Sherald (previously) continues to render her subjects’ skin in her signature grayscale, which she’s described in recent years as a way to have the figures read “in a universal way, where they could become a part of the mainstream art historical narrative.” This new series also features elements synonymous with American culture, including a white picket fence, Barbie T-shirt, and retro convertible.
    The collection’s title draws on the work of Anna Julia Cooper, an educator who in 1892 wrote A Voice From the South by a Black Woman of the South. In the classic Black feminist text, Cooper described Black people as “‘the great American fact’; the one objective reality on which scholars sharpened their wits, and at which orators and statesmen fired their eloquence.” This understanding structures Sherald’s work and provides guideposts for considering “public Blackness,” particularly as the Georgia-born artist portrays figures with rich personal lives full of ease, relaxation, and joy. When much of Black life historically has centered around grappling with injustice and social issues, Sherald’s turn inward provides a nuanced view of her subjects.
    The five paintings shown here are on view through June 6, and you can find a larger collection of Sherald’s elegantly subversive works on her site and Instagram.

    “An Ocean Away” (2020), oil on canvas, 130 x 108 x 2.5 inches
    “Hope is the thing with feathers (The little bird)” (2020), oil on linen, 54 x 43 x 2.5 inches
    “As American as apple pie” (2020), oil on canvas, 123 x 101 x 2.5 inches
    Detail of “Hope is the thing with feathers (The little bird)” (2020), oil on linen, 54 x 43 x 2.5 inches
    Detail of “A Midsummer Afternoon Dream” (2020), oil on canvas, 106 x 101 x 2.5 inches
    “A bucket full of treasures (Papa gave me sunshine to put in my pockets…)” (2020), oil on linen, 54 x 43 x 2.5 inches

    #painting
    #portraits

    Do stories and artists like this matter to you? Become a Colossal Member and support independent arts publishing. Join a community of like-minded readers who are passionate about contemporary art, help support our interview series, gain access to partner discounts, and much more. Join now!

     
    Share this story
      More

  • 150 Shares139 Views

    in Art

    Elaborately Constructed LEGO Universes by Artist Ekow Nimako Envision an Afrofuturistic World

    
    Art

    #afrofuturism
    #installation
    #Lego
    #masks
    #sculpture

    April 20, 2021
    Grace Ebert

    Detail of “Kumbi Saleh 3020 CE” (2019). Photos by Samuel Engelking. All images © Ekow Nimako, shared with permission.
    Hundreds of thousands of sleek, black LEGO structure the utopic universes by Toronto-based artist Ekow Nimako. Ranging from life-sized figurative sculptures with an eccentric twist to sprawling landscapes mimicking dense metropolises, Nimako’s artworks are rooted in the visionary realm of Afrofuturism, which “explores the intersection of technology and race to visualize a powerful future for the African diaspora” through a hearty dose of hope and strength.
    His ongoing series, Building Black, is an expansive collection that encompasses fantastical masks inspired by West African tradition and mythological characters that draw on folklore and proverbs. Another facet includes a broad, architectural sculpture that expands 30-square-feet. The 2019 work is titled “Kumbi Saleh 3020 CE,” a reference to the capital city of the ancient Ghana Empire that’s thought to have contained a mosque, a central square, and various circuit walls.

    Left: “Kadeesa (Griffyx Cub)” (2020). Right: “Flower Girl” (2019)
    Running through each of these artworks is a fluid understanding of time and space that blurs the distinction between generations, locations, and histories in order to imagine a new reality. “We are all living proof of our ancestors, all their joy, love, knowledge, and pain. They live in our DNA,” the Ghanaian-Canadian artist says. “Aesthetically, I enjoy taking elements from bygone eras and creating futuristic landscapes, particularly of African utopias to imagine a liberated existence for us all.”
    That blurred temporality that foregrounds his sculptures and installations parallels his own trajectory, as well. “My art practice developed when I was four years old, as I constantly told myself I want to do this (play with LEGO) forever, and sometimes it feels as though my future self communicated with my past self, astrally perhaps, to ensure this very specific destiny manifested,” he says, noting that the plastic blocks have remained a fixture in both his personal and professional life since becoming a father.

    “Kumbi Saleh 3020 CE” (2019)
    Today, Nimako works solely with black LEGO, a choice designed to distinguish his practice from the iconic brand. “My distinction was that I wanted to make artwork for which the medium was secondary,” he shares. “The form and content, the embodiment of life, always comes first with my work.”
    In 2017, Nimako published a guide to LEGO animals, Beasts from Bricks, and plans to continue teaching with a tutorial for building afrofuturistic worlds that’ll launch on his site this June. He’ll be included in a  group exhibition at Onsite Gallery starting in June 2022 and also has a solo show slated for October of next year at Dunlop Gallery in Regina, Saskatchewan. In the meantime, explore a larger collection of his elaborately designed universes on Instagram. (via Hyperallergic)

    Detail of “Kumbi Saleh 3020 CE” (2019)
    Detail of “Kumbi Saleh 3020 CE” (2019)
    “Simis” (2019)
    “Esun” (2020)
    Nimako working on a piece. Photo by Janick Laurent

    #afrofuturism
    #installation
    #Lego
    #masks
    #sculpture

    Do stories and artists like this matter to you? Become a Colossal Member and support independent arts publishing. Join a community of like-minded readers who are passionate about contemporary art, help support our interview series, gain access to partner discounts, and much more. Join now!

     
    Share this story
      More

  • 188 Shares179 Views

    in Art

    Moonlit Forests, Fish, and Branches Populate Kirie Silhouettes Cut from a Single Sheet of Paper

    
    Art

    #nature
    #paper
    #portraits
    #silhouettes

    April 20, 2021
    Grace Ebert

    All images © Kanako Abe, shared with permission
    From a single sheet of white paper, Kanako Abe (previously) carves exquisite silhouettes of children and young adults who are awash in seas of fish or occupied by quiet campouts. She utilizes the traditional Japanese art form called Kirie—which translates to cut picture—a technique that Abe begins with a sketch before slicing the delicate material with a variety of knives. “I don’t have a chance to change the design once I start cutting, so I find it challenging,” the Seattle-based artist says. “I have to think of the right patterns, controlling negative space, and make sure all the lines are connected so the art won’t fall apart once it’s finished.” A single piece can take anywhere from six to 60 hours to complete.
    Abe shifted to full-time in 2020 and now balances her practice between commissions and ongoing personal projects, a few of which she’ll be sharing soon on Instagram. No matter the context, each artwork reflects a broader connection to nature and its ability to provide an escape from the complications and heartbreak of the current moment. “I find the process of art-making is a way for me to meditate on everyday thoughts and emotions, and it’s much easier for me to express complex feelings or emotions visually than verbally,” she tells Colossal. “The cycle of nature teaches us about the power of letting go or accept things as they are and that there’s a silver lining in everything.”
    If you’re in San Francisco, you can see Abe’s intricate portraits at her September solo show at Rare Device. She’ll also be included in a group exhibition at Today’s Gallery in Ehime, Japan, which opens in December.

    #nature
    #paper
    #portraits
    #silhouettes

    Do stories and artists like this matter to you? Become a Colossal Member and support independent arts publishing. Join a community of like-minded readers who are passionate about contemporary art, help support our interview series, gain access to partner discounts, and much more. Join now!

     
    Share this story
      More