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      Bars of Light Pierce a Dilapidated Sydney-Area Home in Ian Strange’s Illuminated Intervention

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      #architecture
      #installation
      #light
      #public art
      #site-specific
      #street artDecember 3, 2021Grace EbertAll images © Ian Strange, shared with permissionTagged with graffiti and marred by a chipped facade, a stately Victorian home in a Sydney suburb is the site of a brilliant site-specific installation by artist Ian Strange. “Light Intersections II” uses angled beams of light to impale the derelict structure and permeate outer walls, windows, and the ornate, metallic railing on the second-floor balcony. Illuminating the battered building, Strange’s monumental public work is one of his many projects that explores ideas of home through architectural interventions.The artist, who lives between Melbourne and Brooklyn, relies on the concepts of drawing to inform much of his practice, with a particular focus on how single marks alter perspectives and affect understandings of the material world. He explains:The lines of light in ‘Intersections’ are an attempt to place abstracted perspective lines back into the environment. These drawn perspective lines don’t appear in nature, but are staples in both painting, drawing, and architecture, used as a way of containing, representing, and changing the natural environment.Commissioned by the City of Sydney, “Light Intersections II” follows the artist’s 2019 project that installed a similar concept throughout the galleries and around the perimeter of Melbourne’s Lyon Housemuseum. Watch the video below for a tour of the radiant home, and explore more of Strange’s work on Instagram. (via Street Art News)
      #architecture
      #installation
      #light
      #public art
      #site-specific
      #street artDo 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

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      In States of Ruin, Architectural Sculptures by Peter Callesen Spring from a Single Sheet of Paper

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      #architecture
      #paper
      #sculptureNovember 24, 2021Grace EbertDetail of “Human Ruin.” All images © Peter Callesen, shared with permissionTowering over cut-out voids are artist Peter Callesen’s sculptures of existing architectural ruins and stately edifices. Constructed with a single sheet of white paper, the miniature buildings appear to surface from their original flat piece into three-dimensional forms complete with crumbling facades and tipped columns. Each work juxtaposes the soft, fragile material with the sturdy subject matter and “is a reminder of what once was present and that even material like stone can change and break,” the artist says, explaining further:Almost as creation in reverse, the ruin as a motif for my works deals with the themes of rise and fall, through typical gothic architecture inspired by romantic painters. The ruins are rising from their intact and undamaged silhouettes. The work ‘17.8 Tall Tower of Babel’ is also linked to brokenness and failure, because of the Tower of Babel myth.Callesen, who is based in Mors, Denmark, is showing some of these smaller sculptures at Vestjyllands Udstillingen through January,  and you can explore more of his intricate miniatures and sprawling installations on Instagram.“Human Ruin”“17.8 Tall Tower of Babel’”“On The Other Side”“Little Erected Ruin”“Little Ice Castle”“Erected Ruin”
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      #paper
      #sculptureDo 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

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      New Paintings by Cinta Vidal Elude Gravity and Turn Architecture Upside Down

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      Art

      #architecture
      #gravity
      #oil painting
      #painting

      October 1, 2021
      Grace Ebert

      “Evenfall” (2021), oil on canvas, 28.75 × 23.62 inches. All images courtesy of Thinkspace Projects, shared with permission
      Whether depicting a floating cluster of stairs and balconies or a living space separated by differing forces of gravity, a new series of paintings by Cinta Vidal (previously) establishes multiple perceptions of reality within a single work. The artist, who lives in the small town of Cardedeu near Barcelona, favors skewed perspectives that flip domestic objects and invert architecture, and her collection of oil paintings that comprise Concrete use that same style of distortion to question notions of individual space and community and the walled structures people build in their minds.
      Rendered in a subdued color palette of grays and soft blues, the compositions precisely arrange multiple routes and manners of living into single, cement buildings. Each work “remind(s) viewers that they are not alone and to pay closer attention to the many pathways of life existing amidst the masses.”
      Curated by Thinkspace Projects, Concrete will be on view October 2 through December 26 as part of Structure, a series of solo exhibitions at the Museum of Art and History in Lancaster. Vidal is also in the process of painting a large, outdoor mural nearby to accompany her smaller works, and you can follow her progresss on Instagram.

      “Eve” (2021), oil on canvas, 31.5 × 31.5 inches
      “Eventide” (2021), oil on canvas, 39.37 × 39.37 inches
      “Sunset” (2021), oil on canvas, 23.62 × 23.62 inches
      “Twilight II” (2021), oil on canvas, 36.22 × 28.74 inches
      “Nocturnal” (2021), oil on canvas tapestry, 143.70 × 70.87 inches

      #architecture
      #gravity
      #oil painting
      #painting

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      A Virtual Installation Immerses Viewers in a Reactive Environment of Shape-Shifting Architecture

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      Art
      Design

      #architecture
      #digital
      #immersive
      #installation
      #light
      #virtual reality

      September 20, 2021
      Grace Ebert

      “Medusa.” All images courtesy of London Design Festival, shared with permission
      A landmark collaboration between Japanese architect Sou Fujimoto (previously) and Tin Drum, a production studio and technology developer, brings an undulating, reactive installation to the 2021 London Design Festival, but the immersive artwork is only viewable through a headset. Falling at the intersection of architecture and virtual reality, “Medusa” is comprised of monochromatic pillars that appear to suspend from the ceiling in a rippling environment. As viewers move through Raphael Court at the Victoria and Albert Museum where the work is on display, the responsive structure shifts and alters its composition in light and shape.
      The work draws inspiration from the dynamic displays of the aurora borealis and underwater bioluminescence, two phenomena that manifest through the animated qualities and shifting patterns of Fujimoto’s curved forms. “This is the first time I am designing architecture with non-physical materials—it’s using light and pure expanse of the space,” he said in a statement. “It’s an architecture experience but completely new and different.”
      “Medusa” is on view through September 26.

      #architecture
      #digital
      #immersive
      #installation
      #light
      #virtual reality

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      Monumental Cardboard Bridges Float in the Sky in Temporary Installations by Olivier Grossetête

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      #architecture
      #bridges
      #cardboard
      #hot air balloons
      #installation

      July 29, 2021
      Grace Ebert

      Architecture en Fête, Villeneuve lez Avignon, France (2015). All images © Olivier Grossetête, shared with permission
      Temporarily seen hovering above small European towns or balancing on a river in floating canoes are elaborate bridges designed to be constructed and demolished in a matter of days. The ongoing work of Olivier Grossetête, the cardboard-and-tape pieces are entirely hand-built by the French artist and local residents. Each ephemeral installation, which Grossetête refers to as “utopian building(s), temporary and useless,” appears for only a day or two before it’s taken down and the public is asked to stomp on and destroy the cardboard. “This is an integral part of the project,” the artist says in a statement. “This symbolic moment is fun.” While they’re on display, the architectural works are often tethered between hot air balloons and existing buildings, which makes them appear dream-like as they float above the urban landscape.
      Grossetête has been utilizing the cheap, flexible material for more than ten years because it’s easy to manipulate, allowing the installations to spring up and be removed relatively quickly. “Despite its appearance, it has quite extraordinary capacities and is very light. It doesn’t scare anyone, and it allows me to open my practice to the greatest number of people,” he says, explaining that it’s also emblematic of cultural signifiers. “It is the symbol of the false and of the appearance! I like to make this parallel between architecture, an instrument of power, and the false, the appearance.”
      Currently living in Jausiers in the Alpes de Hautes Provences, Grossetête is headed to 23 Milhas in Ílhavo, Portugal for his next installation, which will be up from July 31 to August 1. You can explore more than a decade of his works on his site.

      “Monkey Bridge,” Japanese Garden of Tattonpark Biennale
      Mantuano/French Embassy in Rome
      Festival de l’Oh, Champigny, France (2015)
      Mantuano/French Embassy in Rome
      Pont Landerneau, France (2016)
      Amboise, France Cultural Season of Amboise

      #architecture
      #bridges
      #cardboard
      #hot air balloons
      #installation

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