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Marco Paganini work appears like a box, a closed box. Each box has a different size, different measures, different structure, a different way to open up, a different arrangement in the space. Inside is the name of this work, because it is on the inside of these boxes that something happens. Is indeed “inside” of each box that a world exists, becomes possible and replicable.
“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
Sabi Van Hemert, lives and works in Rotterdam. Hemert creates sculptures that are a fusion between child and animals. Her sculptures have a quality of alternately denying and confirming what you think you see in them and what feeling they give you. Because it is not immediately clear what you are seeing, the relation between viewer and sculpture is more complex. “I create images that
Chinese artist Liao Yibai created so many commanding, stainless steel sculptures for his new series Real Fake, that two galleries had to join forces to exhibit the works. Yibai’s artworks are sleek and meticulously detailed sculptures that examine “China’s rags-to-riches story of material obsession” and “the concepts of ‘real’ and ‘fake’ through mash-ups of luxury labels, the appropriation of real fake brand names, and the
My recent work involves the literal collapse of three-dimensional objects and structures into the picture plane. These found, utilitarian objects are deconstructed and cut into sometimes hundreds of abstract fragments before being reassembled two-dimensionally. The negative space is filled with carefully fitted pieces of painted wood, creating a solid plane in which the object is trapped in a parody of its former perspective. Through this
Franklin Evans presents fourpaintingstwowallsiowatonewyork, literally four paintings on two walls replete with references to the past, including of his graduate school time in Iowa. The Volta walls mimetically reflect the studio walls on which the paintings were made, exposing the interior thought and memory driving Evans’ practice. Evans’ recent obsessive explorations of 1913 Armory and Matisse’s Blue Nude in that exhibition, Robert Irwin’s 1960’s
“My photographs are about removal: bringing people to nondescript locations, to places that aren’t recognizable, removing their clothes, capturing them with a very limited style palette. I try to think about how timelessness, isolation, and style interact”. Ryan McGinley, Artforum, September 2010. Ryan McGinley’s aesthetic has evolved over the past decade from a verité snapshot style to one that is more cinematic, even epic. More
Georges Rousse is unmistakably a photographer: his photographs are intrinsic to revealing his images, and deciding the composition, cropping and lighting and clicking the shutter are all essential to his process. But he is simultaneously a painter, sculptor, and architect, carrying out the same relationship to his worksites as a painter to his canvas, or a sculptor to his clay or marble. His raw material
In this series of works photographed old childhood friends with whom I no longer maintain contact and also individuals I have just met. The portraits were made during a conversation. From this encounter, I separated 10 photos of each one and, for the most part, I did not treat the photos with any particular color in mind, leaving the color and light as they were
Do Ho Suh (b.1962, Seoul, Korea) received a BFA in painting from the Rhode Island School of Design and a MFA in sculpture from Yale University. Suh leads an itinerant life, hopping from his family home in Seoul (where his father, Suh Se-ok is a major influence in Korean traditional painting) to his working life in New York. Migration, both spatial and psychological, has been
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