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

    
    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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    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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    Bold Brushstrokes Energize Abstract, Pixelated Landscapes by Artist Jason Anderson

    
    Art

    #abstract
    #cityscapes
    #landscapes
    #oil painting
    #painting

    January 4, 2021
    Grace Ebert

    “Uprising” (2020). All images © Jason Anderson, shared with permission
    Jason Anderson visualizes city skylines, swooping highway exchanges, and a range of urban landscapes through prismatic, impasto strokes of oil paint. The U.K.-based artist begins each painting with a black-and-white sketch before turning to the linen canvas and translating the lively works. In recent months, he’s incorporated more curved lines and saturated tones alongside the pastels he’s used previously, resulting in abstract scenes of horizons and city centers rendered through a mosaic of color.
    “I relish the often frantic nature of mixing and arranging the paint in thick impressionistic daubs and submitting to a process that creates its own detail and form,” the artist says in a statement. “This forces me to be bold and decisive; it also produces a kaleidoscope of shape and tone (reminiscent of stained-glass) which portrays the ever-present movement and energy found in nature.”
    Although all of Anderson’s works are currently sold out, you can follow updates on his commissions and new pieces on his site and view his finished paintings and sketches on Instagram.

    “Terminus” (2019)
    “Sheer” (2020)
    “Mistral” (2020)
    “Centrifuge” (2020)
    “Plaid” (2020)
    “Pulse” (2020)
    “Branch” (2020)
    “Hearth” (2020)

    #abstract
    #cityscapes
    #landscapes
    #oil painting
    #painting

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    A 70-Meter-Wide Installation by Artist Yang Yongliang Immerses Viewers in a Galactic Cityscape

    
    Art

    #black and white
    #installation
    #landscapes
    #light
    #stars
    #video

    July 24, 2020
    Grace Ebert

    
    Artist Yang Yongliang (previously) harmonizes human-generated light and naturally glowing stars in a celestial, 4K video installation. Set to an eerie, technological soundtrack, “Journey to the Dark II” winds through a mountainous city that spans 70 meters across. Movement in the immersive piece is confined mostly to the cars traveling across bridges and down streets, and the lights emit a constant glow among the modern architecture and landforms.
    Residing in Shanghai and New York, Yang often juxtaposes modern, industrial life and organic elements to produce dystopian environments that question human progress. “Ancient Chinese people painted landscapes to praise the greatness of nature; Yang’s works, on the other hand, lead towards a critical re-thinking of contemporary reality,” said a statement about a similarly foreboding project.
    To explore more of the artist’s digital work and follow his upcoming projects, check out his Instagram and Vimeo.

    “Journey to the Dark II” (2019), video installation, 12 × 70 meters, 12,600 × 2,160 pixels. All images © Yongliang Yang, shared with permission

    #black and white
    #installation
    #landscapes
    #light
    #stars
    #video

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    Embroidered Patches Redefine Vintage Postcards and Photographs by Fiber Artist Han Cao

    
    Art
    Craft
    Photography

    #birds
    #embroidery
    #found photographs
    #landscapes
    #trains

    July 24, 2020
    Grace Ebert

    “Nice hair.” All images © Han Cao, shared with permission
    Through densely laid cross-stitches and whorls of thread, Han Cao revitalizes discarded photographs and postcards. Similar to the artist’s previous projects, her latest series New Nostalgia strikes a balance between the original subjects and the fiber-based additions. Sometimes covering faces with sparse dandelion puffs or confetti-like burst, Cao redefines the vintage pieces and explores how narratives linger as she stitches plumes of train steam that trail beyond the initial photograph’s edges.
    Based in Palm Springs, the artist shares glimpses into her process on Instagram, and if you’re in Philadelphia, check out her embroidered pieces that are on view through August 22 at Paradigm Gallery. Cao also sells some of her mixed-media works in her shop.

    Left: “Golden Conjurer.” Right: “Wallflower-Yellow Pansy”
    “Mt Rainier”
    “Runaway train”
    “Runaway train”
    “Generations”
    Left: “A steady dissolution.” Right: “Sisters”
    “Plume”
    “Sister, sister”

    #birds
    #embroidery
    #found photographs
    #landscapes
    #trains

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    Multi-Layered Ceramics by Artist Heesoo Lee Express the Movements of Land and Sea

    
    Art
    Craft

    #ceramics
    #landscapes
    #leaves
    #nature
    #oceans
    #trees
    #vessels
    #water
    #waves

    July 9, 2020
    Grace Ebert

    All images © Heesoo Lee, shared with permission
    Heesoo Lee has spent years carefully layering blades of grass, pine trees, and cherry blossoms to construct botanic entanglements that crawl across ceramic mugs and bowls. Inspired by seasonal woodlands and aspen forests, the Montana-based artist recreates bright pockets of landscapes that capture small motions, like falling fronds or rustling branches. “There is movement in trees, but it is slow and subtle, a leaf in wind, the slow growth of new leaves in spring,” she says.
    While Lee has continued this tradition with many of her recent pieces, she’s expanded her source material to the ocean. For seven years, the artist lived in Maui, where she often surveyed the water. “I could sit on a beach all day and watch the waves, observe them, and feel calmed by them but also respectful of their energy and force,” she says. The memory has inspired a textured piece that swells upward to form a cavernous bowl. “Even in a small object, the waves are powerful and convey so much. For me, the waves connote freedom, the freedom to express myself and take risks,” the artist writes.
    Diverging from land posed new challenges in Lee’s process. For landscapes, the artist repeats elements in layers to create a fully formed piece, but the same technique didn’t translate to water. “The first time I tried to make waves I failed. I failed over and over and over after that. There were cracks, pieces broke off,” she says. “I realized the feeling of making a wave is so much different from making a landscape.” Instead, Lee retrained her hands to follow the movement of the water, using slip casting, carving, and a series of manual techniques to capture its energy and force. Her color palette changed from amalgamations that evoked seasons to a precise set of blues.
    Despite her forays into aquatic forms, Lee maintains an affinity for grassy fields and windswept boughs, which she explains:
    My seasonal work, landscapes that focus on all four seasons, are still a mainstay of my practice. The memories that fuel the images are so powerful for me, and it gives me great pleasure to share my interpretation of those memories with people… I have heard from people that drinking from a cup I made helped them channel their own memories of the outdoors and the seasons, even during a time when they are stuck inside.
    To purchase one of the artist’s organic works, follow her on Instagram, where she often shares shop updates, in addition to early looks into her process.

    #ceramics
    #landscapes
    #leaves
    #nature
    #oceans
    #trees
    #vessels
    #water
    #waves

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    Pejac Launches Movement to Transform Home Windows into Imaginative Silhouette Art

     All images © Pejac, shared with permission From his home in Madrid, Pejac (previously) revived his miniature window figures, and simultaneously began an inventive global movement, by using nearby landmarks as backdrops for creative marker silhouettes. Since then, the Spanish artist has prompted hundreds of people around the globe to imitate his playful work […] More