#abstract installation

[gottaseesomeart]

Chris Wood Light Studio - Founded in 2015 by international light artist Chris Wood, CWL has become a globally acclaimed studio known for its innovative light-responsive artworks and installations. The studio works with a range of light-responsive materials and techniques, creating artworks that engage dynamically with their environment. Dichroic is a key material in the studio’s work, offering vibrant, shifting colours that transform with light and perspective.

[gottaseesomeart]

Originally from Mexico City, Gabriel Dawe creates site-specific installations that explore the connection between fashion and architecture, and how they relate to the human need for shelter in all its shapes and forms. His work is centered in the exploration of textiles, aiming to examine the complicated construction of gender and identity in his native Mexico and attempting to subvert the notions of masculinity and machismo prevalent in the present day.

[gottaseesomeart]

"From dozens of painted mesh fabric panels, Tomislav Topić’s undulating, site-specific installations transform airy spaces into immersive experiences. Superimposed in layers that are meticulously suspended from the ceiling or between outdoor structures, the panels interact with sunlight and one another to create vibrant gradients." via thisiscolossal

[gottaseesomeart]

Flower Obsession (2017), by Yayoi Kusama

[howdoiknowifitsart]

Clemens Behr

From Triangulation Blog:

Clemens Behr's work is based on abstract installations and sculptures built in both public and interior environments. These three-dimensional and volumetric collages which usually are dimensionally huge are made of found recycled ephemera as well as basic building materials such as cardboard, wood, paint, tape and found materials. Into the post there are some works from 2012 but I recommended to see his great portfolio.

“My work is complicated, inexpensive and improvised…My process all begins with the space, which acts as a basis for planning. The space defines the colors and shapes, as well as any fixing or mounting possibilities and the dimensions of the piece.  I can’t plan that much in advance, because I can never be certain which possibilities and machinery will be available for me to use. Once I have the composition or an idea of the finished piece visualized in my head, I usually begin to paint the cardboard. Then a wooden frame is screwed together onto which the cardboard will be fixed. This occurs very haphazardly. Before I travel to cities like Delhi or Marrakech I do no preparation before. I just look at the city’s colors and shapes and try to adopt it in to my work. In general, the way I work should be a kind of transformation of the architecture. It pulls everything apart and assembles it in a new geometrical disorder. The source of my inspiration can definitely be traced back to the work of Marcel Duchamp and Kurt Schwitters, and I would name Gordon Matta-Clark as my favorite artist.” 

[chloejchandler-blog]

Esther Stocker | Installation works

Empty and physical space stretched by laws of perception. A subtle interaction between occupancy and spatial awareness. The space is unchanged, if only by the presence of opaque ground – suspended, stuck, hung; yet the implied space is altered inherently by the intervention and its effect upon the senses. How does one inhabit the area, manoeuvre, communicate? Barriers created that on occasions cease to exist even when unbroken. A faceted approach at splicing and constructing a mesh, a grid throughout which every action becomes secondary to what is essentially a partial environment; not an element resides as a whole, no two point line exists without a third, a fourth… It almost relies on boundaries of the containing space to restrain what appears on occasion as an explosion of fragmented structure, yet on other occasions to be a precise and executed geometrical study.

http://www.estherstocker.net/ http://www.sightunseen.com/2010/02/esther-stocker-artist/  

Image credit |

Untitled, 2009, foam core, tape and pins on wall, 2,92 x 6,85 x 5 m exhibition view Beyond These Walls, South London Gallery, London

Open Form, 2011, foam core on wall and floor, 7 x 5,53 x 3,7 m exhibition view "Lies and Layers", Hunt Kastner Artworks, Prague. Photo: Ondrej Polak

Destino comune 2011, masking tape and foam core on wall and floor, 16,62 x 8,14 x 5,14 m, MACRO Roma Courtesy OREDARIA Arti Contemporanee, Roma. Photo: altrospazio

La solitudine dell'opera (Blanchot). Parte 2, 2010, wood, acrylic, 2,15 x 1,80 x 12,70 m Associazione Ko.Ji.Ku., Galleria Studio 44, Genova. Photo: Loredana Ginocchio

Sites accessed: 30|05|2012