Chris Agnew is a British artist known for his highly detailed drawings and icon panel etchings. He received his BA in Contemporary Art Practice from The University of Leeds in 2008, followed by a Masters in Fine Art at the Wimbledon College of Art in 2010.
Agnew’s work deals with the construction and deconstruction of belief systems, be they political, religious, social or cultural. He is interested by the malleable nature of what we hold as ‘truth’, and how the presentation of information informs our subsequent understanding of events.
Istanbul, Turkey based Ayca Telgeren fictionalizes the known undefined heroes of an imaginary atmosphere beyond perception of time, space and form. The artist, whose works contain an attempt to reach a sincere and direct expression, embraces an unpremeditated interaction with life and free flow of thought as her practice.
The artist who has taken up to colossal scale in due course her paper works which she has started as miniature tries in year 2007, uses paper as paint/pencil. The artist, who defines the phase of production as a meticulous and fiery exploration process, says that the flexible, intimate and fragile structure of the material corresponds really well to the state of mind of works of this period.
As a paper engineer, Matt Shlian‘s work is rooted in print media, book arts and commercial design. Beginning with an initial fold, a single action causes a transfer of energy to subsequent folds, which ultimately manifests in drawing and three dimensional forms. He uses his engineering skills to create kinetic sculptures which have led to collaborations with scientists at University of Michigan.
They work on the nanoscale, translating paper structures to micro folds. Their investigations extend to visualizing cellular division and solar cell development. Researchers see paper engineering as a metaphor for scientific principles; Shlian sees their inquiry as a basis for artistic inspiration.
Los Angeles based Katie Grinnan uses sculpture, photography, sound, and video to explore the relationship between our visual and kinesthetic experience and our resulting interpretation of space.
Grinnan’s most recent work reflects the search for structure and form within complex systems such as the brain and the universe that resist resolution and are largely speculative. It is the alchemical, yet paradoxical relationship between actual experience and our interpretations that has become the underlying focus of her work.
French artist Mathilde Roussel’s sculptures are conceived like living organisms. During her creation process, Roussel progressively gives up control over the materials she uses by letting them find their own form of existence. She selects mediums that are both fragile and resistant: paper pulp, graphite powder, incised rubber or plants. This choice allows her to explore unstable forms and observe their continuous mutation.
Mathilde is interested in the intimate link that connects the skeleton to our muscle structure — allowing us to challenge gravity. Standing requires the collaboration of an infinite number of body parts that constantly adjust our balance according to the movement we operate. Through incision, opening, recovering and suspension, the artist forces the forms she produces to find their place in space, thus expressing and revealing the movement they contain in themselves. The sculptures oscillate until they find their pivotal point.
With little more than thin wooden dowels and a bit of glue, German artist Janusz Grünspek creates scale replicas of everyday objects with little more than thin wooden dowels and a bit of glue, that from a distance appear like line drawings.
Dining room tables, power tools, an MacBook, and even a candle chandelier are formed from delicately cut and bent wooden pieces that mimic the form of digitally-rendered wireframes.The series is called Zeichnungen im Raum (Drawings in Space) and that’s actually describing them pretty well.