Posts Tagged ‘interventions

04
Jun
12

Seana Reilly : Graphite Works

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I make this work because I am intrigued by the play between the loose organic line and the tight architectonic line, the natural world and the intellectualized account of the natural world, the fact and the symbol for the fact, the life of the body and the life of the mind.” ~ Seana Reilly

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‘ThriceSurfeit’
Graphite on paper
Seana Reilly
8” x 8”
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‘InviolateRush’
Graphite on paper
Seana Reilly
8” x 8”
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‘ResolvingKazimir’
Graphite on Dibond
Seana Reilly
48” x 48”
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‘Spillway’
Graphite on Dibond
Seana Reilly
12” x 12”
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‘ThermalRise’
Graphite on Dibond
Seana Reilly
12” x 12”
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‘FractureGradient’
Graphite on Dibond
Seana Reilly
12” x 12”
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‘SecondaryVenting’
Graphite on Dibond
Seana Reilly
30” x 30”
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In my current body of work I am pouring a graphite preparation onto a non-porous surface, then using the same forces that shaped the earth to shape my imagery – gravity, fluid dynamics, sedimentation, and erosion. My use of graphite in these works speaks to both the arts and the sciences; it simultaneously references the artistic practice of drawing, vast geologic processes, and the carbon-base of all life forms. While pouring the liquid graphite, I restrain parts of the organic flow through architectural interventions or impediments. These constraints draw attention to the discrepancy between the natural physical properties of earth-based materials and the forms of control, both physical and mental, that humans routinely superimpose over them. The creation of the graphite ground is an exercise in giving up control, letting nature take its course. My interventions allude to human efforts to understand, classify, and mentally subdue those acts of nature. Semiotics, science, and Buddhist philosophy are all source materials for my work, which is a further exploration into insights gained during my years practicing Vipassana meditation. Through this practice I became aware of a break between the physical world and my mental perceptions of that world. I was able to experience the physical without attaching emotional or mental constructs to it – to separate the sensation of an itch from the urge to scratch it. The making of these works also allows me to experience vast geologic processes on a more intimate scale. It is my way of participating in this humbling immensity, a way to hold a small piece in my hand. It is the Tao’s world in a blade of grass. It is Joan Didion’s sense of belonging and purpose in an earthquake… ~ [ Seana Reilly : Artist Statement ]

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Seana Reilly : Website

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18
Jan
12

Magdalena Jetelová : Site-Specific Installations

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‘Iceland’ Series
Site-Specific Installation
Photograph
1992
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‘Iceland’ Series
Site-Specific Installation
Photograph
1992
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‘Iceland’ Series
Site-Specific Installation
Photograph
1992
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‘Crossing King’s Cross’ Series
Site-Specific Installation
Photograph
1996
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‘Crossing King’s Cross’ Series
Site-Specific Installation
Photograph
1996
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‘Crossing King’s Cross’ Series
Site-Specific Installation
Photograph
1996
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‘Crossing King’s Cross’ Series
Site-Specific Installation
Photograph
1996
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Jetelová works with concrete spaces. She exposes their suppressed history and stories and tries to rehabilitate their memory. In her lit installations she uses mainly lasers. Important aspects of her creations then become ephemeral, movement, constant change; all connected by different spaces and times. Ultimately the work exists only in the form of photographs and supplementary documentation.

Work with the landscape’s memory accents the changes created by man – using illuminated lines she exposes the one-time communications structure of the landscape (e.g. ‘Crossing King’s Cross’ where she uses lights to map out the future path of a train route) as well as natural changes (i.e. the ‘Iceland Project’ where she enlists lasers to draw attention to the undersea intercontinental divide). – [ArtList]

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Magdalena Jetelova : ArtList

Magdalena Jetelova : Website

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16
Oct
11

João Castilho : ‘Spice’ (Photography)

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‘untitled 4’
archival pigment print
80 x 120 cm
2009

‘untitled 6’
archival pigment print
80 x 120 cm
2009

‘untitled 7’
archival pigment print
80 x 120 cm
2009

‘untitled 2’
archival pigment print
80 x 120 cm
2009

‘untitled 3’
archival pigmen3t print
80 x 120 cm
2009

‘untitled 1’
archival pigment print
80 x 120 cm
2009

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Photographed in Bolivia’s Uyuni Salt Flats this series forms part of a larger body of work begun in 2008 involving interventions in nature. In the case of Spice, the choice of pepper and saffron spices to make the interventions was inspired by the space itself: a desert of salt. These interventions are inherently ephemeral, and were made to be photographed. The work intersects other forms of art, with elements from painting (the use of pigments) and Land Art (transforming the landscape). [Extract : 1500 Gallery]

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João Castilho : Website

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aesthetic investig...
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