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Liesl Pfeffer

#lieslpfeffer #pfeffer #new #shapes #newshapes #after #daguerre #to #see #the #moon #fall #from #sky #dwellings #field #guide #fieldguide #mushroom #hunting #mushroomhuntin #house #plants #houseplants #ink #on #photographs #inkonphotographs #kingdom hearts #and

Jacob van Loon

Daniel Arsham

#danielarsham #daniel #arsham

Daniel Arsham

#danielarsham #daniel #arsham #japan #japanese #architecture

Daniel Arsham

#danielarsham #daniel #arsham

Daniel Arsham

#danielarsham #daniel #arsham

Daniel Arsham

#danielarsham #daniel #arsham

Daniel Arsham

New York based artist Daniel Arsham straddles the line between art, architecture and performance. Raised in Miami, Arsham attended the Cooper Union in New York City where he received the Gelman Trust Fellowship Award in 2003. Architecture is a prevalent subject throughout his work; environments with eroded walls and stairs going nowhere, landscapes where nature overrides structures, and a general sense of playfulness within existing architecture. Arsham makes architecture do things it is not supposed to do, mining everyday experience for opportunities to confuse and confound our expectations of space and form. Simple yet paradoxical gestures dominate his sculptural work: a façade that appears to billow in the wind, a figure wrapped up in the surface of a wall, a contemporary object cast in volcanic ash as if it was found on some future archeological site. Structural experiment, historical inquiry, and satirical wit all combine in Arsham’s ongoing interrogation of the real and the imagined.

#danielarsham #daniel #arsham #artist #miami #blackandwhite #gouache

Adela Andea

#adelaandea #adela #andea #the #sad #truth #is #that #excellence #makes #people #nervous

Adela Andea

“In my vision there is not one unilateral truth or message about reality. The subjective encounter through personal individual experience with the artwork is one dimension that creates many other layers of reality. Confronting the discrepancy between ideas, understanding of the concept in the context of socio-cultural present preoccupation, and the actual experience, events, the reality can be manipulated by the way is presented, argued.

Through art, the transformation of information has been mitigating the two extremes, between the valuable resources of information and the end product responsibilities for recycling, giving a different meaning to the phrase “residual value.” In addition the fast scientific developments almost enable us to distinguish between present and future technologies; a question I always ask myself when encountering new information: it has been done and succeed it, is experimental or it is envisioned to happen in some laboratories?

I like to transform the indoor spaces into installations that involve full sensory experiences for the viewers. I use all the space is available to expand for the purposes of the installation. I consider all physical aspects of the building and the level of audience involvement. Where films and video games convey a futuristic approach generating virtual realities, my art is trying to deconstruct the clear delimitation line between reality and virtual reality.”

Matthew Deleget

“Reductive abstraction is at last shaking off the dead weight of its hundred-year history. It is no longer ruled over by self-imposed limitations or utopian visions of the world, no longer orthodox in form or self-censoring in subject matter. Reductive abstraction can be anything and be about anything. And, through the unlimited reach of technology, it has expanded beyond traditional geographically-defined pockets of activity, dialogue, and innovation. Meaningful work can be made anywhere on the planet. This is my point of departure.

I am deeply committed to this pluralistic approach. In my studio, I merge painting with conceptual, process, and installation strategies. For me, it is important to make work in the most direct, matter-of-fact manner possible — no novelties, gimmicks, or tricks. I am more interested in the idea of painting than the process. Paint is applied as if painting a fence, color is used straight out of the tube. I am decidedly unromantic about this process. It is all a means to an end.

I freely sample, remix, and often subvert my precedents — suprematist, constructivist, plastic, concrete, minimal, monochrome, pattern, op, neo-geo, radical and others reductive strategies. However, my work absorbs, digests, and reacts to what I see and hear around me daily in my environment — urban culture, corporate government, news propaganda, unwinnable wars, religious fundamentalism, unconscionable materialism, and more. I am interested in attacking the problem of reductive abstraction from every possible vantage point.”