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    • 138 Shares169 Views

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      Reality and Imagined Meditative States Converge in Tomás Sánchez’s Tranquil Landscapes

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      Art

      #acrylic
      #graphite
      #landscapes
      #nature
      #painting
      #trees
      #water

      November 16, 2021
      Grace Ebert

      “Light: Outside, Inside” (2021), acrylic on linen, 100 x 80 centimeters. All images © Tomás Sánchez, shared with permission
      Through serene, idyllic landscapes, Tomás Sánchez visualizes his long-harbored fascination with meditation. The practice, the Cuban painter says, is “where I find many of the answers to questions that transcend from the personal to the universal. Meditation is not always a fleeting time. Meditation is not a punctual exercise; it is a constant practice.”
      Rather than conceptualize the exercise as a temporary state, Sánchez views mediation as a lens to interpret the world, a recurring theme that has foregrounded much of his work during the last few decades. His acrylic paintings and hazy graphite drawings, which take months if not years to complete, highlight the immensity and awe-inspiring qualities of a forest thick with vegetation or a nearby waterfall and offer perspective through a lone, nondescript figure often found amongst the trees. Distinct and heavily detailed, the realistic landscapes aren’t based on a specific place but rather are imagined spaces available only through a ruminative state.
      If you’re in New York, stop by Marlborough Gallery to see Sánchez’s solo show, which is on view from November 18 to January 22. Titled Inner Landscape, the exhibition encompasses multiple pieces never shown before, including the pristine scenes shown here. Until then, explore more of his works on Instagram.

      “Inner Lagoon…Thought-Cloud” (2016), acrylic on canvas, 200 x 199.3 centimeters
      “La batalla” (2015), acrylic on linen, 200 x 250 centimeters
      “El río va” (2020), acrylic on linen, 121.3 x 99.1 centimeters
      “Aislado” (2015), acrylic on canvas, 199.7 x 249.9 centimeters
      “Diagonales” (2018), conté crayon on paper, 30.5 x 40.6 centimeters

      #acrylic
      #graphite
      #landscapes
      #nature
      #painting
      #trees
      #water

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    • 188 Shares139 Views

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      Social Issues and the Climate Crisis Intertwine in Subversive Crocheted Works by Jo Hamilton

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      Art
      Craft

      #crochet
      #landscapes
      #plastic
      #portraits
      #yarn

      November 15, 2021
      Grace Ebert

      “I Crochet Portland” (2006-2009), mixed crocheted yarn, 63 x 114 inches. All images © Jo Hamilton, shared with permission
      From a mix of wool fibers and yarn made from plastic waste, Scottish artist Jo Hamilton crochets large-scale portraits and architectural landscapes delineated with dangling threads. Her knotted pieces push the boundaries of art and craft traditions, bringing the two together in subversive portrayals of powerful women and metropolises marred by production. Unraveling at the edges, the textured works reflect on interlocking issues like unchecked capitalism, social disparities, and the increasingly urgent climate crisis.
      All of the materials Hamilton uses are recycled, whether sourced from estate sales and resalers or created in studio. A few years ago, she started turning grocery bags, videotapes, and other household items into skeins of yarn-like threads—the artist shares some of this process on Instagram—as a way to reduce her impact on the environment, explaining:
      We tend to glorify nature as an eternal and everlasting idea, separate from ourselves and our real-life actions. We’ve held on tightly to these ideas during the last few decades in the throes of late capitalism and globalization, and if we don’t change our thinking, policies and behavior immediately it will be too late. So I channeled my anxieties about over-production, pollution, and climate change into my work, using plastic in some of the works in contrast with the yarn.
      If you’re in Portland, stop by Russo Lee Gallery to see Hamilton’s most recent works as part of her solo show Transitory Trespass, which closes on November 27.

      “Cherry Steel Above and Below” (2017), mixed crocheted yarn, 68 x 122 inches
      “Shinig Mountain Eclipse.” Photo by John Clark
      Left: “Masked Metamorhic.” Right: “Masked Marbled.” Photos by John Clark
      “Death Star PDX” (2018), mixed crocheted yarn, 45 x 52 inches. Photo by John Clark
      “Isaac Montalvo” (2008), mixed yarn, 23 x 22 inches
      “Head & Neck Dietician” (2016), mixed crocheted yarn, 29 x 27 inches
      “Groucho Gia” (2013), mixed crocheted yarn, 51 x 36 inches
      Hamilton with a 2019 outdoor crocheted mural project on SE Foster Road in Portland. Photo by Kevin McConnell
      Hamilton with a 2019 outdoor crocheted mural project on SE Foster Road in Portland. Photo by Kevin McConnell

      #crochet
      #landscapes
      #plastic
      #portraits
      #yarn

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    • 188 Shares159 Views

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      Impasto Marks and Thick Dabs of Paint Render Dreamy Landscapes in Rich Layers of Color

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      Art

      #acrylic
      #impasto
      #landscapes
      #painting

      July 20, 2021
      Grace Ebert

      All images © Anastasia Trusova, shared with permission
      To capture the depth of an enchanting river alcove or bucolic landscape, Russian artist Anastasia Trusova works in what she calls “textured graphic impressionism,” a unique style that expresses emotion through detail and volume. She uses a combination of palette knives and brushes to deftly layer acrylic paints into dreamy scenes: heavy impasto forms lush foliage, coiled lines shape thick clouds, and an array of smaller dabs become fields of wildflowers. “I don’t think about the rules. I paint as I feel. I add volume to highlight and emphasize something or to show something that is closer,” she says.
      Trusova’s use of color is bold and often bright, and she tends to reach for a kaleidoscopic palette that makes sunsets or a river’s reflection appear fantastical. These aesthetic choices are a direct result of her studies at both the Moscow Artscool and later Moscow State Textile University, where she learned about the physics of color and how certain applications and contexts affect perceptions. “For example, the same red shade will look differently when surrounded by light green or dark blue. There we broadened our horizons, helped us fall in love with the most incredible combinations,” the Belgium-based artist says.
      You can see much more of Trusova’s impressionistic paintings and dive into her process on Instagram, and shop prints and originals on her site.

      #acrylic
      #impasto
      #landscapes
      #painting

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    • 175 Shares159 Views

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      ‘Fantastic Landscapes’ Surveys the Vivid Use of Color in Hokusai and Hiroshige’s Woodblock Prints

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      Art
      History

      #art history
      #landscapes
      #printmaking
      #ukiyo-e
      #woodblock prints

      July 16, 2021
      Grace Ebert

      Utagawa Hiroshige, “Yamashiro Province: The Togetsu Bridge in Mount Arashi (Yamashiro, Arashiyama Togetsukyo),” from the series Famous Places in the Sixty-Odd Provinces (Rokujuyoshu meisho zue), 1853
      An exhibition opening this weekend at the Art Institute of Chicago plunges into the vast archives of renowned Japanese ukiyo-e artists Katsushika Hokusai (previously) and Utagawa Hiroshige (previously). Fantastic Landscapes brings together the vivid scenes created by the prolific printmakers through the first half of the 19th Century with a particular focus on their innovative uses of color. Peach skies, grassy bluffs in chartreuse, and their extensive applications of Prussian blue—Hokusai’s “The Great Wave off Kanagawa” famously layers the chemical pigment—mark a broader shift in the artform. Today, the pair are largely attributed with sparking a worldwide fascination with Japanese prints.
      Explore some of the woodblock works on view as part of Fantastic Landscapes below, and see them in person between July 17 and October 11. You also might enjoy this monumental book compiling Hokusai’s Thirty-Six Views of Mount Fuji and Hiroshige’s delightful shadow puppets.

      Katsushika Hokusai, “The Back of Mount Fuji Seen from Minobu River (Minobugawa Urafuji),” from the series Thirty-Six Views of Mount Fuji (Fugaku sanjūrokkei), about 1830/33
      Katsushika Hokusai, “Amida Falls in the Far Reaches of the Kisokaido (Kisoji no oku Amidagataki),” from the series A Tour of Waterfalls in Various Provinces (Shokoku taki meguri)
      Utagawa Hiroshige, “Plum Garden at Kameido (Kameido Umeyashiki),” from the series One Hundred Famous Views of Edo (Meisho Edo hyakkei)
      Utagawa Hiroshige, “Awa Province: Naruto Whirlpools (Awa, Naruto no fuha),” from the series Famous Places in the Sixty-odd Provinces (Rokujuyoshu meisho zue), 1855
      Katsushika Hokusai, “A Mild Breeze on a Fine Day (Gaifu kaisei),” from the series Thirty-six Views of Mount Fuji (Fugaku sanjurokkei), c. 1830/33
      Katsushika Hokusai, “Kirifuri Falls at Mount Kurokami in Shimotsuke Province (Shimotsuke Kurokamiyama Kirifuri no taki),” from the series A Tour of Waterfalls in Various Provinces (Shokoku taki meguri), c. 1833

      #art history
      #landscapes
      #printmaking
      #ukiyo-e
      #woodblock prints

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    • 175 Shares149 Views

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      Sound Waves from Contemporary Music Become Traditional Chinese Landscapes in Du Kun’s Scroll Paintings

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      Art
      Music

      #audio
      #landscapes
      #painting

      July 7, 2021
      Grace Ebert

      Detail of “登楼 / Going Upstairs” (2021), scroll, ink and color on silk, 50 × 600 centimeters (painting), 51 × 836 centimeters (scroll), 62 × 11 × 12 centimeters (camphor wood box)
      “Playing music is my only hobby,” says artist Du Kun, who pairs his longtime passion for the auditory art form with the traditional Chinese landscapes his father taught him to paint as a child. This compilation takes shape in his sprawling, layered scenes that follow lush groves and steep rock formations across silk scrolls stretching nearly nine meters. Each one of the natural features is the artist’s translation of a sound wave, which turns an eccentric array of tracks into wide, serene landscapes.
      In a short video detailing his multi-faceted process, Du (previously) strums an acoustic guitar and taps percussive beats that he then digitally manipulates to form arched bridges or a whimsically rendered cloud that blows the length of the scroll. He combines multiple instruments and tracks for greater perspective and depth than a single recording would provide, rendering rich works that transform sung melodies into birds and clouds or the repetitive rhythms of electronic music into segmented architecture.

      “电音云龙图 (Cloud Dragon in Electronic Noise)” (2020), scroll, ink, and color on silk, 70 × 860 centimeters (painting), 75 × 1172 centimeters (scroll), 82 × 11 × 12 centimeters (camphor wood box)
      There’s an implied conversation between the visual and audio elements, Du says, describing how he uses “the mood of the painting as an initial guiding foundation to break away from the conventional routines of music arrangement.” Painting styles typically associated with the Song Dynasty and contemporary audio converge in the works in a seamless mix of time and sensory experiences, which he explains:
      By using painting to influence music, the elements of music are transformed into these landscape paintings, becoming a new kind of music score. This series of works bring traditional Chinese paintings and modern music together, where ‘static’ and ‘noise’ are simultaneously present in the works—causing mutual influence, interdependency, and translation with one another. Just like two people who speak different languages but find a special way to communicate with each other.
      The works shown here are part of Du’s solo exhibition titled Scores of Landscapes, which is on view in-person and virtually at Mizuma Gallery in Singapore through July 18.

      
      Detail of “登楼 / Going Upstairs” (2021), scroll, ink and color on silk, 50 × 600 centimeters (painting), 51 × 836 centimeters (scroll), 62 × 11 × 12 centimeters (camphor wood box)
      “临江听筝 (Listening to the Guzheng While Overlooking a River)” (2021), ink and color on silk, 27 × 150 centimeters (painting), 33 × 180 centimeters (silk), 39 × 186 × 5 centimeters (framed)
      Details of “三远即兴 (Sanyuan Improvisation)” (2021), ink and color on silk, 19 × 136 centimeters (painting), 25 × 180 centimeters (silk), 30 × 186 × 3 centimeters (framed)
      “三远即兴 (Sanyuan Improvisation)” (2021), ink and color on silk, 19 × 136 centimeters (painting), 25 × 180 centimeters (silk), 30 × 186 × 3 centimeters (framed)
      Detail of “登楼 / Going Upstairs” (2021), scroll, ink and color on silk, 50 × 600 centimeters (painting), 51 × 836 centimeters (scroll), 62 × 11 × 12 centimeters (camphor wood box)
      Detail of “临江听筝 (Listening to the Guzheng While Overlooking a River)” (2021), ink and color on silk, 27 × 150 centimeters (painting), 33 × 180 centimeters (silk), 39 × 186 × 5 centimeters (framed)
      “登楼 / Going Upstairs” (2021), scroll, ink and color on silk, 50 × 600 centimeters (painting), 51 × 836 centimeters (scroll), 62 × 11 × 12 centimeters (camphor wood box)

      #audio
      #landscapes
      #painting

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    • 188 Shares99 Views

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      Miniature Scenes, Cross-Stitch Flowers, and Works from Art History Nestle into Eva Krbdk’s Tiny Tattoos

      by

      
      Art
      Illustration

      #animals
      #art history
      #cross-stitch
      #landscapes
      #nature
      #tattoos

      May 3, 2021
      Grace Ebert

      All images © Havva Karabudak, shared with permission
      Havva Karabudak, who works as Eva Krbdk, thrives on inking minuscule details. Focusing on innumerable lines and dot work, the Turkish tattoo artist (previously) illustrates textured florals in cross-stitch, realistic portraits of animals, and micro-paintings in the likes of van Gogh, Magritte, and Fornasetti. Many of the vivid renderings are small enough to fit into a perfectly round circle or a skinny stretch of a client’s upper arm.
      Karabudak’s background coalesces in her tattoos, including her formal education at the Fine Arts Academy of Ankara in Turkey and her love of textiles. “It’s pretty customary for young women to learn (embroidery) from their grandmothers in Turkey,” a statement about her work says. “As a result, tiny cross-stitch patterns were among the first tattooing styles that Eva embraced.”
      Karabudak just opened her studio Atelier Eva in Brooklyn, and although she’s currently booked, you can watch for openings on Instagram.

      #animals
      #art history
      #cross-stitch
      #landscapes
      #nature
      #tattoos

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    • 163 Shares189 Views

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

      by

      
      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

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    • 213 Shares129 Views

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      Light Casts a Magical Glow on the Residential Hills of Los Angeles in Paintings by Seth Armstrong

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      Art

      #landscapes
      #Los Angeles
      #oil painting
      #painting

      April 6, 2021
      Grace Ebert

      “Purple Mountain” (2020), oil on wood panel, 48 x 36 inches. All images © Seth Armstrong, shared with permission
      “Color and light are basically all I think about when I’m painting,” says Seth Armstrong. Working with oil paints on wood, the Los Angeles-based artist renders the sloping hills of his native California county in bold, saturated tones. Depicting the staggered houses and vegetation in the glow of golden hour or just after sunrise, Armstrong balances both hyperrealism and more sweeping, gestural strokes. He includes the occasional candy-colored hue to veil the densely populated landscape—the artist notes that small details can be difficult to perceive when not viewing the works in person—with a layer of magic. “The paintings do become, for me, more than a depiction of light and color,” he writes. “But that’s a personal relationship we have.”
      A limited-edition print of “Purple Mountain” releases on April 12 through Unit Drops, and Armstrong will have a solo show at Unit London this fall. Check out his Instagram for a larger collection of his paintings and glimpses into his home studio, where he works alongside ceramicist Madeleine Pellegren. (via This Isn’t Happiness)

      “5:30,” oil on wood panel, 12 x 12 inches
      “Green House” (2020), oil on wood panel, 14.5 x 14.5 inches
      “Pink Moment” (2020), oil on wood panel, 12 x 12 inches
      “November” (2020), oil on wood panel, 19.75 x 27.5 inches
      “September” (2020), oil on wood panel, 18 x 18 inches
      “March” (2020), oil on wood panel, 36 x 36 inches

      #landscapes
      #Los Angeles
      #oil painting
      #painting

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