I`d like to invite to visit J. Walter`s rich blog: “Canadian Art Junkie”. One of recent posts deal with the very special art of Patricia Piccinini.
Considering the fact that I felt quite uncomfortable watching her work at the very fist sight, I am not sure if this impressive example of J. Walters inspiring posts is a suitable teaser. But I particularly appreciate the diversity of the artists he is introducing as well as the fact that they know how to transport a strong message, a thought or to trigger emotions.
For more sculptures and details about Patricia Piccinini, click here:
When I came across David Hollanders awesome work the first time, I thought the “classy” terracotta-colored body fragments with cracks or completely broken bodies might be archaeological findings…Despite of being damaged and broken, they outlast time and become gracefully an integral part of their surroundings – like the beautiful horse heads.
Frankly speaking, a few art pieces – in particular sculptures of the series “Hands” – are a bit scary in my view. I felt unconfortable looking at them. Please, feel free to visit his website to gain your own impression. In fact, these hands (that seem to burnt or hurt) or other body parts remind me on the forensic medicine lectures a took, when I was a student. I also thought of grave goods, but maybe I am off the track.
Well, I guess art shall communicate with the viewer, provide food for thoughts and in a best case scenario, arts shall also trigger emotions. Thus,….well done, David.
ABOUT THE ARTIST
David Hollander is an US American sculptor, who lives in Colorado close to the Rocky Mountains. He spent a year and a half living and traveling through Dublin, Bologna, Lecce, Rome, Crete, Paris, Abu Dhabi, Istanbul. David has also lived and sculpted in Sydney, Australia and Seattle, Washington.
He is an MFA candidate in Ceramics at Cranbrook Academy of Art in Bloomfield Hills, Michigan and showcased his art pieces at various notable international exhibitions. His work is part of different private collections. Furthermore, David Hollander has created various public installations in the States, Canada, Australia and Europe.
MFA Candidate, Cranbrook Academy of Art, Bloomfield Hills, MI, 2019.
BA, Cum Laude, Ceramic Arts, Minor in Physics, University of Colorado, Boulder, 2002.
Exchange, University of New South Wales, Sydney Australia, 1999-2000.
His Residencies and Fellowships
Fellowship Recipient, Resident Artist, La Macina di San Cresci, Greve, Italy, 2012.
Resident Artist, Paese dei Balocchi, Bologna, Italy, 2010.
Resident Artist, Pottery Northwest, Seattle WA, USA, 2004-2006.
His Teaching, Lectures, Publications
“Contemporary Clay Shapers 2: Thinking Through Material” Monthly Ceramic Art, South Korea, July 2018, Vol. 268.
Teaching Artist at Cranbrook Art Museum Create Camps, Bloomfield Hills MI, 2018.
Visiting Artist Lecture, Zayed University, Abu Dhabi, United Arab Emirates, 2010.
Sculpture Instructor at Kirkland Art Center, Kirkland WA, USA, 2009.
Sculpture Instructor at Pottery Northwest, Seattle WA, USA, 2006-2009.
For further information, David Hollander can be reached at email@example.com
Graffiti has been known in Italy since the ancient Romans, who decorated the walls of Pompeii and the catacomb with declarations of love, curses and magic spells. In fact the word ‘Graffiti’ derives from the Italian word ‘graffiare’ meaning to scratch something into a surface, and people in Italy still write their passions on the walls.
Though lately – it seems to me – subject matters have changed from ‘Ti amo’ and ‘Forza La Juve’ to political statements. Could be, that graffiti in Italy has gone from personal to political in order to reflect the current economic crisis and migrants crisis.
Powerful, they seem to slowly intrude into the space – owning it soon. The wooden sculptures make their way. No one seem to be able to stop them. Even if they burst, crack and splinter due to the high pressure and force that drives them, they move forward. The sculptures grow organically like cancer and join forces with other branches. Doors or entrance halls are too small to manage the expanding wooden bodies. On first sight, the growth or dynamic seem to be chaotic but on 2nd sight you will discover that they inconsiderately target the same direction / destination that they will destroy and transform because of their sheer mass & nature.
Walls cannot impede them.
ABOUT THE ARTIST
Hailing from São Paulo, Brazil, Henrique Oliveira is an award-winning artist that has exhibited his work around the world. Born in 1973, Oliveira received his BFA and Masters in Visual Poetics from the University of São Paulo.
While Henrique is also well-known for his paintings, this post focuses on his incredible wooden sculptures and installations. Using a combination of reclaimed plywood, fencing and PVC, Oliveira creates organic wooden sculptures that have a movement and flow that makes them feel liquid.
Oliveira’s installations are massive, often overtaking entire rooms and spaces. He first forms his shapes with PVC and then meticulously wraps it in layers of plywood, stripping away layers to reveal different colours of wood.
Be sure to visit Henrique’sofficial site to see his entire portfolio of work including his paintings and smaller-scale sculptures.
Born in Iisalmi, Finland 1952 | Lives and works in Helsinki, Finland.
Kaarina Kaikkonen, one of our most internationally recognized sculptors and artists, is known for shaping urban landscapes and emphasizing community through her installations. In her works, one can find references to current themes of humanity’s place in their own time, and of basic needs that always exist regardless of environment or culture. Old clothes contain the former user’s presence, which wraps around Kaikkonen’s story and places the viewer before something new and unknown, but at the same time exceedingly familiar and intimate.
The impressive installations made out of mens’ jackets and shirts are well known both in Finland and globally such as in the US, Cuba, Canada, Japan and Great Britain. Her first installation was on display in Helsinki in 1988. In Finland, one of her most famous works is the ‘Way’ -installation, which she built on the steps of Helsinki Cathedral in 2000. Her pieces can be found in several collections such as the Museum of Contemporary Art Kiasma, Helsinki City Art Museum, and Espoo Museum of Modern Art of EMMA.
Kaikkonen studied at the Finnish Academy of Fine Arts School and was awarded the National Visual Arts Prize in 1989, the Finland Prize of Art in 2001, and in 2013 the Order of the Lion of Finland awarded her Knight, First Class. Kaikkonen has also received international awards such as Public Prize in Den Haag Sculptuur in the Netherlands in 2004 and Honorable Mention at the Cairo 11th Biennale in Egypt in 2009.
Galerie Forsblom has been representing Kaarina Kaikkonen since 2008.
“Poetry of Urban Solitude” (cit. Washington Post) is a perfect description of Pedro Correa`s fine art photography that seems to push the boundaries of abstraction and photography.
Urban lifestyle is fast-paced, busy and often a bit superficial, as we all know. Astonishingly, Pedro Correa manages it to capture a moment of melancholy and truth. His work shows the moment somebody is pausing for a split second and possibly reconnect with oneself and his emotions unintentionally — before taking a deep breath and hurling oneself into the hustle & bustle of the awakening urban jungle again. In this context, I thought of the Zen-inspired imperative of “living in the here & now”, frankly speaking. But what if the “here & now” let us painfully feel our loneliness and unmet longings?
HOW DOES IT FEEL TO BE JUST A DISCONNECTED OBSERVER?
The rare moments of courage & inner strength somebody displays his true state of mind – allowing others to empathically bond with this person and finally with themselves too – ….are pure poetry.
On the other hand, it is quite comfortable and exciting to take the role of a laid back, remote observer without being too much involved in the disdainful all-day life others seems to be entrapped. It sharpens your perception, lateral thinking skills and allows you to dig deeper than others who might be personally involved. And admittedly, observers wrongly used to feel a bit superior and therefore, less vulnerable.
ABOUT CROSSING THE THIN RED LINE
To close the loop: Yes, in my view Pedro`s works include this element of observation …. in both senses, as described above. This ambivalence creates a tension which is fascinating to me. Obviously, there is a very thin red line between independence (being an observer only) and feeling disconnected. The dosis makes the poison.
However, these are just my thoughts…Actually, I instantly fell in love with his photo “Lazy Sunday” in particular.
Despite of my fear that somebody will purchase the last edition of Lazy Sunday before I am able to get hold of it, I`d like to share this awesome photography and other impressive examples of Pedro Correa`s “Urban Poetry” with you….
About Pedro Correa
Born in Madrid in 1977, Pedro Correa moved to Brussels at the age of 14, where he studied oil painting and comic art at the Brussel’s Royal Academy of Arts in parallel with a PhD in image processing at the University of Engineering of Louvain.
POETRY OF MOMENTS OF EMOTIONAL FRAGILITY
In his artistic development Pedro Correa soon became fascinated by photography and the possibility to capture poetic and fragile moments.
Clearly influenced by his impressionistic painting background (his mother is also a painter), his style was born by experimenting with ways of injecting the emotions of impressionism into the “decisive moment” of photography, without manipulating or digitally retouching the image. He soon became able to create a body of work that transcends what lies in plain sight, by giving as much importance to a rigorous composition of the image as to the subtle and invisible atmosphere that is part of the scene.
URBAN IMPRESSIONS THAT MAKE THE UNSEEN VISIBLE
After leaving his day-job as a Project Manager for a multinational corporation in 2012 in order to become a full-time fine art photographer, he created his most transversal body of work, Urban Impressions, as a manifest for reconnecting with the invisible and the present moment, in order to find the beauty that surrounds us without us noticing it.
His works have been exhibited and acquired worldwide by public and private collections, and is currently represented in galleries of Washington DC, London, Paris, Ile de Ré, Basel, Antwerp and Brussels.
“In 2017 the Washington Post critic defined this series as “poetry of urban solitude”.
Pedro Correa`s works have been exhibited and acquired worldwide by public and private collections, and is currently represented in galleries of Washington DC, London, Paris, Ile de Ré, Basel, Antwerp and Brussels.
Please, feel free to visit his website with further galleries, sales offers and updated information about his exhibitions:
IRIS VAN HERPEN – Definetely one of my absolute favorite fashion designers, inventors & artists….unfortunately beyond my budget.
Her COUTURE respectively the brilliant pictures of her breath-taking art pieces – taken by MORGAN O`DONOVAN – is pure eye-candy in my view…
ABOUT IRIS VAN HERPEN
IRIS VAN HERPEN is a Dutch fashion designer who is widely recognized as one of fashion’s most talented and forward-thinking creators who continuously pushes the boundaries of fashion design.
Since her first show in 2007 van Herpen has been preoccupied with inventing new forms and methods of sartorial expression by combining the most traditional and the most radical materials and garment construction methods into her unique aesthetic vision.
Van Herpen is often hailed as a pioneer in utilizing 3D printingas a garment construction technique, and as an innovator who is comfortable with using technology as one of the guiding principles in her work because of its sculptural nature and unfamiliar form.
The designer’s intent is to blend the past and the future into a distinct version of the present by fusing technology and traditional Couture craftsmanship.
Her singular vision combined with the complexity of her creations has made van Herpen a fixture on the Paris Haute Couture calendar, where she has shown since January 2011. Additionally, van Herpen’s work has been featured in various notable museum exhibitions.
Because of van Herpen’s interest in multidisciplinary approach to creation that goes beyond fashion, she has often collaborated with various artists such as Jolan van der Wiel and Neri Oxman and architects such as Philip Beesley and Benthem and Crouwel Architects. The designer’s interest in science and technology has led to ongoing conversations with CERN (The European Organization for Nuclear Research) and MIT (Massachusetts Institute of Technology).
Erwin Wurm (born 1954) is an Austrian artist born in Bruck an der Mur, Styria, Austria. He currently lives and works in Vienna and Limberg, Austria.
In The Artist Who Swallowed the World, Wurm is quoted as saying: “I am interested in the everyday life. All the materials that surrounded me could be useful, as well as the objects, topics involved in contemporary society. My work speaks about the whole entity of a human being: the physical, the spiritual, the psychological and the political.”
Wurm is known for his humorous approach to formalism. About the use of humor in his work, Wurm says in an interview: “If you approach things with a sense of humor, people immediately assume you’re not to be taken seriously. But I think truths about society and human existence can be approached in different ways. You don’t always have to be deadly serious. Sarcasm and humor can help you see things in a lighter vein.”
Although the images are slightly humorous, they extend or manipulate reality in ways that can be disturbing. Wurm’s work portrays manipulated images of things in everyday life, things that look familiar, but which become distorted. Pieces like Truck, where a truck curves up against the building or Narrow House, a thin, claustrophobic house, take something familiar to all and distort it by enlarging, curving it, or slimming it down. “I will often use humor to seduce people”, admits Wurm. “To get them to move closer, but it’s never very nice when they look closer.”
Wurm’s work is often critical of Western society and the mentality and lifestyle of his childhood during post-World War II Austria. Although Wurm’s sculptures are humorous and ridiculous, they are actually quite serious. His criticism is playful, but should not be confused with kindness. He represents his criticism of objects, such as clothing, furniture, cars, houses, and everyday objects to his audience. Common themes in his work include not only our relationship to banal everyday objects, but also philosophers and life in postwar Austria.
Bio: Nando Kallweit is a German sculptor working in bronze and oak.
As a young boy, he was inspired by the beauty and antiquity of a bust of Nefertiti housed in the Egyptian Museum of Berlin.
After the fall of the Berlin Wall, his new-found freedoms allowed him to travel to Egypt and develop his belief in the basic strength and pride inherent in inhumanity.
His sculptures seek to emphasize this through elongated forms and upright postures. He reduces the figures to simple gestures and movements creating sculptures with a wonderful interplay between the archaic and the modern; between art and design.
Nando’s work has been exhibited across Europe and is held in many private collections. He has produced a number of large scale permanent installation pieces for German municipalities and museums.
Durch anmutige Ästhetik und grazile Anziehungskraft prägen sich die Skulpturen, Plastiken und Reliefs Nando Kallweits unweigerlich ein.
Dabei gibt es keinen Unterschied, ob man sie in Galerien, auf Kunstmessen, als raumgreifende Installationen oder Außenraumgestaltungen wahrnimmt. Es sind Gefühl und Poesie, die im Wechselspiel zwischen Objekt-Künstler-Raum-Betrachter und in differierenden Reihenfolgen, je nach Kontext, zu schwingen beginnen. Die verwendeten Materialien Holz, vorwiegend Eiche geschwärzt und Bronze tragen durch ihre Spezifik dazu bei.
Spuren emotionaler Robustheit wirken dabei ebenso als inspirierendes Gestaltungselement, wie detailliert ausgearbeitete, vom aufmerksamen Beobachter unverhofft entdeckte Feinheiten.
In diesem Spannungsfeld bewegt sich Kallweit permanent im Entstehungsprozess seiner Werke. Mit äußerster Intensität, Energie und Kraftanstrengung und gleichzeitig gefühlvoll und bedachtsam setzt er seine Visionen im Subtraktiven der Bildhauerei wie auch im additiven Herangehen des plastischen Arbeitens um.
Anatomisch der Statur des Künstlers ähnelnd, streben die Figuren mit stolzer Haltung, ästhetisch wohltuend dem Licht entgegen. Spannungsvolle Proportionsverschiebungen verstärken diesen Ausdruck. Die Sehnsucht nach unbekannten, nicht fassbaren, göttlich-geistigen Sphären scheint die Formensprache Nando Kallweits stark zu beeinflussen und zunehmend zu festigen.
Durch mannigfaltige Beobachtungen unseres Seins, wie auch kulturgeschichtliche Ambitionen entstehen spezifische Grundtypen, die in unermüdlicher Vielfältigkeit vom Künstler variiert werden.
Das Figürlich-Menschliche steht bei Nando Kallweit stets im Mittelpunkt.
Galerie FLOX, khc
Kontakt: BESUCH IN DER WERKSTATT IN BADOW BITTE NUR MIT TELEFONISCHER ABSPRACHE
ALTE DORFSTRASSE 17 19209 BADOW / GERMANY TEL. +49 (0)38874 / 23029 MOBIL +49 (0)162 / 21 35 101 firstname.lastname@example.org
Nando Kallweit is also represented by The Gallery FLOX in Dresden / Germany
If my soul starts spontaneously jubilating looking at a piece of art, I know it is love….I`d like to share.
ABOUT THE ARTIST
Alan LaVern Bean (March 15, 1932 – May 26, 2018) was an American naval officer and naval aviator, aeronautical engineer, test pilot, and NASA astronaut; he was the fourth person to walk on the Moon. He was selected to become an astronaut by NASA in 1963 as part of Astronaut Group 3.
He made his first flight into space aboard Apollo 12, the second manned mission to land on the Moon, at age 37 in November 1969. He made his second and final flight into space on the Skylab 3 mission in 1973, the second manned mission to the Skylab space station. After retiring from the United States Navy in 1975 and NASA in 1981, he pursued his interest in painting, depicting various space-related scenes and documenting his own experiences in space as well as that of his fellow Apollo program astronauts.
Bean said his decision was based on the fact that, in his 18 years as an astronaut, he was fortunate enough to visit worlds and see sights no artist’s eye, past or present, has ever viewed firsthand and he hoped to express these experiences through his art.