Posts Tagged ‘tension

26
Feb
12

Pierre Belhassen : Street Photography

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‘Union Square’
Pierre Belhassen
Photograph
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‘Usual suspect’
Pierre Belhassen
Photograph
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‘The mask’
Pierre Belhassen
Photograph
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‘Felt Series’
Pierre Belhassen
Photograph
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‘Felt Series’
Pierre Belhassen
Photograph
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‘Felt Series’
Pierre Belhassen
Photograph
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Pierre Belhassen : Website

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25
Jan
12

Kristján Gudmundsson : Paintings in Gray and White Frames

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“I’m trying to work within the field of tension that exists between nothing and something.” — K.G.

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acrylic on canvas, steel, enamel
70 3/4″ x 7 3/4″ x 1 3/4″
kristján gudmundsson
2008
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acrylic on canvas, steel, enamel
15 3/4″ x 23 1/2″ x 1 3/4″
kristján gudmundsson
2009
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acrylic on canvas, steel, enamel
15 3/4″ x 23 1/2″ x 1 3/4″
kristján gudmundsson
2009
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acrylic on canvas, steel, enamel
15 3/4″ x 23 1/2″ x 1 3/4″
kristján gudmundsson
2008
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acrylic on canvas, steel, enamel
15 3/4″ x 23 1/2″ x 1 3/4″
kristján gudmundsson
2008
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Kristján Gudmundsson is an important and central figure of the first generation of Icelandic conceptual artists – intelligent, severe, humoristic and poetic. Gudmundsson began his career in the 1960s as a member of SÚM, a group of young artists, many of who were influenced by then-new currents in conceptual and installation art, mainly through the Fluxus movement. Kristján’s seemingly meandering oeuvre consisted of a series of works that were surprising in their manifestations and, despite their different appearance, formed an uncompromisingly consistent whole that respected the same values.

For his debut solo exhibition with Quint Contemporary Art, Gudmundsson exhibited new sound absorbing paintings. These works consisted of canvases painted in a single color and covered by mass-manufactured perforated grids normally used in the construction of sound-absorbing walls for building interiors. The result was simple but, as always with Kristján’s work, quite beautiful and multi-layered, evoking questions about the relationship of our different senses, the function of art and its possibilities.

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Kristján Gudmundsson : Quint Contemporary Art

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30
Nov
11

Zimoun : ‘Sculpting Sound’ (Installations)

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Solo Exhibition : The Ringling Museum of Art, Sarasota, USA.
October 11, 2011 – January 08, 2012

Curated by Matthew McLendon.

Using simple and functional components, Zimoun builds architecturally-minded platforms of sound. Exploring mechanical rhythm and flow in prepared systems, his installations incorporate commonplace industrial objects. In an obsessive display of curiously collected material, these works articulate a tension between the orderly patterns of Modernism and the chaotic forces of life. Carrying an emotional depth, the acoustic hum of natural phenomena blends effortlessly with electric reverberation in Zimoun’s minimalist constructions. (bitforms nyc)

The sound sculptures and installations of Zimoun are graceful, mechanized works of playful poetry, their structural simplicity opens like an industrial bloom to reveal a complex and intricate series of relationships, an ongoing interplay between the «artificial» and the «organic». It’s an artistic research of simple and elegant systems to generate and study complex behaviors in sound and motion. Zimoun creates sound pieces from basic components, often using multiples of the same prepared mechanical elements to examine the creation and degeneration of patterns. (Tim Beck)

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Zimoun : Website

Bitforms

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16
Nov
11

Lee Kaloidis : Paintings (Oil on Paper)

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#199, 07-21-11

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#199
07-21-11
Lee Kaloidis
Oil 22×30-inch paper
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#193, 06-07-11

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#193
06-07-11
Lee Kaloidis
Oil 22×30-inch paper
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#195, 06-12-11

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#195
06-12-11
Lee Kaloidis
Oil 22×30-inch paper
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#167 03-15-11

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#167
03-15-11
Lee Kaloidis
Oil 22×30-inch paper
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#163 03-04-11

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#163
03-04-11
Lee Kaloidis
Oil 22×30-inch paper
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#125 10-30-10

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#125
10-30-10
Lee Kaloidis
Oil 22×30-inch paper
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Lee Kaloidis is an improvisational composer and, like a lyric poet, works relatively quickly and without plan. From the first mark, a painting evolves towards a destination that is the byproduct of strongly intuited relationships. When excecuted, these relationships are intended to stand, though often are sacrificed as the work shifts and struggles to become an original whole. This unfolding makes each painting, and an entire series of paintings, an historic sequence of events. [extract : about the work]

“My painting is a direct byproduct of intense involvement in improvisational music and free-verse poetic composition. It is about change and movement, balance and unity, and ultimately about natural order. What drives movement is tension. I like to think of my paintings as places where the most divergent and surprising things collide, converging at just the right time into new expressions of unity.” Lee Kaloidis

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Lee Kaloidis : Website

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07
Nov
11

Donald Feasel : Line Paintings

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“You can look upon our life as an episode unprofitably disturbing the blessed calm of nothingness.”

Arthur Schopenhauer

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No 17
acrylic on canvas
34 x 45 in
2007
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No 21
acrylic on canvas
25 x 31 in
2007
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No 16
acrylic on canvas
26 x 36 in
2007
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No 12
acrylic on canvas
48 x 72 in
2007
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No 6
acrylic on canvas
40 x 54 in
2006
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No 24
acrylic on canvas
25 x 36 in
2007
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No 25
acrylic on canvas
20 x 29 in
2008
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“These collected bodies of work trace a journey from more to less control. A growing sense of the futility of manipulating materials to expressive content, consciously set me on this path. I enjoy constructing compositional processes that give me surprising results when they run their course. While painting I try to sustain a state of tension between knowing what I’m doing and being lost. I’m free to reject the efforts that don’t sustain my attention, as every attempt pushes the boundaries of a self imposed system. It provides the incentive to try again, as any gambler would play more than one card.”

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Donald Feasel : Website

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22
Jan
11

Lucien Hervé : Photography

“The Soul of an Architect” – Le Corbusier

Institut du Monde Arabe
Paris
Jean Nouvel
1988

Villa La Roche
Paris
Le Corbusier
1951

Jaoul Villa
Neuilly-sur-Seine
Le Corbusier
1954

U.S. Embassy
Athens
Walter Gropius
1961

Housing Unit
Nantes-Rezé
Le Corbusier
1952-1954

High Court
Chandigarh
Le Corbusier
1955

“It is known that Le Corbusier was interested in the metamorphic process unique to photography” the inverting of black and white from negative to print. It offered the analogy of the conciliation of opposites, a theme underlying much of his work. Hervé’s images are singed with the blackness of shadows set against expanses of white. This often stark portrayal of volumes and the distances between them sets up a deep space where the shadow either forces particular elements into an almost brutal foreground, or the shadow (absence of light) slowly devours the image (a presence). As a consequence of this mutual exchange of light and dark, recognisable or familiar places are thrown in to a state of abstract defamiliarization and dislocation. The result often echoes Expressionist or Constructivist paintings in their marriage between dynamics and statics.

Tectonic surfaces such as walls, floors and soffits are both vectorial elements defining boundaries/ divisions of space, and they are also tableaux depicting material interplay. I believe it is here that Hervé’s rare talent is shown the most: in the subtle and violent tension between exactness and roughness. Undulating, hewn, porous, precious. Multitudes of surfaces (and in particular, concrete) depict a unique imperfect sculpture.

Space is the fluid counterpoint to dense materiality. Often, it seems in the photographs there is a residue from the ‘Universal Space’ spoken of in Modernist Utopian visions. It is the allusion to an endlessness within which these fragments are situated. In some of the images, figures occupy space tentatively, as though in limbo between being real and being fictive landscape figures. Lucien Hervé’s serenely beautiful photography occurs at the very moment of the creation of an Image, frozen yet fluid, into a new version of reality.”  Zaha Hadid

Lucien Hervé : Website




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