Sunday, September 30, 2012

Roy Nachum "Visionary", oil on canvas, measurements unknown

Image courtesy of Roy Nachum

It was only a few months ago that I saw the work of Roy Nachum, but I was immediately enthralled by his skill and unique approach to his craft. As I read more about the meaning of his work and his process I found myself appreciating the work even more. Below is a small excerpt from an article published by Yatzer before his exhibition in New York City "Open Your Eyes":

"'Open Your Eyes' is 32-year old Nachum’s second exhibition; a show that explores how humans look at art and what the art experience might be like for the visually impaired. Inspired by braille signs in the stairwells of a museum, Nachum began to think about the art itself; if one cannot touch it how can the visually impaired appreciate the art and furthermore how can this understanding enhance the art adventure for a person with sight - who’s very perceptions and experiences in life have infringed on their point of view? In fact, the more we learned about Roy Nachum’s process it becomes evident that nothing is an accident in his pieces. They are carefully thought out, painstakingly detailed, and cerebral yet, layered with meaning and emotion. 
Take, for example his Parallel Realities series. Upon first sight you have realistic paintings with large convex braille squares popped into the canvas, showing the animalistic or primal subconscious of a state of mind. There is also a poem written in braille within this painting. A blind person can run their fingers over the braille and understand the scale of the painting while reading a poem that expresses the emotional component of that particular painting. Therefore the braille poem is a 'way into the piece' for the visually impaired."
To read the full article click here 

The poem within the painting: 

In the middle of this reverie lost but found I am liberated to by myself. 
I envision a life like no other, a life that only exists in the sweetest of daydreams. 
My feet firmly planted in the earth, 
My compassion tightly embraced within my chest
And my mind determined to wander, in the void, 
Somehow finding an escape through the very tips of my fingers. 
Reaching further I move closer, this is the untouchable. 
The noisy exhale of rousing thoughts screams out to the universe, 
Clear and sharp and  a flood of whispers tumble down the contaminated terrain. 
I begin to float, long lifted, taking flight to my imagination, 
Above the current and into the near expectations. 
Avoiding peril and spite to strike a fancy. 
A flawless place along the horizon beyond sight into the far seeking. 
Vivid I grasp hold trying to capture this moment forever, 
Remember this perfect feeling, 
This perfect instant, 
Soaking in the drunken scents and all I can think is: 
This must be where all dreams are made. 
Impervious and unforgiving to others I see the future with mighty saturation. 
All the likely to hallucinate and all the promise to survive 
And nonetheless here I am "exceptional", imagining what does not yet exist. 
Supreme I am that prominent person 
You may call it nonsense, but at least I have not given up
On the very human and very real ability to roam in the unknown. 
I belong to this vision, 
Seemingly unreal or imaginary or just purely optimistic
This is the influential and strong far sight of the forthcoming. 
(Poem from Roy Nachum)

Let me know what you think about the work!

Saturday, September 29, 2012

Gifford Myers

"Object/ 2 Red"2005, Resin, automotive paint , 7 x 14 x 8" 



"Object/Stormy Weather", 2005, Resin, automotive paint, 70 x 17 x 17"






















Gifford Myers' work is filled with humor and wit. I heard that one way he gets inspiration and ideas is driving down to Mexico and purchasing whatever trinkets, dolls or toys he can find at the border. Originally an architect major he decided to go into sculpture and ceramics after he had been working long nights on his school projects and looked down from his classroom to see ceramics students below him smoking, (not cigarettes), and enjoying themselves. The next semester he decided to enroll in almost all ceramics and sculpture classes and the rest is history.
  
To watch an interview with Gifford Meyers click here

Miya Ando "Lumina Cube Red on Red", 2011, hand-dyed matte solid aluminum block, 2-1/2 x2-1/2 x2-1/2"


Installation view


As the granddaughter of a sword maker Miya Ando was introduced to the art of working with steel at a young age. Her technique is unique, time consuming and demands precision. Here is a short video for the David Lynch Foundation about Miya Ando's work, let me know what you think.



 On October 1, 2012 Miya Ando was named a finalist for the German Bloom Award see her piece here.

Friday, September 28, 2012

Raymond Saunders "Untitled", 2012, mixed media on panel, 48 x 20-1/8"

Photo by: Alan Shaffer

Raymond Saunders is a prolific and instrumental artist in the street art movement. His work is often compared to Basquiat, but few know that the same year Raymond was graduating with his MFA Basquiat was born. Saunders' work has consistently dealt with his urban surroundings from his childhood in Pittsburgh, Pennsylvania to his current city Oakland, California. Saunders is well known for re-working old paintings. One of my favorite stories about Saunders is that he had a piece in a museum show and when he went to go see the piece he felt it wasn't finished so he took out his prisma pencil and went to work...in the middle of the museum...you can image that soon after he started working security kicked him out. Saunders was eventually let back into the museum once they realized he was the artist. 

Interesting fact: Basquiat wrote Saunders telling him that he had seen his work and wanted to come visit his studio. A few days after Saunders received the letter...Basquiat committed suicide. 

His show is currently at the Lora Schlesinger Gallery in Santa Monica. It's been seven years since his last show in Los Angeles and it surely isn't one to miss. 

Deborah Butterfield

"Sterling", 2005, cast bronze, 89 x 112 x 41"




Left: "Danuta", 2008, cast bronze, 35 x 123 x 64" 
Right: "Burnt Pine", 2008, cast bronze, 92 x 120 x 29" 
Background: David Hockney



"Looking Glass", 2011, cast bronze, 96 x 110 x 71"

          


Deborah Butterfield creates the most beautiful horse sculptures. Whether it's first wood sculpture or the final bronze sculpture. Her horses are impeccable and hopefully speak to everyone. I've seen younger artists try to copy her work and I can honestly I've never seen someone do as good as a job as she does. If you watch the video below you will see just how much passion and love goes into her work. Enjoy! Let me know what you think!




Deborah Butterfields New Sculptures opens at LA Louver on October 11 through November 10, 2012.

Carlo Marcucci

"Wheatfields LXV (65)", 2007, udon noodles and squid ink spaghetti on wood, 18 1/2 x 30 1/2 x 6"
"Wheatfields XLVI (46)", 2004, squid ink spaghetti and udon noodles on wood, 19 x 24 x 6" + 19 x 14 x 6"









"Wheatfields XVIII (28)", 2001, spinach spaghetti, regular spaghetti, rice spaghetti and squid ink spaghetti on painted wood, 10 x 6 x 6" closed, 15 x 6 x 6" when open


Hopefully you read the materials that these sculptures are made out of! You wouldn't believe it when seeing these in person or in these photographs, but all of these pieces are made out of food! Whether spaghetti, rice or udon noodles at some point you've probably cooked one or all of these items and never thought that that a brilliant sculpture could come from it. Here is a clip of the artist statement by Carlo Marcucci on his Wheatfields series: 

"In our industrialized world, the average person’s familiarity with food in its natural stage has become more abstract, because we are now mostly a society of urban dwellers. We forage and hunt for food in markets and restaurants, rather than forests and prairies. Everyday we ingest foods containing processed ingredients foreign to nature that we aren’t familiar with. Most of what we purchase is grown, processed, packaged and shipped in containers from somewhere else than we reside. Many of these foods have lost their original shape, texture and appearance. 
'Wheatfields' and its related series 'Wheatboxes' are a series of works featuring wall-mounted sculptures made of Italian and Japanese rice and wheat spaghetti. These minimalist compositions are abstract interpretations of food containers and the disproportionate role they have in modern processed food distribution. In a metaphorical sense, the box containing the spaghetti is reborn as a box constructed of spaghetti.
I present the viewer with sculptures created with common food ingredients that, for all intended purposes, have lost their recognizable shape, texture and any quality that might suggest any edible product."
To read the full artist statement click here

Thursday, September 27, 2012

Peter Alexander

"Large Flo Yellow Dip Diptych", 2011, Urethane, two panels each 46 x 41" 
Photo By: Brian Forrest

"Mirasol", 2009, Polyester Resin, 3-1/2 x 8-3/4 x 8-3/4"































"Spence", 2009, Cast Polyester Resin, 7 x 8-5/8 x 8-5/8"

To learn more about Peter Alexander watch the video below. 



Video from Getty.edu / Pacific Standard Time

Adonna Khare "Elephants", 2012, carbon pencil on paper, 96 x 384"


























Currently on view at the Grand Rapids Art Museum Art Prize 2012

Christopher Murphy, "View South from the Williamsburg Bridge", 2007 - 2008, oil on panel , 48 x 64"


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