Michael Johansson is a Swedish installation artist who takes OCD tendencies to the next level with his real-life Tetris sculptures. His passion for ordinary and useless things organized into exceptionally good-looking piles makes most neat-freaks look like the biggest slobs. Johansson is obsessed with irregularities and coincidences between to disparate objects which may only be linked by a common color or a shape.
Johansson’s precisely stacked sculptures made from ordinary objects like old computer screens, keyboards, cars and suitcases, are installed both inside the gallery and jammed into site-specific spaces.
South Korean artist Choi Xooang has been sculpting for the last 10 years his unearthly but highly intricate human figures. Distorted and haunting Choi Xooang’s work reveals his deep concern for the human condition in society – and how he feels that something needs to change. Although the viewer is both repulsed and fascinated by the gut-wrenching hyperrealist sculptures of human bodies, Xooang’s mastery of the art and eye for detail right down to the smallest vein.
His freakish figurative sculptures are mutilated or abbreviated. Merging unexpectedly, flesh is sewn together with ribbons, heads are plunged together to make one, a head is replaced with that of a hound or an ostrich and fists are plunged into backs of heads Ultimately, people are silenced and held captive by their condition.
Los Angeles based Thomas Housago’s work playfully subverts the expectation of sculpture. Drawing reference to a multitude of styles such as Classicism, Cubism, and Futurism, Houseago’s intentionally clumsy forms trade the imperious and enduring qualities of traditional bronze or marble for the humble aesthetic of plaster and various found materials. Lacking the weighty physical stature associated with three dimensional media, Houseago’s ‘monumental’ structures appear almost comically flimsy, reducing the grandiose weight of art history into sympathetic effigies.
Houseago is fascinated by tribal art from Africa and the South Pacific, an influence evident in the primitivist mask-like heads and crude features of his disjointed figures. To create them, Houseago begins with a structure of iron rods, then adds materials such as plaster, hemp, and wood. Some of his works incorporate charcoal or graphite sketches of faces and anatomy on plaster and wood panels, producing an unfinished look that draws attention to the artist’s process.
Marguerite Humeau has produced an entire series of new work. A physical and sensory experience at the crossroads between research and fiction. Myths, speculations and fantasies are at the heart of Marguerite Humeau’s artwork. The development of each project includes a phase of extensive research and collaboration with numerous specialists and scientists.
Working at the intersection of art, science, and technology, Marguerite Humeau explores the mythic power of scientific narratives and their effect on a larger understanding of the world. Starting with intensive research, Humeau traverses diverse fields such as paleontology, media theory, and biology to find factual basis for her sculptural and sound-based works.
Oslo, Norway based Fredrik Raddum works with sculpture, installation, photo and performance related journeys. He has exhibited at various spaces since 2001. Raddum popularizes serious themes and embodies them in tragicomic animal and human figures resembling cartoon characters. Clichés and icons are twisted and turned in to new settings. Without obvious display of critical attitude, Raddum’s sculptures drop subtle hints encouraging the viewer to think beyond the initial encounter.
Japanese sculptor Yoshitoshi Kanemaki carves life-size sculptures from wood, but with a twist of mortality and transience. The disturbing pieces hinge often hinge on grotesque as the combination of the bulging weight and density of wood heightens the certainty of death that looms over all his creations. Each piece, with sizes ranging from life-size to miniature, is first sketched directly onto a large section of camphor wood and then chiseled to match the absurd female form.
Toshihiko Hosaka‘s work defies what we typically think of as sand art as he sculpts and carves the loose, granular substance as if it were some malleable form of clay. He began making sand sculptures in art school and has been using beaches and sand boxes as his canvas for almost 20 years. There is no core, mold or adhesive ever used throughout the process: just sand. The only trick Hosaka uses is a hardening spray applied to his sculpture only after it’s been completed, in order to prevent wind and sun from eroding it for a few days.
Lausanne, Switzerland based Philippe Decrauzat professes an interest in the “direct relationship Op art provides to the viewers and the way it influences their minds.” Decrauzat’s monochromatic, geometric sculptures, wall paintings, and installations are rooted in the traditions of Op art and Minimalism established in the 1960s and ’70s. Yet in subtly manipulating the relationships between his artworks and the spaces in which they are situated—arranging his works as a sort of navigational tool in a gallery, or arraying stripe paintings to create effects of light and shadow—Decrauzat imbues his historically rooted work with a 21st-century sensibility.
Nigerian-born, Brooklyn-based artist and designer Olalekan Jeyifous received a Bachelor’s degree in Architecture from Cornell University where his focus of study was primarily on investigating the relevant potential for a variety of computer software within the fields of art, design and architecture.
“Not My Business” is named after a poem by Nigerian poet, dramatist, and literary critic, Niyi Osundare. The title of the exhibition references the fact that Jeyifous has not been back to Nigeria since he left when he was 7 years old.
“Using rigorous Cubist geometric shapes, I freely juxtapose recognizable icons of the informal economy- from street vendors, industrial waste or power generators — with those of the post-Colonial Utopia-orderly State and social infrastructure– to create strange constructions in which time and space collide ambiguously.” Olalekan Jeyifous
Argentine sculptor Adrián Villar Rojas produces monumental site-specific works, primarily in clay. The artist first chose the material for its low price and availability, but since then it has come to influence his concept of form. With their crude physicality and cracked surfaces, his sculptures are redolent of ruins, but their forms are more futuristic than antiquated.