Aurelia Butler

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    Lush Tufted Tapestries Document Ecological Changes in Argentina’s Landscapes

    
    Art
    Craft
    Design

    #Argentina
    #carpets
    #landscapes
    #rugs
    #tapestry
    #textiles

    March 25, 2021
    Anna Marks

    All images © Alexandra Kehayoglou, shared with permission
    Designer Alexandra Kehayoglou (previously) creates exquisite pieces of flowing textiles that reference the rugged landscapes of her homeland, Argentina. In the creation of each tapestry, Kehayoglou transforms surplus carpet fabric into natural elements that range from a spectrum of Earth-colored mosses to clusters of trees and serpentine rivers that cut through the heart of her weaves. Entwined within each piece are fragments of the artist’s own memories, including witnessing waterways slowly recede and the alterations to Argentina’s grasslands.
    Her latest works, a series called Prayer Rugs, depict animal footprints and small vegetative features of the Parana Wetlands located 50 kilometers from Buenos Aires. In recent years, the region’s biodiversity has been decimated by the wood and paper industries, which have facilitated the growth of non-native plant species that have since spread out of control. Additionally, human-made fires wreaked havoc during 2020, while livestock simultaneously trampled the once-luscious grassland.
    Kehayoglou’s pieces document the foliage that has survived after years of this widespread exploitation and how, over time, local fauna has started to reappear: thistles grow through cracks in the dry Earth, deer leave mud-splattered tracks, and chirping insects dance upon youthful leaves. The artworks narrate the wetland’s change and growth, reflecting the pain caused by capitalism while turning the need for change into tapestries that reference Argentinians’ hope. Kehayoglou says:
    Isolation made me think of my carpets as spaces where new forms of activism could be enacted. A type of activism that instead of focusing on paranoid conflict was silent, absorptive and, as I believe, more effective. My carpets, thus, became instruments for documenting ‘minor’ aspects of the land, which were otherwise overlooked as irrelevant. A focus on its micro-narratives that would open new doors for possible ecological futures.
    You can see more of the artist’s rich tapestries on her website and Instagram.

    #Argentina
    #carpets
    #landscapes
    #rugs
    #tapestry
    #textiles

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  • 175 Shares179 Views

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    Illuminated Streaks Appear to Fall from Trees in Light Paintings by Photographer Vitor Schietti

    
    Art
    Photography

    #Brazil
    #light
    #light painting
    #trees

    March 25, 2021
    Grace Ebert

    All images © Vitor Schietti, shared with permission
    In Vitor Schietti’s Impermanent Sculptures, thick treetops and branches are swollen with light that appears to drip down in incandescent rays. Each photograph frames the nighttime scenes in a dreamy, energetic manner as the glowing beams both outline and obscure the existing landscapes. Schietti shot the pieces shown here in February and March of 2021 around his hometown, Brasília, but the ongoing series first was developed in 2015.
    Although some of the long-exposure photographs are taken in a single shot, many are composites created from various light paintings. He explains:
    Apart from this process and color and contrast adjustments, the result is conceived entirely from real action with fireworks, a performance that shifts between spontaneity and control… To paint with light in a three-dimensional space is to bring one’s thoughts from unconscious realms into existence, only visible as presented through long-exposure photography.
    Schietti sees the luminous series as a celebration of the Brazilian city, which he describes as a tree-filled oasis of birds and cicadas that’s “often integrated with the genius architecture of Oscar Niemeyer…Appreciating their hidden expressions, or imagining the life force that pulsates and emanates from them maybe a little less ordinary, so here (the) images play an important role: inspire and foster imagination.”
    Check out the catalog of available prints on Schietti’s site, and head to Instagram for more of his photographs featuring Brazil’s lush landscapes and natural life.

    #Brazil
    #light
    #light painting
    #trees

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  • 175 Shares139 Views

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    A Massive Catalogue of Stitched CMYK Studies by Evelin Kasikov Merges Printing and Embroidery

    
    Art
    Craft
    Design

    #books
    #color
    #cross-stitch
    #embroidery
    #thread

    March 25, 2021
    Grace Ebert

    “XXXX Swatchbook” (2010-2016), 180 x 210 millimeters. All images © Evelin Kasikov, shared with permission
    In “XXXX Swatchbook,” Evelin Kasikov (previously) explores all of the variables of CMYK printing without a single drop of ink. She catalogs primary, secondary, and tertiary colors, two-dozen combinations showing how rotation affects the final pigment, and a full spectrum of rich gradients. In total, the printing-focused book is comprised of four base tones, 16 elements, and 400 swatches of color entirely hand-embroidered in 219,647 stitches.
    The original idea came from Kasikov’s desire for a reference tool, one similar to loose sheets of Pantone swatches, that she could share with potential book design clients interested in CMYK embroidery. During the next six years, though, the project evolved into the uniquely comprehensive artist book it is now.
    “XXXX Swatchbook” features three-dimensional color studies in the style of precisely arranged halftone dots employed in four-color printing. “I use cross-stitch technique to replicate this. It’s a very simple idea,” Kasikov says. “I prepare the image in InDesign or Illustrator, then pierce the design onto paper and stitch with CMYK colored threads. Of course, my ‘print resolution’ is very low, about 3-4 lines per inch compared to 300 in print.”
    Stitched with varying thickness, the swatches use conventional screen angles—cyan 105˚, magenta 75˚, yellow 90˚, and black 45˚—to produce a wide range of colors and gradients, all of which you can view on the artist’s blog. Each French-folded page features geometric patches of thread, alongside hand-written details about the CMYK values shown. The spine of the book also reveals a vibrant gradient spanning magenta to cyan.

    “XXXX Swatchbook” is founded on Kasikov’s earlier “CMYK Embroidery,” a project that grew out of her MA studies at Central Saint Martins and was influenced by her background in advertising. Merging the two into the broader project of graphic stitching grew organically and offered an outlet to create a piece that was the artist says was “valuable, timeless, and trend-less,” in comparison to the more transitory projects of commercial work. “When you add tactile qualities to graphic design, it changes perspective. The structure of color can be touched. The printed image becomes three-dimensional. A flat page comes to life so to speak,” she writes.
    Kasikov splits her time between Tallinn and London, where she’s working on a project called Small Hours. Centered around a theme of silence, the collection features still-life photographs with freehand dots stitched on top in a pointillist style. Follow the ongoing project and find a larger archive of Kasikov’s book designs and embroidered works on her site and Instagram. You also might enjoy Tauba Auerbach’s RGB colorspace atlas. (via Present & Correct)

    #books
    #color
    #cross-stitch
    #embroidery
    #thread

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    Digital Portraits Reinvent Classical Paintings by Enveloping Subjects in Garments and Masks

    
    Art

    #collage
    #digital
    #portraits

    March 24, 2021
    Grace Ebert

    “Hidden Perronneau” (2020), photocollage. All images © Volker Hermes, shared with permission
    Nearly a decade before masks became a ubiquitous part of our lives, artist Volker Hermes was fashioning lavish face coverings made of flowers, lace, and ornate baubles. In his ongoing series, Hidden Portraits, Hermes digs into the art historical archive and selects classical paintings that he then reinterprets. Elaborate accessories derived from elements in the original works become tools for obscuring the subjects’ faces, which subsequently draws attention to their garments, gestures, and surroundings.
    Since he began the prescient series, Hermes has based his practice in painting even though he realizes each portrait digitally. Time has given him ample opportunities to delve into the original painters’ backgrounds, periods, and the symbolism of various fashions, an experience bolstered by his costuming work for opera productions.
    Now fluent in historical significance, Hermes continues to parse questions of representation in the works and their current-day implications. “Each era has its own symbols,” he says. “I always like to mention the Chanel costume as a metaphor for today’s upper-class affiliation. There are of course more current, more specific ones, but this garment has something of a general visualization of an established elite.”
    Other emblems—like the big, black hats made from beaver fur that many men don in works from the Dutch Golden Age to signify their rank—are more difficult to recognize today. Hermes says:
    Whoever had such a hat, had himself painted with it. But today we don’t know that anymore. We simply see men with black hats, which no longer trigger anything in us. We look the sitters in the face as our natural approach. If I now exaggerate such a hat in my interventions, blocking the access via the face, the focus changes, the viewer is forced, so to speak, to look at the painting under new aspects, taking into account the meanings that determined the painting at that time.
    From his studio in Düsseldorf, Hermes is preparing new pieces for a group show centered around a theme of clerical representation and pilgrimage, which you can keep up with on Instagram.

    “Hidden Pesne” (2021), photocollage
    “Hidden Larkin” (2020), photocollage
    “Hidden Anonymous (Pourbus)” (2020), photocollage
    “Hidden Cranach III” (2019), photocollage
    “Hidden Liotard VI” (2021), photocollage
    “Hidden Pourbus V” (2019), photocollage

    #collage
    #digital
    #portraits

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    Bold Bands of Paint Bisect Playful Sculptures of Carved Wood by Willy Verginer

    
    Art

    #acrylic
    #games
    #kids
    #sculpture
    #wood

    March 24, 2021
    Grace Ebert

    Detail of “I pensieri non fanno rumore” (2019), different types of wood, acrylic color, 150 x 100 x 107 centimeters. All images © Willy Verginer, shared with permission
    Clusters of wooden spheres bubble up the fingertips and bodies of the children in Willy Verginer’s poetic sculptures. The Italian artist (previously) contrasts realistic carvings of adolescent figures with elements of whimsy and imagination. Alongside the forms that evoke childhood games are thick stripes of monochromatic paint, which wrap around the sculptures and bisect them in unusual places.
    Whether a pastel, neutral tone, or black, the color is symbolic and used to convey subtle messages. Verginer’s works often stem from what he sees as the absurdity of ecological issues or larger societal problems, like the U.S. banking collapse. “My largest effort and research focus on not tying myself to the naturalistic representation of figures, but on giving something more through a dreamlike study, or better an absurd one, and not an imaginary one,” he says. “This world and the whole connected system were so absurd that they made me reproduce an equally absurd situation.”

    Detail of “Chimica del pensiero” (2019), lindenwood, acrylic color, 168 x 46 x 45 centimeters
    Many of the sculptures shown here are part of Verginer’s most recent series, Rayuela, which is the Spanish term for hopscotch and the title of Julio Cortázar’s counter-novel that can be read from front to back or vice versa. Written in a stream-of-consciousness style, the book produces varying endings and meanings depending on the reader’s sequence. Cortázar’s adventurous format combined with the imaginative nature of the game informed Vreginer’s approach to the series, which the artist explains:
    (In rayuela), kids outline an ideal map on the ground, which starts from the earth and reaches the sky, through intermediate stages marked with numbered squares, on which they jump according to where a pebble is thrown. I can see a metaphor of life in this game; our existence is full of these jumps and obstacles. Each of us aims to reach a sort of sky.
    In June, Toronto’s Gallery LeRoyer will have an exhibition of Verginer’s precisely carved works, and the artist has another slated for September at the Zemack Contemporary Art in Tel Aviv. Until then, find more of his sculptures on Instagram.

    “Pensieri nascosti” (2020), lindenwood, acrylic color, 172 x 39 x 33 centimeters
    “Chimica del pensiero” (2019), lindenwood, acrylic color, 168 x 46 x 45 centimeters
    “I pensieri non fanno rumore” (2019), different types of wood, acrylic color, 150 x 100 x 107 centimeters
    “Scisserlé,” lindenwood, acrylic color, 200 x 59 x 46 centimeters
    “Palvaz” (2019), lindenwood, acrylic color, 95 x 70 x 47 centimeters
    “Rayuela” (2020), tiglio, acrylic color, 123 x 110 x 90 centimeters

    #acrylic
    #games
    #kids
    #sculpture
    #wood

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  • 200 Shares149 Views

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    The Wound: JR’s New Anamorphic Artwork Appears to Carve Out the Facade of Florence’s Palazzo Strozzi

    
    Art

    #anamorphosis
    #black and white
    #installation
    #public art
    #street art
    #trompe l’oeil

    March 23, 2021
    Grace Ebert

    “La Ferita” (2021), 28 x 33 meters, Palazzo Strozzi, Florence. Image courtesy of Fondazione Palazzo Strozzi, shared with permission
    French artist JR unveiled an imposing artwork at Palazzo Strozzi in Florence last week that mimics a massive gash in the institution’s Renaissance-era facade. Spanning 28 x 33 meters, “La Ferita,” or “The Wound,” is an anamorphic collage that appears to reveal the iconic artworks housed inside the building, in addition to a stately courtyard colonnade, exhibition hall, and library. Exposing different parts of the interior as the viewer shifts position, the artwork is in response to the lack of accessibility at cultural institutions since the onset of the COVID-19 pandemic.
    Completed alongside a team of 11 in two months, the site-specific piece was constructed 30 centimeters in front of the 15th Century ashlar facade with a metal structure and 80 panels of Dibond aluminum. It features JR’s signature photographic style—similar projects were installed at Williamsburg’s Domino Park, the Louvre, and the U.S./Mexico border—and includes a mix of real and imagined elements, including black-and-white renderings of Botticelli’s “Primavera” and “Birth of Venus” and Giambologna’s “The Rape of the Sabine Women,” in addition to prominent spaces like the Istituto Nazionale di Studi sul Rinascimento.
    “The Wound” is layered further with references to art history, from its use of the trompe l’oeil technique that grew in popularity in the 1500s to its evocation of ruinism, an 18th Century style that portrayed ancient architecture “as testimonials to a glorious past in a dramatic reflection on the fate of mankind,” a release says, noting that Palazzo Strozzi will not be preserving the piece beyond its initial construction.
    Follow JR’s monumental works on Instagram, and shop lithographs and books chronicling his projects on his site.

    #anamorphosis
    #black and white
    #installation
    #public art
    #street art
    #trompe l’oeil

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    Plants, Hair, and Shadows Obscure Women in Introspective Gouache Paintings

    
    Art

    #gouache
    #hair
    #painting

    March 23, 2021
    Grace Ebert

    All images © Mai Ta, shared with permission
    Saigon-based artist Mai Ta veils the subjects of her nuanced paintings with leaves, long locks of hair, splayed hands, and dim lighting. Utilizing muted tones and saturation, she works primarily in gouache to render lone women in domestic settings, creating introspective scenes that question what’s visible.  “Obscurity in my work represents my own inability to be confident about who I am,” the artist tells Colossal. “It’s easier to hide behind my hair (shadows, plants, anything) than to honestly express how I really feel.”
    Many of the pieces stem from Ta’s background, although she strives to connect her experiences and the viewers’. I Set the Moon on Fire Because She Wouldn’t Wake Up, a series comprised of many of the paintings shown here, was transformative in helping her realize that “exploring my own personal narrative and emotions can be both therapeutic and visually exciting,” she says. “I made work about how my friends’ and (my) rooftop moon-watching sessions moved me. I made work about my own heartbreak. I made work about missing and loving Vietnam.”
    Explore a larger collection of Ta’s paintings that examine the relationship between interior emotions and outward expressions on her site and Instagram. (via Juxtapoz)

    #gouache
    #hair
    #painting

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  • 150 Shares169 Views

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    Smooth Curves and Negative Space Complete Elegant Wooden Sculptures by Ariele Alasko

    
    Art

    #sculpture
    #wood

    March 23, 2021
    Grace Ebert

    All images © Ariele Alasko, shared with permission
    From hunks of beechwood or maple, artist Ariele Alasko carves sculptural works that take the shape of smooth curves, ruffles, and squiggled lines. The elegant pieces play with contrast and negative space and are assembled into abstract compositions, whether as a smaller wall object or expansive mobile-style suspension. In a note to Colossal, Alasko shares that she strives to sustainably source all of her materials, whether from local lumber yards or her own property in Washington State. The artist holds a BFA in sculpture from Pratt Institute, and you can follow her carvings on Instagram.

    #sculpture
    #wood

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