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.
French surrealist Guy Billout has created some of the most awesomely mind-bending illustrations that will hopefully make you chuckle too. The key to his works is that they don’t just shout “surrealism”, but usually feature settings that look totally realistic until one detail turns everything around.
Guy Billout is a true grandmaster of irritation – often at 2nd glance… Simply Enjoy!
ABOUT THE ARTIST
A Poet of the Absurd “Guy Billout is the Buster Keaton of the illustration world: like the king of the deadpan gags of the silent era, Billout is a stunt man. His illustrations represent acrobatic feats of mental agility in which events challenge the law of physics and logic: inverted perspectives, gravity-defying structures, upside-down skies, rivers owing uphill, large objects sinking into shallow puddles. His art work is funny in the same way Keaton’s stunts are funny: his characters retain a sense of composure no matter what. Impending doom doesn’t unnerve them. However, under the dark humor, an odd sense of optimism prevails. For Billout, people are clueless, and that’s the good news.” (cit. Véronique Vienne)
Guy Billout grew up in Nevers, a quiet town in the center of France, he received a conventional education. In the 1950s, he studied advertising in the Ecole des Arts Appliqués of Beaune, in the Burgundy region. In the 1960s, he moved to Paris and worked as a designer in advertising. He spent a few years in Paris before coming to New York City in 1969. That’s where his career really took off after a successful publication in the New York Magazine. He published his ironic illustrations in various media, such as….
Time, Life, Fortune, New York Magazine, Reader`s Digest, Esquire, The Atlantic Monthly, Playboy, Vogue, Glamour, The New Yorker, The New York Times, The Wall Street Journal, The Washington Post, Der Spiegel, Le Monde.
Annual Reports, Corporate Brochures, Advertising:
JP Morgan, Salomon Brothers, Schlumberger, Metropolitan Life, San Francisco Airport, National Westminster Bank, Northern Telecom, Comcast, The Boston Consulting Group, KPMG, Mobil, Boco.
Reena Saini Kallat’s (b. 1973, Delhi, India) practice spanning drawing, photography, sculpture and video engages diverse materials, imbued with conceptual underpinnings. She is interested in the role that memory plays, in not only what we choose to remember but how we think of the past.
Using the motif of the rubberstamp both as object and imprint, signifying the Bureau-cratic apparatus, Kallat has worked with officially recorded or registered names of people, objects, and monuments that are lost or have disappeared without a trace, only to get listed as anonymous and forgotten statistics.
In her works made with electrical cables, wires usually serving as conduits of contact that transmit ideas and information, become painstakingly woven entanglements that morph into barbed wires like barriers.
Her ongoing series using salt as a medium explores the tenuous yet intrinsic relationship between the body and the oceans, highlighting the fragility and unpredictability of existence.
Entitling his artworks ‘Pixelations’, the artist interprets his carved figures of men and women as puzzles, and plans each piece through a series of drawings and clay models. Han produces his final sculptures from segments of walnut, teak, or African wax wood, carving cubed pieces from the art object to give the illusion of suspended levitation or a paused transformation.
The wooden sculptures of Hsu Tung Han are dynamically manufactured pieces of fine art. Using positive and negative space to great effect, the wooden blocks either push or pull. This gives his figures a dynamism that seems to set them in motion. Whether appearing to move forward or remaining in a calm position, each sculpture presents a masterclass in how the artist can manipulate a medium.
Sui Park is a New York based artist born in Seoul, Korea. Her work involves creating 3-dimensional flexible organic forms of a comfortable ambiance that are yet dynamic and possibly mystical or illusionary.
She is currently holding a solo exhibition, Floating Imagery at the Pelham Art Center, Pelham, New York. She also had a solo exhibition, Playing with Perception at the Denise Bibro Fine Gallery in Chelsea, New York, Garden of Humans at the Kingsborough Community College, CUNY in Brooklyn, NY in 2016. She participated in over 80 exhibitions, including an ongoing exhibition, The 5th Textile Art of Today at Danubiana Meulensteen Art Museum in Bratislava, Slovak republic where she received the Excellent Award in September 2018. Park’s artwork has been acquired by numerous places including Jordan Schnitzer Museum of Art in United States.
Sui Park’s education includes MDes in Interior Architecture at Rhode Island School of Design in 2013 and BFA in Environmental Design at Maryland Institute College of Art in 2011. Sui Park also has MFA and BFA in Fiber Arts at Ewha Womans University, Seoul, Korea.
THE ARTISTS STATEMENT
My work involves creating 3-dimensional organic forms mostly in generic and biomorphic shapes. Through these forms, I attempt to express seemingly static yet dynamic characteristics of our evolving lives. While they resemble transitions, and transformations of nature, the forms are also to capture subtle but continuous changes in our emotions, sentiments, memories and expectations.
I weave and connect traces and tracks of the subtle changes into organic forms. The organic forms are made with mass-produced industrial materials, in particular, Monofilament and Cable Ties. They are non –durable, disposable, trivial, inexpensive and easily consumed materials. But, when I weave and connect them, they are transformed into organic visualizations. I want them to be creating lasting moments, evoking and encapsulating our precious thoughts.
I often find these moments from nature. I think nature allows us to pause and find things that have been overlooked and are inspiring. Nature provides me with rooms to find breakthroughs and answers, and gives me time to ponder into thoughts. Through my work, I want to bring to our attention the moments that nature allows us to find and look back. I present nature in abstract porous ways so that they can be filled with our moments.
For more details and further impressions of her arts, please have look at her website: http://www.suipark.com …if you share my enthusiasm.
Sui Park is also represented on Instagram and Pinterest with her organic installation arts.
Tetsuya Ishida was born 1973 in Yaizu, Shizuoka, the youngest of four sons. His father was a member of parliament and his mother a housewife. He graduated from Yaizu Central High School in 1992. Ishida stated in interviews that it was during this period that his parents and school principal put pressure on him to thrive academically and develop a career as a teacher or chemist. This experience later appeared in some of hispaintings that explore thesociety’s expectations of youths.
Ishida entered Musashino Art University where he majored in Visual Communication Design. He graduated in 1996. Ishida’s parents, unhappy about his career choice, refused to provide financial support during his university period.
Ishida and film director IsamuHirabayashi, a friend from his university days, formed a multimedia company to support their work together as collaborators on film/art fusion projects. Facing economic difficulties during Japan’s 1990s recession, their joint venture shifted to become a graphic design company. Ishida left the company to develop his own career as a solo artist.
From 1997 to 2005 he won a growing following, a number of awards and exhibitions, and positive praise of his works, which enabled him to work full-time as an artist until his sudden death.
On May 23, 2005, he was instantly killed by a train at a level crossing in Machida, Tokyo. He was 31 years old. There statements and rumors (?) that his death might have been suicide.
The 3 major themes of Ishida’s artworks:
Identity, norms and rules
Claustrophobia, isolation and lack of freedom
Utilitarianism and conformity
In contrast to his fellow countrymen, who are silenced by the rules of tradition, education, standards / norms and ethics, Tetsuya expressed through his art how he felt about the challenging living conditions in modern Japan. It is said that he was bold and flamboyant, often baffling people but mostly astonishing the masses with his fearlessness.
His artwork is breaking Japanese taboos in many facettes. The Japanese society was and is neither used to deal with blunt criticism, individual (unsatisfied) basic needs, outsiders, deviations as well as with topics like isolation, claustrophobia, scepticism, identity crisis, anxieties, frustrations and other motifs, which Ishida portrayed.
Many have titled his work surrealist portrayals of his observations as a child. Others call his work just plain madness. People, all over the world, appreciate the humor and realism in Ishida`s work that often highlights the extrinsic but also intrinsic compulsion to ensure conformity. An obsession that finally results in self-harming behaviours.
I remember the Japanese proverb: “The nail, which sticks out, has to be hammered down.”…and bent nails have to be removed.
Ishida’s artwork is sometimes difficult to interpret. It is unsettling and doesn`t leave the viewer blasé. When we think of Japanese art, we imagine quiet, flowing gardens painted with soft, neat patterns or an ancient pot, ingrained with history. Criticism in contemporary arts is often encoded or at least softened by a huge portion of “sweetener” or sugar coating. Ishida did not care. His confrontative, dark work is a slap into the face or a scream. Nevertheless, his arts is appreciated not only internationally but also in his homeland.
In 2009, his family was awarded the purple Japanese Medal of Honor, a decoration reserved for those who have contributed to academic and artistic developments, improvements and accomplishments.
1990 born in Kuwait City, Kuwait, he lives and works between his hometown and the USA. Encompassing photography, video and digital media, Abdullah Al Mutairi’s work reflects his interests in identity, gender, religion and technology in the Arabian Gulf as well as the effects of globalisation and corporate or national branding.
Abdullah Al Mutairi is an artist and founding member of the GCC collective.
He has exhibited at Art Dubai, UAE; Mathaf, Qatar; The Serpentine Gallery, UK; and contributed to Hans-Ulrich Obrist and Simon Castets’ ongoing digital natives project 89plus. The GCC collective’s work has been exhibited at MoMA PS1, Fridericianum, New Museum and the Sultan Gallery, among other institutions.
Sonia Payes is a conceptually-based artist working with photography, multi-media, animation and sculpture, who lives and works in Melbourne, Australia. A strong environmental narrative permeates Payes’ works and the cycle of re-creationis explored in her wildly dystopian landscapes. A veil of memory and awareness filters Payes’ works, her images exploring the cycle of transformation form birth to regeneration, charting humanity’s capacity to continually adjust to changes in the earth’s mutable environment.
Richard Ahnert, Messenger (2012) ~ Richard Ahnert’s anthropomorphic art is both whimsical and brilliantly provocative. This Toronto-based artist paints intriguing images of animals engaged in activities one might expect of weary modern-day city dwellers. While his work harkens back to the playful (and disturbing) posed taxidermy of the Victorian era, Ahnert’s paintings engage the viewer with considerable satire […]
geboren in Potsdam
Ausbildung zum Werkzeugmacher
Schlagzeuger in mehreren Bands
Ausbildung in Gestaltung und Zeichnen bei der Berliner Künstlerin Inge H. Schmidt
Studium an der HKD Halle Burg Giebichenstein, Prof. Irmtraud Ohme und Prof. Andrea Zaumseil (FB Metall), Diplomabschluss
Stipendium der Stahlstiftung Eisenhüttenstadt
Realisierung der Edelstahlplastik „Knotenpunkt“ bei der Firma AZO, für den Rathausplatz in Rosenberg
lebt und arbeitet in Berlin