tilman : ‘House of Colours’ (Painted Objects)

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‘untitled’
lacquer on aluminum
various dimensions
2010

‘untitled’
lacquer on aluminum
various dimensions
2010

‘untitled’
lacquer on aluminum
various dimensions
2010

‘untitled’
lacquer on aluminum
various dimensions
2010

‘untitled’
lacquer on aluminum
various dimensions
2010

‘untitled’
lacquer on aluminum
various dimensions
2010

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Simultaneously, my move into the three-dimensional realm asked for the use of more ’practical’ materials, which would suit a more challenging scale and answer the need for an enhanced flexibility of operation within this context. Continuously exploring adequate and more refined ways of presenting light and it’s mediator (the finished object/structure/installation) while simultaneously seeking a more ’realistic’ and less ’illusionary’ quality and dimension of its perception, I began to let myself be inspired by everyday objects and structures. This also induced my consideration of separating painting from its metaphysical qualities. This recent and significant development in my practice can be experienced in my use of color as light, commenting on its use in real life and questioning its traditional hierarchy. Aiming to open common connotations of color and broadening the understanding for the potential of color as light, I continue to pursue the comprehension of light as an essential and constituent element of life.

[extract : artist statement]

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tilman : website

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Anne Lilly : Kinetic Sculptures

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“I have questions that do not occur in words: questions about space, about material moving in space, and about the intermingling of space and object. I feel that space disguises itself and its nature by its transparency. It is, strangely, this very transparency that makes space opaque to our awareness. This new work uses skinny lines moving in space. Emptying out the volume reduces the visual mass so that more of the space around the work gets implicated in what the work finally is. The space shares in creating, or manifesting, the function of the work itself. This emptying-out of the mass makes it possible to imbue space without occupying space.” A. Lilly

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“request for an oracle”
kinetic sculpture
2008

“conductor/composer”
kinetic sculpture
2009

“parietals”
kinetic sculpture
2005

“eighteen-eighteen”
kinetic sculpture
2010

“leda”
kinetic sculpture
2005

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Lilly crafts kinetic sculptures out of rods, T-bars, disks, arcs, and tripods. The motorized ones move automatically, but some require the viewer to set them spinning, and they spin so unexpectedly when you touch them it feels as if you’re making magic. That’s because Lilly builds many different movement mechanisms into each sculpture, and the movement of each element affects that of the next and the whole. The lines of each sculpture are crisp, the forms simple geometry, but the movement isn’t at all mechanical. Rather, it has the grace and unpredictability of a feather drifting in the wind. The sculptures and the photographs each stand on their own, but together they create an installation that first, with the photos, takes us out into a giant world of abstract metal, and then, with the sculpture, uses abstract metal to return us to ourselves. [Extract : The Boston Globe – Cate McQuaid, Galleries Column]

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Anne Lilly : Vimeo

Anne Lilly : Website

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Roseanne Lynch : “Document” Series (Photography)

“What is special in the case of conditional experience is, I think, what I sometimes call the
introspective quality of seeing: you see whatever you’re looking at, but you also see the
way you’re seeing… your experience of the thing is integrated as part of the thing itself.”

Olafur Eliasson

‘untitled’
lambda print on diabond
60″ x 40″
2010

‘untitled’
giclee on aluminium
16.4″ x 23.4″
2010

‘untitled’
lambda print on diabond
60″ x 40″
2010

‘untitled’
giclee on aluminium
16.4″ x 23.4″
2010

‘untitled’
giclee on aluminium
16.4″ x 23.4″
2010

‘untitled’
lambda print on diabond
60″ x 40″
2010

I am intrigued by the quality that is photographic, and by how the photographic process affects the looking. I explore the photograph, as object, as image, as representation, as illusion, as statement; its physicality, surface, matter and suggestion. A photograph is something you might imagine you can enter into, but it is a surface and pushes you back. Uncertainty interests me. I like not knowing, and the understanding held within that unknowing. I am interested in the possibility of a quality of silence and internal conversation when you encounter artworks.

This body of work presents a sustained investigation of light; light that has no material substance and is illusory. This investigation focuses on the immaterial; through it I observe how light molds and moves, light defining the planes, how our reading of a subject can be altered by its interaction with light – sometimes dramatically. Inquiry is what I am presenting, an opportunity to bring the viewer into the inquiry. To find an answer was never my intention. [extract : ‘document’ series description]

Roseanne Lynch : Website

Alex Posada : Making of ‘The Particle’

“The Particle” is a kinetic sculpture that experiments with color, sound and movement. The continuous rotation, speed and light create visual POV, effects that define the spatial structure of the object. The translucent skin created from the moving light becomes visible, creating shape and volume, both inside and outside the object. How light emerges from the limited movement of each of the rings when there is a change in external conditions (visitors) or there is a random mutation. The sculpture forms and reacts by generating events that modulate the sound and space, constantly changing atmosphere and perception. Given that the regulatory mechanism of the entire design is based on the decision making haphazard manner, the new models are emerging from the previous naturally. The vibration of sound, color and visual patterns evolve into chaos or order according to evolutionary algorithms that govern it. The structures generated in this process can not be anticipated and evolve through continual iterations involving alterations to the programs and exploring the changes through interaction with the visitor and the software. The object, at the same time is a space for sensory and kinesthetic experience, a body with its own internal resonance.

Technology
RGB leds, POV animation and robotic structure
Custom hardware with zigbee wireless controllers
Software for designing animation and controling lighting
3D sound

Support & credits
Technology of the Kinetic Sculpture: MID
Supported by hangar.org and Strobe Festival

Concept & Direction: Alex Posada
Design: Bartosz Zygmunt
Electronics: M. A. de Heras
Mechanics: Raul M. Beteta

Alex Posada : Blog

Alex Posada : Vimeo

Donald Judd : ‘The Simple Expression Of Complex Thought’.

Donald Judd
Cloth in Illustrated Jacket
1993

Donald Judd
Untitled
1987

Donald Judd
Menziken 87-55
1987

Donald Judd
Untitled
1974

Donald Judd
Untitled
1971

Donald Judd
Untitled (Core Piece)
1969

Donald Judd
Untitled
1972

One of the most significant American artists of the post-war period, Donald Judd changed the course of modern sculpture. Working in New York in the 1960s, Judd became known as one of the key exponents of ‘Minimalism’, but it was a label that he strongly rejected. Although he shared many of the principles identified with Minimalist art — the use of industrial materials to create abstract works that emphasise the purity of colour, form, space and materials — he preferred to describe his own work as ‘the simple expression of complex thought’.

In the late 1940s he began to practice as a painter, but by the late 1950s was working to free his painting of traditional ‘European’ preoccupations with composition and illusionism. In the early 1960s, Judd began to introduce three dimensional elements onto the surface of his works, at first creating reliefs, and then moving towards entirely free-standing structures which he called ‘specific objects’. By 1963 he had established an essential vocabulary of forms — ‘stacks’, ‘boxes’ and ‘progressions’ — which preoccupied him for the next thirty years.

Judd broke new ground in his exploration of volume, interval, space and colour . He rejected the tradition of artistic expression and craftsmanship by using industrial materials such as Plexiglas, sheet metal and plywood, and from the mid-1960s his works were fabricated by external manufacturers. By encouraging concentration on the volume and presence of the structure and the space around it, Judd’s work draws particular attention to the relationship between the object, the viewer, and its environment. This relationship became a central focus of Judd’s career, and he devoted much of his later life to the sympathetic installation of his own work.

Judd’s engagement with philosophy, architecture, design and politics informed his own work, and influenced succeeding generations of artists and designers. His pared-down forms and sensuous use of industrial materials remain a feature of much contemporary art, architecture and design. [Extract : Tate Modern]

Donald Judd : Tate Collection

Nick Serota on Donald Judd : Videos

Daniel Libeskind : Sawaya & Moroni Tea Set

Sawaya & Moroni Tea Set

Sawaya & Moroni Tea Set

Premiered during the 2009 Milan Design Week in the showroom of the famous Via Manzoni, Daniel Libeskind’s tea set designed for Sawaya & Moroni set out to turn heads. His first home accessory, Libeskind’s tea set reflects his unique architectural style that has resulted in iconic buildings all over the world; here that design sense is miniaturized in the form of this striking sculptural object for use in the home. This handmade Sterling silver tea set includes tea pot, coffee pot, creamer, two tea cups, sugar bowl and tray.

Daniel Libeskind Website