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“Myth of the Flat Earth” is a conceptual photographic series by artist photographer John Clang, portraits of figures floating in a pool invisible metaphor of trying to survive the expectations of society, Clang explores the state of being awake and dreaming at the same time, the tension between illusion and reality, and a dialogue resulting in different views and perspectives. A sense of paranoia pervades
You do not know, or pretend not to know, but we are all ghosts in someone’s mind. Beings who lose slowly their physical characteristics due to the memory that lets go, become a bit evanescent and a bit whitish, flying among our thoughts, we ambush in the night, and sometimes we strike terror. Angela Deane has created a photographic project on this fairy truth a
A man and a woman engaged in the martial art of vanity. Neither can see the other and both struggle against their own reflection in a square mirror. The square is the symbol of all things in balance, the 4 elements, the 4 directions and 4 corners of the Earth, the 4 evangelists, 4 seasons and 4 noble truths. The instructions are simple, to keep
Macro inaugurates the entrance to its new wing with a site specific installation by Jacob Hashimoto. Silence Still Governs Our Consciousness creates a floating realm which anticipates the journey from MACRO’s present to its future. Hashimoto conceived this “cloud of 7000 kites” specifically for MACRO’s new exhibition gallery. The work fills the room like a “diaphanous canopy” evoking in its spectators the sensation of being
My work emphasizes the relationships between shapes and the lines those shapes make. Using wood as my primary material, I intend to explore the character of wood and visual language of the resulting work. I have always been fascinated by wood as a material. It is amazing how people control the material against its own will to create something very different from the way it
“Ring” is an installation which takes into consideration the urban space networking : the rhythm, flow, organization and spatial hierarchy. The installation embodies a visual effect that is to connect all of these interactions through the implementation of an optical effect: the repetition of an cubic mirror to break the perception of the place. This dynamic installation changes the relationships between individuals and the space
It is difficult to escape the feeling that “Apocalypse in Art” really shows the world, standing on the edge, barren, falling in decay like a story line of a picture that is braking into fragments. People can not postpone the crash, they’ve lost an ability to create – all they can really do is to seek and fix. We are trying to find a refuge
Boo Ritson (born 1969) is an artist based in Chesham. Ritson was born in Surrey, United Kingdom. She received her BA in 2002 from Buckinghamshire Chilterns University College and her MA in 2005 from the Royal College of Art. Boo Ritson trained as a sculptor but in recent years her practice has developed to include painting. In her most widely known series of work, Ritson
“I wonder if Ferioli’s experience and encounter of Iceland was like déjà vu? That is how it seemed to me. Not like déjà from a dream but rather from another life. It is as if the extreme contrasts in Icelandic landscapes – the soft green grass and hard core volcanic rocks, black sands and glaciers, and the life of the inhabitants intertwined in it –
The term “still life” appears late and refers to a broad genre of painting wrongly regarded as minor because hardly focused on the representation of a social and religious order, and less valued in terms of academic technicalities. Yet, the representation of inanimate objects is a particularly fertile territory of experimentation. When we think of the representations of flowers, fruits, tables, everyday objects, instrument of
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