I don't know who has done this but I though they were a good manipulation of a manmade stone... I also love a bit of pastel colours ;)
Wednesday, 24 September 2014
JaeHyo Lee: Return to Nature
After watching a short clip called 'JaeHyo Lee: Return to Nature" and it gave me more of an insight into his work; I picked out a few quotes he said about his sculptures that just simply explains his art:
“I had never thought that an artist could live off the sales of his works, there was no-one like that around me.”
“Constructing artwork out of unfamiliar materials might actually be easier. But I believe you can get more of a ‘wow effect’ when you create a striking piece from every day, common materials.”
“Though I may take my time to create my pieces, though I may be an artist behind the times, this is who I am. … I’m just doing the work that fits me well, thus here I am still hammering away in this digital age.”
“I want to express the wood’s natural characteristics, without adding my intentions.”
“The globe is the simplest form that demonstrates the wood’s original energy; no corners, no angles, and the same shape from whichever side you look at it. I like to make the most out of the material’s inherent feeling.”
“Every tree has unique growth rings and colours”
“The ‘globe’ is the simplest form that demonstrates the wood’s original energy”
Cha jong rye (his wife)
Very delicate sculptures that require concentration rather then a strong face. "I add importance to figurative things. My piece may look jumbled and mixed up but after I finish shaving the pieces. I rearrange them in my own way. After several readjustments when I feel satisfied, then the work is complete"
Monday, 22 September 2014
Pebble art- Experiment of my own
Brancusi
Brancusi- Inspiration of Goldsworthy
The Romanian-born sculptor pioneered the extreme simplification of forms.
Born in Hobitza, a village in Romania.
Studied at Craiova School of Arts and Crafts and Bucharest School of Fine Arts, then set out for Paris on foot in 1903 and studied at the Ecole des Beaux-Arts 1905-7.
Influenced by Rodin, but began in 1907 a process of drastically simplifying his figures. Most of his subsequent marble carvings and bronzes consisted of variations on a limited number of themes (heads, birds, fish, etc.) simplified almost to the point of abstraction, with smooth surfaces and an emphasis on pure basic forms such as the ovoid; his wood carvings were usually closer to African art and to the Romanian folk tradition of wood carving.
Friday, 19 September 2014
Lithography
What is it?
A printing process that uses a flat stone or metal plate on which the image areas are worked using a greasy substance so that the ink will adhere to them by, while the non-image areas are made ink-repellent.
Frank Stella
All of Stella's early prints were based on stripe paintings - conceived as
so-called 'album' prints which were supposed to be assembled in binders to
provide an intimate record of his early work. The Black Series II was
based on the complete series of diamond-pattern Black Paintings that Stella
created in 1959-60, including Gavotte of 1959 which was destroyed by the
artist in 1961. The related print and sketches provide the only surviving record
of the work. The prints are not illustrations of the paintings but differ
significantly in detail and character. While the application of the ink with a
lithographic marker recreates the free-hand quality of the paintings, the
stripes in the prints are generally more clearly defined resulting in a more
intensely optical diamond-pattern. Stella further changed the striped pattern
and number of black bands in order to avoid the prints becoming miniature
reproductions of the paintings. The images are situated off-centre, in the
bottom left-hand corner of the sheets. Stella thus prevented the geometric
figures assuming the object-like quality of the paintings displayed on white
walls, instead 'allowing the unpainted areas between the stripes to be
identified with the paper,' thus countering 'traditional figure-ground
relationships' and introducing 'an element of tension as the eye moves to
correct the asymmetry'
Op Art
Op Art
The effects created by op art ranged from the subtle, to the disturbing and disorienting.
Op painting used a framework of purely geometric forms as the basis for its effects and also drew on colour theory and the physiology and psychology of perception. Leading figures were Bridget Riley, Jesus Rafael Soto, and Victor Vasarely. Vasarely was one of the originators of op art. Soto’s work often involves mobile elements and points up the close connection between kinetic and op art.
Bridget Riley
Hesitate is one of a group of black and white paintings
made by Riley in 1964 in which the titles imply emotional tension, for example
Disturbance, Chill, Loss and Pause. The
shapes were drawn first using a compass, and with templates for the larger
ellipses; the smaller ones were drawn freehand. The shades of grey were judged
by eye. Pause, 1964 (private collection) is similar in design to
Hesitate, but with the ellipses forming a vertical line and the changes
of tone
reversed. Pause itself develops an idea in an earlier painting
Movement in Squares, 1961 (Arts Council Collection), but with the
rectangles replaced by ellipses and circles, and with the addition of the
changes of tone.
Late Morning- In 1967 Riley began to use pure colour in her paintings.
She adopted a vertical stripe format to act as a neutral structure in which the
rhythms of chromatic variation would bring the painting alive. Choosing careful
sequences of colours, Riley explores the subtle effects of each upon the next.
In Late Morning she was particularly interested in the effects of the warm and
cold tones
on white. This interaction creates an impression of pale yellow light radiating
from the centre of the canvas.
Fall- ‘I try to organise a field of visual energy which accumulates until it reaches
maximum tension’, Riley said of this work. From 1961 to 1964 she worked with the
contrast of black and white, occasionally introducing tonal scales of grey. In
Fall, a single perpendicular curve is repeated to create a field of
varying optical frequencies. Though in the upper part a gentle relaxed swing
prevails, the curve is rapidly compressed towards the bottom of the painting.
The composition verges on the edge of disintegration without the structure ever
breaking.
Robert Rauschenberg
Robert Rauschenberg
American painter, sculptor,
printmaker,
photographer and performance
artist. While too much of an individualist ever to be fully a part of
any movement, he acted as an important bridge between Abstract
Expressionism and Pop
art and can be credited as one of the major influences in the return
to favour of representational art in the USA. As iconoclastic in his invention of new techniques as in his
wide-ranging iconography
of modern life, he suggested new possibilities that continued to be exploited by
younger artists throughout the latter decades of the 20th century.
Tuesday, 9 September 2014
Tony Cragg
Tony Cragg
British Turner Prize-winning sculptor. He was the director of the Kunstakademie Düsseldorf until August 2013. Tony Cragg was born in Liverpool in 1949, where his father worked in the aircraft industry as an electrical engineer. In 1966 Cragg started work as a lab technician in the National Rubber Producers Research Association. He lives and works in Wuppertal, Germany. Tony Cragg emerged in the late 1970s with a bold practice that questioned and tested the limits of a wide variety of traditional sculptural materials, including bronze, steel, glass, wood, and stone. “I’m an absolute materialist, and for me material is exciting and ultimately sublime,” he has said.
Cragg has been known to merge contemporary industrial materials with the suggestion of the functional forms of mundane objects and ancient vessels—like jars, bottles, and test tubes—resulting in sublime, sinuous, and twisting forms.
I was honoured to see a Tony Cragg piece myself at the Albert Docks next to the Tate Gallery in Liverpool. It was called
Raleigh. ‘Raleigh’ is made from six separate elements, two cast-iron
bollards, two granite bollards and two horn-shaped forms that the artist had
specially cast in iron. They are arranged on the ground with the four bollards
providing a base or platform for the two horn-shaped forms. The title of the
piece appears to relate to the sixteenth-century navigator Sir Walter Raleigh.
Jaehyo Lee
Jae Hyo Lee
Combining distinct traces of Land Art, Lee´s works cast a questioning eye over the roots of form, its function and its role within the natural world.
Lee´s works wilfully play with the oft-contested boundaries between modern art and design, referencing the idealist´s cubes, cylinders and cones as perversions of the chaise longue, the coffee table, the lampshade, and even the humble doughnut.
Revealing a subtly humorous and unsentimental attitude to nature, what unites these works is a belief that the beauty of art is a product of the labour from whence it comes, whether this be the meticulous carving of larch trunks into the form of a perfect sphere or, equally, the precise bending and sanding of thousands of nails hammered one after another into a hunk of cut lumber.
Sunday, 7 September 2014
Folkstone Digs
Michael Sailstorfer- Participatory artwork
As part of the towns traditional art festival German artist Michael Sailstorfer buried 10g and 20g of gold bars along the Kent coast in Folkestone. As part of the towns annual festival, this piece allowed families and local art lovers in the search for the expensive gold bars. However, the tide only allowed people on the beach for a few hours before it came in again.
Director of the festival, Claire Doherty, said "so often public art funding is spent on a static sculpture or a bauble on a roundabout and part of what we do is to say, actually sometimes a temporary project can have as much impact in the collective memory as something that has been there for a long time"
The Bristol based organisation, 'Situations' are trying to change peoples perceptions of art to just be a physical and visual piece but in fact a participatory piece of work.
The mass amount of digging will publically create a whole new piece of land art- as the tide comes in it will renew again the next day where it will be completely different. Sailstorfer is doing this in a way of using culture to regenerate the area.
Michael Sailstorfer, as an artist, is interested in changing the way people view a place and his previous work shows that. By collecting fallen autumn leaves, painting them green and reattaching them to a tree in a way so it looks like spring.
Biggs, in charge of the Liverpool Biennial and curating his first Folkestone Triennial, has more than 20 artists commissioned to do work here. Artists include: Yoko Ono, Andy Goldsworthy and Pablo Bronstein.
Saturday, 6 September 2014
Earthworks
Andy Goldsworthy
Andy Goldsworthy is a brilliant British artist who collaborates with nature to make his creations. Besides England and Scotland, his work has been created at the North Pole, in Japan, the Australian Outback, in the U.S. and many others
Goldsworthy regards his creations as transient, or ephemeral. He photographs each piece once right after he makes it. His goal is to understand nature by directly participating in nature as intimately as he can. He generally works with whatever comes to hand: twigs, leaves, stones, snow and ice, reeds and thorns.
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