El Lissitzky : ‘Prouns’ Series

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“the station where one changes from painting to architecture.” ~ El Lissitzky

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‘Announcer’
El Lissitzky
1923
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‘Globetrotter in Time’
El Lissitzky
1923
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‘Neuer (New Man)’
El Lissitzky
1923
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‘Untitled’
El Lissitzky
1923
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‘Proun’
El Lissitzky
1923
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‘Tatlin at Work’
El Lissitzky
1921
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‘Proun G7′
El Lissitzky
1923
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‘Proun’
El Lissitzky
1923
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‘Proun’ was essentially El Lissitzky’s exploration of the visual language of suprematism with spatial elements, utilizing shifting axes and multiple perspectives; both uncommon ideas in suprematism. Suprematism at the time was conducted almost exclusively in flat, 2D forms and shapes, and El Lissitzky, with a taste for architecture and other 3D concepts, tried to expand suprematism beyond this. His Proun works spanned over a half a decade and evolved from straightforward paintings and lithographs into fully three-dimensional installations. They would also lay the foundation for his later experiments in architecture and exhibition design. While the paintings were artistic in their own right, their use as a staging ground for his early architectonic ideas was significant. In these works, the basic elements of architecture – volume, mass, color, space and rhythm – were subjected to a fresh formulation in relation to the new suprematist ideals. Through his Prouns, utopian models for a new world were developed. This approach, in which the artist creates art with socially defined purpose, could aptly be summarized with his edict “das zielbewußte Schaffen” – “task oriented creation.” ~ [Ext]

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El Lissitzky : More Works

El Lissitzky : Russian Constructivists

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Borja Bonaque : Graphic Design Series

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‘Structure 3′
Borja Bonaque
Illustration
2009
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‘Circle’
2 inks screen print
Borja Bonaque
2011
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‘Structure 2′
Borja Bonaque
Illustration
2009
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‘Square’
2 inks screen print
Borja Bonaque
2011
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‘Structure 1′
Borja Bonaque
Illustration
2009
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‘Triangle’
2 inks screen print
Borja Bonaque
2011
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‘Structure 4′
Borja Bonaque
Illustration
2009
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Spanish artist Borja Bonaque has developed a personal and remarkable body of work. Looking to create projects with some kind of visual atmosphere, he is inspired by pure lines and geometric shapes. Always motivated to get the best possible results. He has produced artwork for companies such us Elwood, Financial Times, Wallpaper, Zoo York, New Scientist, Rioja Wines, Bancaja and Wired Magazine.

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Borja Bonaque : Website

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Tomomichi Morifuji (arha) : Photography

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arha = ah

When we are moved, when we feel, when reminded of something.

We mutter ‘ah’

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‘Intelligence Matter’
Tomomichi Morifuji
Photograph
2012
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‘The other side of a mesh’
Tomomichi Morifuji
Photograph
2012
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‘Screen-of-the-twig’
Tomomichi Morifuji
Screenprint
2012
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‘MM-bone’
Tomomichi Morifuji
Photograph
2012
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‘Life line by’
Tomomichi Morifuji
Photograph
2012
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‘Japanese bamboo in shuzenji’
Tomomichi Morifuji
Photograph
2012
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‘The other side of the curtain’
Tomomichi Morifuji
Photograph
2012
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Tomomichi Morifuji : Website

Tomomichi Morifuji : Arha Feels

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Nick Relph : Giclee Prints

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Giclee print
indigo dyed wooden frame
31.7 x 42.4 x 4 cm
2011
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Giclee print
indigo dyed wooden frame
31.7 x 42.4 x 4 cm
2011
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Giclee print
indigo dyed wooden frame
31.7 x 42.4 x 4 cm
2011
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Giclee print
indigo dyed wooden frame
31.7 x 42.4 x 4 cm
2011
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Giclee print
indigo dyed wooden frame
31.7 x 42.4 x 4 cm
2011
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Nick Relph : Standard (Oslo)

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Masanari Murai : ‘Lithographs’

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‘Three Faces’
lithograph on paper
65.7 x 50.5 cm
1958
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‘Mother and Child’
lithograph on paper
51 x 38 cm
1956
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‘Singing’
lithograph on paper
64 x 45.7 cm
1956
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‘Collection of Japanese Lithographs’
lithograph on paper
45 x 64 cm
1954/56
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‘Girl’
lithograph on paper
63.5 x 45.2 cm
1957
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‘Man’
lithograph on paper
54 x 39 cm
1956
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Masanari Murai graduated from university in 1928 and almost immediately left for France with the intention of further developing his skills as a landscape painter. In Paris, the impact of direct contact with abstract art was such that Murai began to simplify his landscapes, exploring his own approach to abstract painting. After returning to Japan in 1932, Murai became one of Japan’s pioneers in the area of abstract art; he was a leader in its promotion, exhibition and education. It was Murai’s dying wish that the bulk of his works be entrusted to the Setagaya Art Museum, although some donations were also made to The Museums of Modern Art in Tokyo and Kyoto. [Ext : Masanari Murai Memorial Museum of Art]

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Masanari Murai : More Works

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Antoni Tàpies : ‘Color Lithographs’ (Artworks)

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“My wish is that we might progressively lose our confidence in what we think we
believe and the things we consider stable and secure, in order to remind ourselves
of the infinite number of things still waiting to be discovered…” – [Antoni Tapies]

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’8 sobre llibre’
Color lithograph
Antoni Tàpies
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‘Untitled’
Color lithograph
Antoni Tàpies
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‘Untitled’
Color lithograph
Antoni Tàpies
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‘Envoltorio’
Color lithograph
Antoni Tàpies
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‘Lettre X’
Color lithograph
Antoni Tàpies
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‘Etiquette’
Color lithograph
Antoni Tàpies
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‘Divisé’
Color lithograph
Antoni Tàpies
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Tàpies shared a general sensibility which affected artists on both sides of the Atlantic after the Second World War and the dropping of the atomic bomb, and soon expressed an interest in matter – earth, dust, atoms and particles – which took the shape of the use of materials foreign to academic artistic expression and experiments with new techniques. He believes that the notion of matter must also be understood from the point of view of Medieval mysticism as magic, mimesis and alchemy. That is how we must see his wish for his works to have the power to transform our inner selves.

The works of the last years are, most of all, a reflection on pain – both physical and spiritual – understood as an integral part of life. Influenced by Buddhist thought, Tàpies believes that a better knowledge of pain allows us to soften its effects and therefore improve our quality of life. The passage of time, which has always been a constant in his work, now takes on fresh nuances when lived as a personal experience which brings greater self-knowledge and a clearer understanding of the world.

He’s consolidated an artistic language which visually conveys both his conception of art and certain philosophical concerns which have been renewed over the years. His practice is still open to the brutality of the present while offering a form which, despite its ductility, remains faithful to its origins. So the works of the last few years aren’t only fully contemporary, they’re also a record of his own past.

[Extract : Antoni Tàpies Collection]

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Antoni Tàpies Collection : Selected Works

Antoni Tàpies : Spaightwood Galleries

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