Jason Decaires Taylor

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He is a British sculptor who was the first to create a underwater sculpture park/museum at Isla Mujeres National Marine Park.

What interests me within his work, is not a particular installation, but his practice as the whole. Focusing on Environmentalism in my Philosophy, which is also echoed within my practice this illustrates a very unusual and interesting way to introduce the human made objects into the wilderness, in order for them to become a part of nature.It is also interesting to look on how quickly nature takes its territory back and destroys the sculptures. As this is what I want to achieve, to illustrate the power of nature and the human anthropocentrism.

The socio-political context also plays an important role within his practice, as he tries to make people think about the world we live in and what we do with the planet with live on.

It made me think of the ways people deliver their messages through art, as well as what is the successful way of working within Environmentalism as in Philosophy and as well as within Art.

‘His pioneering public art projects are not only examples of successful marine conservation, but works of art that seek to encourage environmental awareness, instigate social change and lead us to appreciate the breathtaking natural beauty of the underwater world.

During the summer of 2014 Taylor submerged “Ocean Atlas” in the Bahamas, which is currently the largest single underwater sculpture in the world measuring 5 meters high and weighing over 60 tons’

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http://www.underwatersculpture.com/?doing_wp_cron=1457565935.9790201187133789062500

Ivan Puig

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He is a Mexican contemporary artist who work within a range of media. The main focus within his practice is education. There is not much information on him on internet, but his works are very intriguing and mystical.

What draws my attention is the use of materials and objects to convey it meaning. I feel the cleanliness of his installations very engaging , which draws the viewer in.

There is something personal within his work and something distancing.  He rarely explains his works and writes artists statements, which can be misleading in terms of interpretation of his work.

Personally, this impacts my practice in a sense of how you see objects. A car installation it which is partly flooded under the water, gives some uncertainty and something unknown. Kind of censoring something. This draws me into ideas of not seeing something fully, giving a false perception, but beautiful in the same time.

Hasta-las-Narcices-1

Hasta-las-Narcices-8Hasta-las-Narcices-9

hasta las narices
2004
VW sedan, agua, pigmento, plotter sobre pvc, vaso de vidrio y figurillas escala, medidas variables

'The project consists of three installations, its origin is related to the proportions of the events and their relativity.The spectator passes between the pieces to zoom way out, and zoom in, this discursive system gives special importance to the last piece , which is synthesized and dimension take the complete work.'
KM.7.1KM-7.3
KM-7.2
km7
2002
acción carretera, pigmento sobre asfalto
registro fotogáfico 40X60 cm. c/u

"The line that connects it all is the critical perspective and the humour present in his observations of the social environment."
 
http://www.ivanpuig.net/hln.html

Olaf Brzeski

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Dream- Spontaneous combustion, Installation, 2008

‘Even when it comes to the vision of the end of humanity, Brzeski had made sure to bring up the most absurd moment. His sculptures usually act as an element of a larger narrative, frozen in a given moment. Such is the case of his Dream – Spontaneous Combustion (2008) – a black cloud of smoke, raising from the dead body of a person who combusted in his sleep.’

He is a Polish sculptor  which I found very randomly,  there is not much on him in english, but what I have got from his works as they are surreal, they occupy they space, they dream. Something caught my eye on this installation and I do not know what exactly, its just seems very familiar and calming, but the black brings distortion and horror.

However, I would read this installation quite differently from Olaf’s interpretation. For me, this becomes a cry for air, a cry for something pure. As well as the contrast between the black cloud and a white gallery space, gives more narrative, that the artist himself does not bring into his practice.

 

Art Made of Storms-Nathalie Miebach

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This artist-scientist creates art installation/music scores out of data she gathers from weather and storms. She collects the data, analysis it and then transforms it into a 3D graph, which can be viewed as an installation in the gallery space, a science model in the science museum, and a music score in concert hall.

She become an interest to me on her ways of analyzing and transferring weather data, which is very interesting to me and close to what I am doing within my practice. I was also fascinated by the layers of complexity within her sculptures.

 

“Central to this work is my desire to explore the role visual aesthetics play in the translation and understanding of science information. By utilizing artistic processes and everyday materials, I am questioning and expanding boundaries through which science data has been traditionally visually translated (ex: graphs, diagrams), while at the same time provoking expectations of what kind of visual vocabulary is considered to be in the domain of ‘science’ or ‘art’.”

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Jeroen Bisscheroux

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‘POOL loss of color’, 2014

This hyper realistic painting, brings within itself a very important message, its like a ‘“carpet” that bridges two heartbreaking subjects together, the tsunami in Sendai and the disaster in Fukushima, into one image. The painting brings the subjects to human scale and visually gives you the feeling that you’re right in the center of it and that it’s not some disaster happening really far from you.’ 

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The medium used is completely different to mine, but the message behind is very close to what I am looking at. The idea to illustrate how small are the humans facing the scale of disasters. This painting brings us closer to feel the disaster near you, but in the same time it distances you from something. It also illustrates that something that happened/disappeared, should not be forgotten. Moreover, personally I find this very interesting as we do not feel the same feeling for people handling disaster somewhere far away, but we would if it would happen near us.

Baptiste Debombourg

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He is a French conceptual artist who was born in 1978

“With his sculptures Debombourg thematizes the throwaway society and the bequests of consumerism.”

Within his installations he looks at beautiful but yet apocalyptic images. What drwa my focus was two installations.

‘Flow’ or ‘cry of the Leviathan’ ,2013, is one of them.

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‘the shimmering and overwhelming visual experience of the piece presents the artist’s recurring fascination with an apocalyptic flood reclaiming manmade architecture.’

‘Here the windscreens surge up like the wave that engulfs towns in catastrophe films such as 2012 or The Day After Tomorrow. They are broken, discarded, ignored objects that take the place by storm, rebel and attack us. Like ignored vomit being spewed out from on high.’

I feel like my work closely relates to this amazing artist, as we explore the beauty and tragedy, purity and distraction. I also find his visual language as easy to ready but very powerful.

“Arial”,2012, two tons of glass

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Is another installation by him.

From my personal view within his installation you can see nature/fury invading into the human space. The use of glass, illustrates water and waves invading. His work is also all about materials, within them he would not successfully illustrate the message.

 

Cai Guo-Qiang

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He is a Chinese contemporary artist who focuses on environmental disasters.

I want to highlight two installations by him: ‘The Bund Without us’ and ‘Silent Ink’.

‘Silent Ink’, 2014

cai-guo-qiang-the-ninth-wave-exhibition-power-station-of-art-20 Schell-Cai-Guo-Qiang-3-1200 Silent Ink

‘The show is titled “The Ninth Wave,” after an oil painting from 1850 by the Russian artist Ivan Aivazovsky, which depicts human survivors clinging to the wreckage of a sailing ship in a storm-tossed sea. While this work suggests man’s helplessness in the face of nature’s relentless power, Cai’s exhibit suggests an ironic thematic reversal: nature’s state of helplessness in the face of modern man’s relentless, Promethean drive to progress.’

‘The Bund Without us’

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His works include the traditionalism of Chinese culture with the realization of Industrial China, through traditional naturalist imagery within his installations.

Eduardo Kac

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American contemporary artist who works in different types of media. I have became interested in his work a while ago, particularly with his transgenic piece ‘GFP Bunny’ (Alba).

The creation of this piece is a collaboration between Kac and french geneticist Louis-Marie Houdebine. This piece is a fluorescent rabbit developed by interference with genes. The GFP gene has been taken from a jelly fish to make a rabbit ‘glow’ under the blue lighting. The gene has been implanted to the pregnant rabbit, when the rabbits were born some of them carried this gene.

It is interesting how an artist was able to create a living creature from his imagination.

‘Kac’s art is based on the literal creation of new biological life. Kac explains that transgenic art must be created “with great care and with a commitment to respect, nurture, and love the life thus created.”‘