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    Graphite Portraits Distort and Intertwine Subjects to Visualize Metaphors of the Body

    
    Art
    Illustration

    #anatomy
    #drawing
    #graphite
    #portraits
    #surreal

    April 12, 2021
    Grace Ebert

    All images © Miles Johnston, shared with permission
    Malmö, Sweden-based artist Miles Johnston portrays subjects whose figures are in states of flux, whether through fragmented bodies, multiplied faces, or limbs contorted into impossible positions. Often depicting Johnston (previously) or his partner, the graphite portraits distort typical anatomy in a way that balances the familiar with the unknown and visualizes the thoughts and emotions otherwise hidden inside the mind.
    Whether set against a trippy backdrop or quiet beach, each piece portrays the experience of the body “through a kind of internal metaphorical language,” the artist says. He explains further:
    We don’t directly experience the actual biochemical facts of what is happening in our bodies, hormones secreting, weird little proteins and neurons doing whatever it is they do. Instead, we have a whole language of expressions like stomach tied up in knots, feeling empty, torn in two, burning with anger, etc… I’m aiming for this sort of naive direct representation of what things feel like instead of a literal representation of how they look from the outside.
    Keep an eye on Johnston’s site and Instagram for news on upcoming print releases and his latest works.

    #anatomy
    #drawing
    #graphite
    #portraits
    #surreal

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    Figures Experience Constraint and Confinement in Bronze Sculptures by Khaled DAWWA

    
    Art

    #bronze
    #clay
    #sculpture

    April 12, 2021
    Grace Ebert

    “Sans titre” (2020), bronze, 35 x 14 x 13 centimeters. All images © Khaled DAWWA, shared with permission
    Whether folded into a box, bound by cords, or fragmented and stacked, the nondescript figures that Paris-based artist Khaled DAWWA sculpts experience some form of confinement. Their bodies are contorted into cages or squeezed into each other’s arms, and each looks down or away, a position that makes them appear to lack the power and agency to be free. Cast in dense blocks, the introspective sculptures reflect the artist’s preference for terracotta and bronze. “All that we received from the old history is by these two materials,” he says.
    Most of the pieces shown here are part of the Compressed series, which were born out of the artist’s own experiences. He tells Colossal:
    This project was inspired by my having lived in different places during a short period: detention and compulsory military service in Damascus for four months, then Lebanon for one year and finally arriving to France. Upon arrival in France, at first, I felt liberated from it all. Then I realized that the French live their lives in a complex system that turns them into “compressed people” and that we had this in common. This is the first series in which I look at people beyond Syria.
    If you’re in Paris, you can see Khaled DAWWA’s artwork at numerous spots around the city: his piece titled “Les Passants” will be installed in a public spot in Clamart in May 2021, and he’s also participating in Beautify Paris in June of this year. Currently, he is part of Répare, Reprise at the International City of Arts, a group show that’s up through July 10, and is in the process of making a film about the artworks on display. Explore more of the artist’s compacted sculptures on Instagram.

    “Compressé” (2016), bronze, 13 x 11 x 8 centimeters
    “Liberté” (2019), terracotta, 35 x 16 x 13 centimeters
    “Siége” (2019), bronze, 35 x 14 x 13 centimeters
    Left: “Les mille et une nuit” (2016), terracotta and wood, 20 x 30 centimeters. Right: “Et nous resterons amis pour toujours …,” bronze, 110 x 59 x 36 centimeters
    “Une cellule individuelle” (2016), terracotta and wood, 15 x 15 x 5 centimeters

    #bronze
    #clay
    #sculpture

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    150,000 Hearts Representing Lives Lost to Coronavirus in the UK Line the COVID Memorial Wall in London

    
    Art
    History
    Photography

    #COVID-19
    #health
    #heart
    #memorial
    #public art

    April 12, 2021
    Grace Ebert

    All photos © Henri Calderon for Colossal
    Nearly 500 meters of small, red hearts will soon cover an expanse of concrete facing the River Thames in London. Now dubbed the National COVID Memorial Wall, the poignant display publicly commemorates the 150,000 lives lost to the coronavirus pandemic in the United Kingdom so far. Each heart represents one victim, with short messages of grief, love, and remembrance scribed by loved ones in their centers. It takes about ten minutes to walk by the entirety of the project, which serves as a staggering reminder of the virus’s devastation.
    Coordinated by COVID-19 Bereaved Families For Justice, the two-meter-high wall is situated between the Westminster and Lambeth bridges, opposite the Houses of Parliament. According to The Guardian, Matt Fowler helms the ongoing project, which he began a few weeks ago by painting 15,000 hearts on the facade. His father died from the virus last April. “When you see all the hearts and think what each one represents, it’s absolutely frightening,” Fowler says.
    Organizers still are raising money for supplies to complete all 150,000 hearts—although official government statistics currently reflect 149,000 deaths, which is the largest loss in Europe—that volunteers will continue to paint to account for all victims. Talks are also in the works about preserving the memorial to ensure that it’s a permanent fixture in London.
    This past weekend, photographer Henri Calderon captured images for Colossal that document the memorial’s progress, which you can see below.

    #COVID-19
    #health
    #heart
    #memorial
    #public art

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    Cosmic Nature: A Spectacular Polka Dot-Filled Exhibition by Yayoi Kusama Sprawls Across New York Botanical Garden

    
    Art

    #flowers
    #installation
    #mirrors
    #pumpkins
    #sculpture
    #yayoi kusama

    April 9, 2021
    Grace Ebert

    [embedded content]
    Now inhabiting the verdant, 250-acre campus of the New York Botanical Garden are oversized flowers sprouting in seasonal arrangements, a glowing pumpkin-packed infinity room, and a sea of 1,400 reflective spheres by Yayoi Kusama (previously). Teeming with squiggly sculptures, site-specific installations, and smaller pieces covered in the Japanese artist’s iconic polka dots, Cosmic Nature is an expansive exhibition celebrating decades of Kusama’s bold, joyful body of work.
    Four new pieces are debuting during the immersive show, like the tentacled creature that marks the entrance to the grounds. Others include a 16-foot-tall dancing pumpkin, an obliteration greenhouse, and a new infinity room that reflects the lush greenery of the outdoor environment. Coupled with a variety of smaller acrylic paintings, fabric sculptures, and drawings on paper—the earliest of which dates back to 1945— the most recent works establish a broad visual trajectory of Kusama’s fixation on the natural world and never-ending penchant for polka dots.
    While many of the playful blooms connect to larger themes about the human relationship to the environment, some pieces are distinctly personal, including “Flower Obsession,” which invites visitors into a space that mimics the artists’ own greenhouse. “Our earth is only one polka dot among a million stars in the cosmos…when we obliterate nature and our bodies with polka dots, we become part of the unity of our environment,” the prolific artist notably said.
    Cosmic Nature opens this weekend at the Bronx venue and runs through October 31. (via Hyperallergic)

    “I Want to Fly to the Universe” (2020), the New York Botanical Garden, urethane paint on aluminum, 157 3/8 x 169 3/8 x 140 1/8 inches. Collection of the artist, courtesy of Ota Fine Arts and David Zwirner. All images via New York Botanical Garden
    “Dancing Pumpkin” (2020), view at the New York Botanical Garden, urethane paint on bronze, 196 7/8 x 116 7/8 x 117 ¼ inches. Collection of the artist, courtesy of Ota Fine Arts and David Zwirner
    “Narcissus Garden” (1966/2021), view at The New York Botanical Garden, 1,400 stainless steel spheres, installation dimensions variable. Collection of the artist, courtesy of Ota Fine Arts
    “Ascension of Polka Dots on the Trees” (2002/2021), view at the New York Botanical Garden, printed polyester fabric, bungees, and aluminum staples installed on existing trees, site-specific installation, dimensions variable. Collection of the artist
    “My Soul Blooms Forever” (2019), view at the New York Botanical Garden, urethane paint on stainless steel, installation dimensions variable. Collection of the artist, courtesy of Ota Fine Arts, Victoria Miro, and David Zwirner
    “Pumpkins Screaming About Love Beyond Infinity” (2017), mirrors, acrylic, glass, LEDs, and wood panels, 59 x 59 x 83 ½ inches. Collection of the artist, courtesy of Ota Fine Arts
    “Hymn of Life—Tulips” (2007), mixed media, installation dimensions variable, courtesy of the City of Beverly Hills
    “Life” (2015), view at the New York Botanical Garden, fiberglass-reinforced plastic, tiles, and resin, installation dimensions variable. Collection of the artist, courtesy of Ota Fine Arts and David Zwirner

    #flowers
    #installation
    #mirrors
    #pumpkins
    #sculpture
    #yayoi kusama

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    Ironic Compositions Juxtapose Outlandish Scenarios in Paco Pomet’s New Paintings

    
    Art

    #humor
    #oil painting
    #painting
    #satire
    #social commentary
    #surreal

    April 8, 2021
    Grace Ebert

    “The Lesson” (2020), oil on canvas, 130 x 170 centimeters. All images © Paco Pomet, shared with permission
    In Beginnings, Spanish artist Paco Pomet (previously) visualizes a series of jarring and absurd scenarios born out of an equally concerning event. He juxtaposes disparate elements—a mushroom cloud erupting in a classroom, women cavalierly poking at a tabletop sunrise, a mountain range lying on an operating table—in a series of satirical commentaries infused with pop culture references and nods to art history.
    Generally contrasting a black-and-white scene with a recurring, full-color sunrise or sunset, Pomet’s compositions merge time periods and situations to mark the start of a new reality, a broad theme tied to the current moment. “Romanticism with a twist of irony is a very powerful visual engine,” he says about the series.
    If you’re in Santa Monica, Beginnings is on view through May 8 at Richard Heller Gallery. Otherwise, find more of Pomet’s humorous and bizarre compositions on Artsy and Instagram.

    “Little Big Grief” (2020), oil on canvas, 51 1/5 × 66 9/10 inches
    “Hesperides” (2020), oil on canvas, 51 1/5 × 66 9/10 inches
    “Melancholy School” (2020), oil on canvas, 51 1/5 × 59 1/10 inches
    “The Art of Scaling” (2020), oil on canvas, 51 1/5 × 59 1/10 inches
    “Headstrong” (2020), oil on canvas, 23 3/5 × 28 7/10 inches
    “Classicism” (2021), oil on canvas, 60 × 73 inches
    “Das Erhabene Büro (diptych)” (2020), oil on canvas, 59 1/10 × 102 2/5 inches

    #humor
    #oil painting
    #painting
    #satire
    #social commentary
    #surreal

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    A Circle of Light Beams Undulates in an Interactive Kinetic Installation by Scale Collective

    
    Art

    #installation
    #interactive
    #kinetic
    #light

    April 7, 2021
    Grace Ebert

    
    An undulating kinetic artwork by Scale Collective blends organic movement and architectural forms in a mesmerizing installation. Created for the Constellations Festival in Metz, France, “Flux” is comprised of 48 beams of light that stretch 1.5-meters-long and are spaced 40 centimeters apart. Each is connected to a single mechanism that’s motorized and controlled by viewers through an interface, allowing for a synchronized performance of twisting and coiling patterns. “The formal multiplication of these lines coupled with micro variations of phases, time delays, speeds, and amplitudes allows us to sculpt an object 20 meters long, alive and evolving with a cyclical back and forth movement,” the French collective says. See more of the group’s dynamic projects on its site, Vimeo, and Instagram. (via Core 77)

    All images via Scale Collective

    #installation
    #interactive
    #kinetic
    #light

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    Couple Who Defaced $400,000 Painting in South Korea Thought It Was a Public Art Project

    The vandalism of a piece by the graffiti artist JonOne at a gallery in South Korea has prompted a debate about contemporary art.SEOUL — The couple saw brushes and paint cans in front of a paint-splattered canvas at a gallery in a Seoul shopping mall. So they added a few brush strokes, assuming it was a participatory mural.Not quite: The painting was a finished work by an American artist whose abstract aesthetic riffs on street art. The piece is worth more than $400,000, according to the organizers of the exhibition that featured the painting.Now it’s hard to tell where the artist’s work ends and the vandalism begins. “Graffitied graffiti,” a local newspaper headline said last week.Either way, the piece, “Untitled,” by John Andrew Perello, the graffiti artist known as JonOne, is now a magnet for selfies. And on social media, South Koreans are debating what the vandalism illustrates about art, authorship and authenticity.The artwork is displayed with paint cans, brushes and shoes that the artist used when he worked on it, one of the exhibition’s organizers, Kang Wook, said in an interview. He added, “There were guidelines and a notice, but the couple did not pay attention.”Some social media users have echoed Mr. Kang’s reasoning. Others say the sign was confusing and the couple should not be blamed.Views of “Untitled,” a painting by the artist JonOne, before (top) and after it was vandalized. The extra brush strokes are hard to spot.Organizers of the “Street Noise” exhibitionA few suggest that the incident itself was a form of contemporary art, or that the couple’s abstract brush strokes — three dark-green blotches covering an area about 35 inches by 11 inches — have improved the piece.The debate is notable in part because the crime was not intentional and the painting can be restored, said Ken Kim, an art restoration expert in Seoul who has seen the vandalized work.The painting is part of “Street Noise,” an exhibition that opened at Lotte World Mall in Seoul in February and features about 130 artworks by an international group of more than a dozen graffiti artists. Mr. Kang said the staff at the mall noticed on March 28 that the painting had been vandalized, and identified the couple by checking security footage.The couple were arrested but released after the police determined that the vandalism was accidental, the local news media reported. Mr. Kang said the couple told the police that they had thought the artwork was open to public participation.The couple have not been identified and could not be reached for comment.The artist, JonOne, said in an interview on Wednesday that he was disappointed and angry that his work had been “defaced,” although some people have said the publicity could work in his favor.“Art should be religious,” he said. “You don’t paint on a church.”The artist JonOne has described his work as “abstract expressionist graffiti.”Bruno BrounchJonOne said the vandalism of his work in Seoul reminded him of growing up in New York City and the feeling that his talent was not appreciated.As a teenager, he would sign his graffiti with the tag “JonOne.” His style later became more abstract, although he continued to use graffiti lettering as the foundation for his work. Now 57 and living in Paris, he has described his aesthetic as “abstract expressionist graffiti,” a nod to Jackson Pollock and other American artists who redefined modern painting in the years after World War II.Julien Kolly, a gallerist in Zurich who specializes in graffiti art and has exhibited JonOne paintings over the years, said that they often prompted strong reactions from viewers.“Some are full of praise and others think that a child could do better,” he said. “Of course, I am in the first category.”Mr. Kolly said that he wondered why the couple who vandalized “Untitled” in Seoul thought they could “intervene” in an artwork that was hanging in a gallery — but also that he did not think they intended to “destroy” it.“I can understand that people may have thought that they could, at the very least, do better than the artist by participating in this work,” he added.Mr. Kang said a decision about whether to restore “Untitled” would be made before the exhibition ends on June 13. The restoration could cost about $9,000, he added, and the insurance company may find the couple partially liable for the cost.“But we are concerned,” he added, “because there are many comments saying that the artwork should not be restored, and remain as it is.”The couple added the three dark-green blotches that are circled in red.Organizers of the “Street Noise” exhibition More

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    An Uncanny Animated Short by Fernando Livschitz Twists Mundane Scenes into Bizarre Alternatives

    
    Animation
    Art

    #humor
    #short film
    #surreal
    #video

    April 6, 2021
    Grace Ebert

    [embedded content]
    Argentinian director Fernando Livschitz (previously), who helms Black Sheep Films, is back with a surreal short film that envisions everyday activities and scenes with a slightly unsettling spin. Infused with Livschitz’s distinct penchant for humor and absurdity, “Anywhere Can Happen” is set to a rendition of “What a Wonderful World” by Reuben and the Dark and AG and descends into an uncanny universe of galactic rollercoasters, dimension-traveling trains, and oversized hands keen on manipulating the landscape. Watch the animated short above, and find more of Livschitz’s cleverly bizarre projects on Vimeo and Instagram.

    #humor
    #short film
    #surreal
    #video

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