Posts Tagged ‘structural

16
Aug
12

Andreas Gefeller : The Japan Series (Photography)

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“Poles 41”
Inkjetprint
100 x 100 cm
2010
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“Poles 44”
Inkjetprint
100 x 100 cm
2010
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“Poles 30”
Inkjetprint
100 x 100 cm
2010
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“Poles 45”
Inkjetprint
100 x 100 cm
2010
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“Poles 39”
Inkjetprint
100 x 100 cm
2010
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“Poles 32”
Inkjetprint
100 x 100 cm
2010
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“Poles 31”
Inkjetprint
100 x 100 cm
2010
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Sensitizing and expanding our perception of what is allegedly a familiar reality is the attitude Düsseldorf-based photographer Andreas Gefeller adopts in his work. His most recent photographs are clearly more formal and structural, and they exhibit striking pictorial qualities. The Japan Series originated on the occasion of the European Eyes on Japan project, within the scope of which European photographers are invited each year to capture their impressions of this Far Eastern country on film. Gefeller takes at least two shots of utility poles vertically from below. In the subsequent digital composite the poles disappear, and the innumerable cables and transformers are converted into an abstract composition against a monochrome background. The absence of points of reference and orientation in these works opens up a new perspective on familiar situations. – [ Extract : Hatje Cantz]

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Andreas Gefeller : Website

More Works From Series

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25
Jan
12

Jordan Tull : ‘Re/Activate’ (Installation)

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Wieden + Kennedy Gallery – Portland, Oregon
Re/Activate is a collaborative installation with artist Damien Gilley

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‘Re/Activate’
amber acrylic, mirror acrylic, fluorescent lamps
paint, screws, artist’s tape, vinyl, wood
dimensions variable
2011
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‘Re/Activate’
amber acrylic, mirror acrylic, fluorescent lamps
paint, screws, artist’s tape, vinyl, wood
dimensions variable
2011
::

::
‘Re/Activate’
amber acrylic, mirror acrylic, fluorescent lamps
paint, screws, artist’s tape, vinyl, wood
dimensions variable
2011
::

::
‘Re/Activate’
amber acrylic, mirror acrylic, fluorescent lamps
paint, screws, artist’s tape, vinyl, wood
dimensions variable
2011
::

::
‘Re/Activate’
amber acrylic, mirror acrylic, fluorescent lamps
paint, screws, artist’s tape, vinyl, wood
dimensions variable
2011
::

::
‘Re/Activate’
amber acrylic, mirror acrylic, fluorescent lamps
paint, screws, artist’s tape, vinyl, wood
dimensions variable
2011
::

Jordan Tull explores the exchange between artwork, site, and viewer through sculpture and installation. Tull has produced site-specific sculpture responding to architectural settings throughout Portland, OR. His object-based sculptures explore structural and perceptual phenomenon through geometric abstraction and allusive metaphor. Tull’s current work advances for the development of new spatial languages experienced within the context of contemporary architecture and sculptural discourse. Through technology, collaboration and experimentation Tull creates radical asymmetries, ordering systems and dynamic geometric progressions as applied to site-specific contexts and computer-generated models. Tull’s works aim to establish an alternative perceptual approach to spatial applications through the employment of computer-aided fabrication technology and space manipulation.

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Jordan Tull : Website

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17
Oct
11

Michelle Mackey : Paintings

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“I’m currently working in black and white, on black, shiny, resin-coated panels.
Not unlike a hologram, the viewer must move around the surface, so the spatial
depth will be revealed. I am exploring what memory looks like – memory of place.”

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‘Keys’
acrylic and enamel
on resin-coated panel
47″ x 47″

‘Dénouement’
acrylic and enamel
on resin-coated panel
47″ x 47″

‘Trefoil’
acrylic and enamel
on resin-coated panel
47″ x 47″

‘In the Hollow’
acrylic and enamel
on resin-coated panel
47″ x 47″

‘Leap’
acrylic and enamel
on resin-coated panel
47″ x 47″

‘Intermezzo’
acrylic and enamel
on resin-coated panel
47″ x 47″

‘Duality’
acrylic and enamel
on resin-coated panel
47″ x 47″

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In the mind, individuals have a stockpile of images and feelings that merge undaunted by time and space separation. As I walk to the train, I smell the scent of the dogwood blossoms in the crisp morning air; the fresh smell immediately brings me to the front yard of my grandparents house, full of the voices, sounds, and colors so familiar. Likewise, in a painting, the coalescence of different images and actions on one planar surface confounds time, space, and sequence. Layers of images and ideas from different sources co-exist in paint; the associations brought into dialogue with each viewing become a part of the piece. What causes a particular memory (such as my grandparent memory) at a particular time and not at other times is beyond complete explanation; yet, it is not beyond understanding. Sensory understanding exists through experience, not through the medium of words.

The images in my paintings are mainly from the physical structures in my environment. I look at the surface mix of cracked mortar, shiny metal, peeling paint, and rusty scaffolds; I hear the rhythmic distance from chimney to chimney, branch to branch, and window to window; I think of the structural soundness of repetition, from the frame to the brick. As I work, I periodically refer back to these environmental sources, as well as conversations, books, music, patterns and other sources for ideas on color, form, and composition. The story of my process is embedded in layers of paint (layers of choices) visible on the canvas: a trail of past decisions shutting off certain paths to allow other possibilities. I’m searching, tweaking, scratching, both my mind and the image on the canvas, to uncover what I am really seeing and the process of how I see. On my microcosmic-level, I am looking into a larger system beyond the individual. I do not believe in chance or events without purpose, so I do feel that my search will reveal certain truths or aspects of a larger truth. [artist statement]

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Michelle Mackey : Website

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18
Jan
11

Andreas Gefeller : The Japan Series (Photography)

‘Poles 38’
Inkjetprint
100 x 100 cm
2010

‘Poles 08’
Inkjetprint
100 x 100 cm
2010

‘Poles 07’
Inkjetprint
100 x 100 cm
2010

‘Poles 35’
Inkjetprint
100 x 100 cm
2010

‘Poles 39’
Inkjetprint
100 x 100 cm
2010

‘Poles 27’
Inkjetprint
100 x 100 cm
2010

Sensitizing and expanding our perception of what is allegedly a familiar reality is the attitude Düsseldorf-based photographer Andreas Gefeller adopts in his work. His most recent photographs are clearly more formal and structural, and they exhibit striking pictorial qualities. The Japan Series originated on the occasion of the European Eyes on Japan project, within the scope of which European photographers are invited each year to capture their impressions of this Far Eastern country on film.

Gefeller takes at least two shots of utility poles vertically from below. In the subsequent digital composite the poles disappear, and the innumerable cables and transformers are converted into an abstract composition against a monochrome background. The absence of points of reference and orientation in these works opens up a new perspective on familiar situations. [extract : hatje cantz]

Andreas Gefeller : Website




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