Posts Tagged ‘large-scale

15
Aug
12

Luis Mallo : ‘In Camera’ Series (Photography)

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“No 15”
Luis Mallo
‘In Camera’ Series
2001-2
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“No 24”
Luis Mallo
‘In Camera’ Series
2001-2
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“No 22”
Luis Mallo
‘In Camera’ Series
2001-2
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“No 10”
Luis Mallo
‘In Camera’ Series
2001-2
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“No 3”
Luis Mallo
‘In Camera’ Series
2001-2
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“No 19”
Luis Mallo
‘In Camera’ Series
2001-2
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Luis Mallo’s large-scale urban landscapes (most made in his Brooklyn neighborhood) are cleverly realized perceptual puzzles. In each photo, chicken wire, slats, net or fencing of some sort occupies the picture’s foreground, interrupting but not entirely obscuring our view of the factory, parking lot or construction site beyond. Like a curious passerby, our eye is drawn to the open spaces and tears in these heavy-duty scrims, and Mallo invites us to fill in the entire landscape based on the strips and swatches we see. Both thwarting and redirecting our vision, the work is as perverse as it is engaging.

[Review by Vince Aletti, 2003]

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Luis Mallo : Website

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02
Dec
11

Alexis Cladière (36recyclab) : ‘PARASIT’ (Street Art)

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The work of Alexis Cladière (36recyclab) incorporates architecture, design and engineering as well as sculpture, graphic arts and skateboards culture. He builds everything himself from 3D structures, photos, fonts and logos to large scale street exhibitions of tape cutting and 3D modelling. His style has become synonymous with clean, contemporary architectural design and structured visceral compositions, which use the interplay between angles and solidity to create fresh perspectives. [Ext]

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36RECYCLAB
Alexis Cladière
‘Poster’
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36RECYCLAB
Alexis Cladière
‘Poster’
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36RECYCLAB
Alexis Cladière
‘Poster’
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36RECYCLAB
Alexis Cladière
‘Poster’
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36RECYCLAB
Alexis Cladière
‘Poster’
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36RECYCLAB
Alexis Cladière
‘Poster’
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“These posters you see in the streets of Paris (Bastille-Gare De Lyon) are urban grafts that represent an architecture project of mine, started in 2004 called ‘PARASIT’: it’s an independent structure which is fixed on a building, that lives due to an existent apparatus and lives off of it’s resources (water, electricity, gas, communication networks).

The little part is the inside apartment, the biggest part outside, in front of the building, and it houses the tubes and piping that it feeds off of. I made 3D models of ‘PARASIT’ recently and put them in the streets, completely assembled. Passers by seemed to think that they were machines, photocopiers or survelliance cameras. That is the brilliance of art….People see what they want to see.” Alexis Cladière

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36recyclab

Alexis Cladière : Interview

Alexis Cladière : Galerie Lasecu

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27
Jan
11

Yojiro Imasaka : “New Works” (Photography)

gelatin silver print
yojiro imasaka
new work #6
2009

gelatin silver print
yojiro imasaka
new work #8
2009

gelatin silver print
yojiro imasaka
new work #3
2009

gelatin silver print
yojiro imasaka
new work #2
2009

gelatin silver print
yojiro imasaka
new work #5
2009

gelatin silver print
yojiro imasaka
new work #7
2009

In Imasaka’s photographic investigation of urban space in New York and Chicago, he has found a unique perspective on the tall buildings that create these cities skylines. Shooting straight up between adjacent tall buildings towards the sky, he creates a narrow vista, like a long tunnel, that ends in open sky; up and down are reversed and the viewer feels as if he were standing over a bottomless abyss. The view is unsettling and generates a sense of vertigo. His impressive large-scale black and white prints monumentalize that uneasy loss of equilibrium. [extract : chelsea west gallery]

Yojiro Imasaka : Website

11
Jan
11

Stephen Inggs : Photography

“The photograph does not necessarily say what is no longer, but only and for certain what has been”
Roland Barthes, Camera Lucida, 1984

‘shears’
silver gelatin emulsion
on 100% rag paper
2009

‘horns 3’
silver gelatin emulsion
on 100% rag paper
2005

‘dividers’
silver gelatin emulsion
on 100% rag paper
2004

‘letters’
silver gelatin emulsion
on 100% rag paper
2002

‘measure’
silver gelatin emulsion
on 100% rag paper
2009

‘propeller’
silver gelatin emulsion
on 100% rag paper
2006

These works consists of powerful yet delicate large scale photographs, each one hand-coated with silver gelatin emulsion onto 100% cotton mould-made paper, using traditional techniques. The handmade, tactile and physical aspects of this process are used to underline the references to history, transience and the overlooked object. Each piece is therefore a unique and original work of art.

Stephen Inggs : More Works

Stephen Inggs : ‘Platteland’ Series

Stephen Inggs : HackelBury Fine Art

27
Nov
10

Fernell Franco : ‘Amarrados’ (Bound)

Fernell Franco
‘untitled’
‘Amarrados’ (Bound) series
gelatin silver print

Fernell Franco
‘untitled’
‘Amarrados’ (Bound) series
gelatin silver print

Fernell Franco
‘untitled’
‘Amarrados’ (Bound) series
gelatin silver print

Fernell Franco
‘untitled’
‘Amarrados’ (Bound) series
gelatin silver print

Fernell Franco
‘untitled’
‘Amarrados’ (Bound) series
gelatin silver print

Fernell Franco
‘untitled’
‘Amarrados’ (Bound) series
gelatin silver print

Fernell Franco (1942-2006) is considered one of the few photographers who developed a distinct lyrical view of the shift toward modernity in Latin America. The exhibition ‘Amarrados’ [Bound] focused on the Amarrados series comprising large-scale black and white photographs developed by Franco in the early 1980s. ‘Amarrados’ [Bound] was the first solo exhibition devoted to the artist in the United States.

It featured twenty vintage prints and a number of preparatory studies that Franco produced in order to create the series. He conceived his photographs in street markets in Colombia and other Latin American countries from the 1980s onwards, featuring wrapped up devices and isolated inanimate objects typically used by informal vendors to protect their merchandise. His images are devoid of human presence, conveying death, solitude, violence, abandonment, and mystery. [Americas Society]

Fernell Franco : Website – Series

30
Sep
10

David DiMichele : Pseudo Documentation

Pseudo Documentation, is a series of large-scale photographs depicting grandiose installations in fantasy exhibition spaces. DiMichele creates this work by first building scale models of exhibition spaces, and producing original artworks in drawing, painting and sculpture mediums, which are sited in the spaces and then photographed to create the final works. The Pseudo Documentation photographs are inspired by DiMichele’s background with photography, installation art, abstract forms and passion for monumental museum and gallery architecture combined to create this photographic series of work.

Pseudodocumentation : Salt & Asphalt
Lightjet print
40 x 80 inches
2007

Pseudodocumentation: Branches
Lightjet print
42 x 60 inches
2006

Pseudodocumentation: Broken Glass
Lightjet print
40 x 60 inches
2006

Pseudodocumentation: Desert Disks
Lightjet print
42 x 68 inches
2007

Pseudodocumentation: Hose Drawing
Lightjet print
42 x 55 inches
2007

Pseudodocumentation: Bark Painting
Chromogenic digital print
Edition of 6
42 x 55 inches

Earlier in his career, DiMichele was known for his abstract painting and installation work, which often questioned conventions and traditions of non-objective art. For the Pseudo Documentation series, DiMichele unveils a new body of work that continues these investigations through imagination and manipulation seen in these large-scale photographs. DiMichele’s process is to create three-dimensional models of exhibition spaces and create within that space various art work that are contingent on the illusion of the architecture and space of the model he creates.

The resulting installation model of the exhibition space is photographed and the result creates a complete environment in the scale model gallery. DiMIchele’s idea for this series evolved out of documenting installation projects that he had created, as well as thinking about the nature of art documentary photography in itself. The fact that DiMichele creates artwork that is of a highly representational nature, by utilizing figuration, perspective, lighting etc. is mainly to create works that deal with issues in abstract art.

The models in Pseudo Documentation, playfully allude to the extreme size of contemporary art exhibition spaces such as the Tate Modern, his photographs infer a grandiose scale that matches or exceeds such spaces. Although the photographs are clearly representational in every way, the imagery and subject matter reflect the artist’s interest in the forms and history of modernist abstraction. [K.G.]

David DiMichele : Website

David DiMichele : Kopeikin Gallery




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