Daniel Rich translates photographs into paintings that call attention to implicit political and social narratives transcribed in the built environment. The architectural image is represented in his work to introduce a dialogue about changing political power structures, failed utopias, the impacts of ideological struggles, war and natural upheavals. He is interested in the highly symbolic role architecture plays in politics and its power to function as an icon of our lived experience, a portrait of an existential phenomenology whose features manifest where society is at one particular moment in history.
Rich’s paintings point to the shifting of the significance and meaning in both images of places and the places themselves. His interest in the potential divergence and duality of images and the media’s role in covering and presenting issues to the public is closely tied to a pictorial architecture, and its ability to act as an icon for political, religious and social systems and beliefs. He collects and appropriates photographs he finds on the Internet and in newspapers, in response to radio and television broadcasts, and through research and reading. The mediated image is painted in order to invest the picture with the capability to function as a signifier and to evoke meaning and discourse.
Amy Park is known for her carefully rendered, large-scale watercolor paintings featuring iconic architecture. She works almost exclusively from photographs. Her subjects have included Donald Judd’s structures in Marfa, experimentally designed homes in California, and other icons of Modernist architecture. Her best-known series is based on a famous series of architectural photos by Julius Schulman; while Park faithfully reproduces Schulman’s original compositions, she selects the jeweled colors based on her recollection and interpretations.
Another body of works was inspired by the New York City urban landscape, with particular attention paid to repeating textures and patterns. These works were based on Park’s own photographs of major landmarks and skyscrapers, reimagined with more intensely saturated hues.
Vasco Mourao is an architect and illustrator originally from Portugal who now lives and works in Barcelona. His densely illustrated cities and structures are drawn entirely by hand and while all are of course fictional places, they often incorporate real buildings.
Mourao has an unparalleled eye for detail and underlying structures that has led to a full-time career drawing buildings. He describes himself as having a ‘tendency for obsessive drawings,’ starting with an early focus on horses, but growing to encompass entire cities in his own intricate style.
Karen Lynch is an Australian artist, focussing on hand-cut vintage paper collage. She sources material from vintage magazines, catalogues and books. Architecture, nature, space and time are common elements within her visual dialogue. Central to her art is the resuscitation and transformation of pieces of the past into retro-futuristic or surreal landscapes.
Obsessed with color and geometry, Karen’s collages can be playful, often tell a story and try to inspire the viewer. Using old school scissors and glue, Karen creates surreal and retro-futuristic worlds using vintage magazines and books found at thrift stores and markets. She loves the process of juxtaposing 2 or more disparate images and transforming them into impossible landscapes that feel almost real.
German graphic designer Timo Lenzen makes posters and cover design with a personal language that mixes references from different epochs and styles. His simple and direct 3D drawings play with pure forms or simple architectural references transforming them into visual presences with a surreal touch.
With his subtle designs, that are always on point, Timo creates sometimes abstract, sometimes disturbing and always visually stimulating moods. In both his applied as well as his purely Graphic Arts you’ll be absorbed by the worlds he creates.
The San Francisco Museum of Modern Art got a major facelift in the last 3 years it has been closed for expansion. SFMOMA reopened on May 15th, 2016 boasting 7-stories of exhibition space, thousand of new works and a total of 10-stories of architectural delight. The museum is now the largest in the Bay Area with 460,000 square feet dominating the land, and the largest modern and contemporary art gallery in the nation.
The expansion started with 1,100 works loaned by the famous Fisher family who founded Gap. The museum now holds over 4,000 new works including artists Pablo Picasso, Jasper Johns, Ed Ruscha, Diane Arbus and Robert Rauschenberg. You’ll also find your old favorites like Matisse and Rothko from the Permanent collection.
Grab a ticket and explore the wonders of the new SFMOMA.
Fabiola Morcillo is an architect and illustrator based in Chile. In 2014, she started her project called 1989, which includes her illustrations created using AutoCad. Morcillo mixes isometric views and penchant for Japanese architecture with a little pop culture and fantasies.
Matthew Simmonds sculpts miniature architectural structures from raw stone. Part of his interest in producing these pieces is centered around the contrast between the carved precision of his hand against the rough nature of the natural material he chooses for each work. The pieces’ concept also deals with this human influence on raw environments, humans physically displaying their beliefs and achievements by building large physical forms.
Filip Dujardin became interested in architectural photography because of the inherent sculptural qualities of building forms. With such purity of purpose, it seems logical that Dujardin began creating digital architectural sculptures of his own, unfettered by client whims, economic constraints or the laws of physics.
Though Dujardin’s photographs provide the building blocks for his work, the end result are fantastical, Photoshopped constructions depicting nonsensical or even impossible architecture.
In “NHDK,” artist Victor Enrich takes a single image of the NH Deutscher Kaiser Hotel in Munich and re-imagines it in a variety of different ways. Some changes are subtle, with Enrich simply adjusting the size or arrangement of the building, while adhering to basic architectural constraints. Others are absolutely mind-bending.