Architect-artist Jun Ong worked on his first large-scale light installation called The Star that was embedded in an abandoned building in Butterworth, Penang. Inspired by the notion of “glitch,” a dodecahedron – a 12-sided star-shaped installation appears almost as an error or a temporary irregularity, suddenly finding itself lodged within the concrete superstructure of an unfinished building by the street of Raja Uda.
Comprised of five hundred metres of steel cables and LED strips, the “Star” abstracts kitsch street decorations with electrical cables and transposing them into a formal, recognizable entity. The cables are anchored to ground, slabs, cantilever beams and adjacent buildings to form the overall shape. As one steps closer, the installation segregates itself into several floors, each becoming its own spatial experience.
Buenos Aires, Argentina based Karina Peisajovich received a BFA from the National School of Fine Arts Prilidiano Pueyrredón in Buenos Aires, Argentina. Peisajovich’s works decode the machinery behind representation, focusing on the idea of light, darkness and color as the grounding substance giving shape to the world of images. She structures spaces to achieve heightened perceptual experiences in which visitors become acutely conscious of their individual eye as a perceiving entity. Her time-color environments engage viewers with a simulated pre-image state where they may recognize their own processes of visual construction.
Paris based photographer Nicolas Rivals has realized the series ‘La Línea Roja’ — a visual study of geometry and form in dialogue with nature.
Across scenic landscapes in spain, rivals has installed luminous, neon-hued triangles, squares and lines intersecting with the surrounding environment. Each temporary piece was captured in a series of long-exposure shots that reveal an unusual juxtaposition between fabricated objects and the natural world.
Erin Loree is a Toronto-based artist from Gananoque, Ontario. Her vibrant pictures feature incredible blues, magentas, yellows, and many more spread over a canvas. Loree varies her approach to texture, with some areas of smoothly-applied paint and others with short, thick brush strokes, creating an incredible sense of light.
Julio Le Parc was born in 1928 in Mendoza, Argentina. He studied at the Academy of Fine Arts in Buenos Aires before moving to Paris in 1958. Le Parc’s most widely exhibited work deals with light: using reflection, refraction, and shadows to create dazzling arrangements, to produce a “dynamic viewer.” His light installations are made from materials such as wire, mirrors, lenses and boxes.
While Le Parc is known for creating work that relies heavily upon theory and abstraction, throughout his career he has been concerned with the breakdown of structures that uphold the divisions between art and society. He routinely used questionnaires to solicit information from the public about their thoughts on modern and avant-garde art.
Florence, Italy based artist Fabrizio Corneli sculpts shadows and light to create silhouettes, faces, or even true paintings of light. His fascinating work involves lamps, metal plates, prisms, but also a lot of mathematics to think carefully the outcome of each sculpture.
Whether Corneli’s piece is a folded sheet of copper casting the negative space of an intricate scene, or suspended triangular lantern expelling a burst of light in the silhouette of a man with outstretched arms, they each utilize the power of light and shadow to form unforeseeable figures.
James Nizam produces subtle, geometric light installations with programmable lighting elements and mirrors, the resulting pieces looking like snapshots of a strictly choreographed laser light show.
Nizam has added color and moved his light sculptures outdoors, casting a blue triangle of light against a city at night in Visible Horizon and forming a blue and pink 16-sided form in Octagram. No matter the location, Nizam’s pieces give a visually physical presence to
Hakanaï is the union of two Japanese characters (one meaning “man” and the other “dream”) used to define the ephemeral and the fragile. In this dreamlike environment, a single dancer moves within a cube, interacting with the images projected on its walls, tracing arcing parabolas and sine waves with hands, arms, and feet.
The dancer takes a visual journey into a 3D space between dreams and reality. The choreographed performance installation combines video projection mapping, CGI, and sensors to dynamically respond to the movements and proximity of its performer. Its visuals and sounds are generated and animated live, offering a uniquely different performance for each and every iteration.
Its appeal lies in the one-on-one exchange that takes place between performer and complex programming. They often mine theoretical and mathematical sources for inspiration for their work and rely on the empirical study of the world around them as their guide.
Conception Adrien Mondot & Claire Bardainne
Danse Akiko Kajihara
Interprétation numérique, en alternance Adrien Mondot, Claire Bardainne
Création sonore Christophe Sartori, Loïs Drouglazet
Régie générale Laurent Lechenault
Dans le cadre du programme FRIMAS (Consulat Général de France à Québec et Institut français)
We checked out a beautifully sparse show at David Zwirner in NYC this past weekend, Alice Neel’s Late Portraits & Still Lifes. Zwirner has been representing the artist’s estate for nearly 5 years, and this is the second exhibition at the gallery. Neel passed away in 1984.
From Zwirner… “This exhibition includes portraits and still lifes made between 1964 and 1983, the last two decades of Neel’s life. The portraits affirm the shift in her work towards more luminous compositions, as witnessed for example in Abe’s Grandchildren (1964) and Richard (1969), where the background is partially rendered and supplanted by abstract areas of paint. Likewise, in the still lifes—a genre Neel continued to address throughout her career—such changes are evident in the arbitrary use of perspective and the artist’s bright palette. In Still Life (Breakfast Table) (1965), a bird’s eye view of a strident yellow table is set off by many of the objects on its surface, which are shown from their sides, and in Light (1980), a shadow cast by a sun-lit table omits the flowers arranged on its source. In other still lifes, potted plants and cut flowers take on anthropomorphic presences, and even hint at a subtle version of self-portraiture. Aside from two paintings made in her family home in New Jersey, and a portrait from San Francisco, all of the works in the show were painted in New York.”
Helsinki-based photographer Janne Parviainen seems to be on some beautiful tip with these light skeletons and light figures she creates both in post-production and through experimental light uses. Death doesn’t seem so scary now… (via)