I found it hard to research as all of my ideas and thinking came through making but throughout the weeks i found a few artists that i could really relate too.
ARTIST - Alwar Balasubramaniam
Balasubramaniam installs his work like its a part of the wall, connected as one. He wants his work to be believable and look real which is not really something I'm interested in but i really like his use of plaster and how his sculpture interact with light of he makes interesting shapes.
Alwar Balasubramaniam: Uncharted Territories
'Seeing is believing. In Alwar Balasubramaniam’s case, seeing and believing are two separate acts, depending on your discernment and perception. His prints, paintings, and sculptures, with their constant plays on the visible and invisible, illusion and certainty, challenge notions of the real and the unreal. Walk into a Balasubramaniam exhibition and you will be confronted by a surreal world where walls are pulled like fabric by disembodied hands, where a figure of the artist sits with his head buried deep in the wall, where angels emerge as if by magic from blocks of stone and sculptures dissolve into nothingness.
A printmaker, painter, and sculptor, Balasubramaniam refuses to be slotted into any one category, stating flatly, “ You are whatever you are.” He would rather be known as “a person who creates art.'
by Minhazz Majumdar
http://www.sculpture.org/documents/scmag08/dec_08/balasub/balasub.shtmlARTIST - Michal Budny
Installation view
Installation view
GALLERY: Galerie naechst St. Stephan
Budny has a strong relationship between his artworks and the environment in which the works are shown.
Budny creates models of objects that he then
places within a space. (though the models do not have to have a fixed
material form)
Budny echos reality by installing these
models into the gallery space, Creating new meaning for the everyday
objects or experiences as its made monumental through its installation
within the space.
ARTIST - Hreinn Fridfinnsson
Fridfinnsson's work uses everyday materials and objects and changes them to create a new outcome. He uses time as an extra element in his work to evoke feeling and memory.
His ideas relate to some of the work i do in the sense that i work with everyday objects and materials and then change their physicality. His works like mine are free of background stories they are just in the immediate present and have potential for the future.
Serpentine Gallery - Hreinn Fridfinnsson
'Hreinn Fridfinnsson is one of Iceland’s leading conceptual artists.
His work is celebrated for its lyricism and stark poetry that transcends
the often-commonplace subjects and materials that the artist uses to
create his pieces. Although there is a consistency of theme and a common
emotional thread to his art, the media that Fridfinnsson employs are
remarkably varied in scale and substance, from photography, drawings and
tracings to presentations and installations of sound, texts and
ready-mades.
Fridfinnnsson often presents found objects with which
he interferes as little as possible, creating new works that
investigate ideas of the self and of time. He has said that: ‘Notions of
time are always compelling. I read what comes my way about physics and
mathematics, but I read as one who is uninitiated. The feeling and the
interest in the essence of time is serious, but my dealing with time is
not knowledge-based; it is more exploratory and feeling-based.’'
ARTIST - Aleana Egan
I'm interested in Egan's work because she uses everyday materials that can be found around a studio then uses them to make something else. She also changes the form of ready made environments, using shape and scale to create a new experience of a commonly used space.
Drawing Room - Aleana Egan
'Drawing plays a significant role in Egan’s work, with a sketchbook
providing a repository for the noting down of ideas and experimentation
with forms that undergo many changes as they are transformed into
collages, sculptures or films. Ideas are triggered through observation
of her surroundings, be it the Irish landscape or the space in which she
makes or exhibits work, and through memories of childhood experiences
and works of literature.
Her works evolve through a series of stages, with each successive layer
gaining a density until the final form emerges, coherent and cogent, yet
insistently resisting the stamp of the finite. The meandering, sensuous
line that dominates her sculptures, films and drawings suggests a
condition of flux.
Egan often works with very crude materials such as cardboard, plaster
and concrete, and her sculptures are painted with carefully mixed, matt
and muted colours of greys and blues. There is a fine tension and taut
balance in all her work regardless of material or position in space. Her
hanging hand-made sculptures made of cardboard and filler appear
utterly opposite to the hard line and tension of the steel sculptures.
Her new 4 metre high steel sculpture titled Binet’s addition, is based on Emile Zola’s novel Au Bonheur des Dames
an observation of one of the most famous department stores ‘La Bon
Marche’ of the French architect René Binet, who created the iron-framed
elevator for Parisian shops.
In a new work Outfit, Egan literally photographs her models,
mostly friends and family, from the neck down wearing a variety of
outfits. Standing with their back or front to the camera, these are
objective recordings: each figure stands motionless in the same light
and same conditions. It is the shape of the form, the colour and visual
composition that interests Egan. She does not wish to tell stories or
make grand gestures but to find appropriate forms to render
psychological states and experiences.
An artists’ book will be published by the Drawing Room to coincide with
the exhibition.
Aleana Egan was born in Dublin in 1979 and lives between Berlin and
Dublin.'
http://www.e-flux.com/announcements/aleana-egan/
Drawing Room - Aleana Egan: In conversation with Dr Sarah Lowndes
'Drawing forms the starting point of Egan’s work, with a
sketchbook providing a repository for the noting down of ideas and
experimentation with forms that are developed into autonomous drawings,
collages, sculptures and films. Ideas are triggered through
observations made during everyday life, but also by memories of
childhood experiences and works of literature. Often inchoate, these are
atmospheric and sensory triggers that lack narrative definition and
carry through into her practice through a subtle and intuitive working
process. For example, it was the aura of tightness, a certain tension,
that reading Jean Rhy’s novel ‘Good Morning, Midnight’ left her with,
and it was this quality that she sought to engender in a sculptural form
Character, 2010, although quite different from the drawing
that Egan made after reading this story, does retain some of its
characteristics.
Her works evolve through a series of stages, with
each successive layer gaining a density until the final form emerges,
coherent and cogent, yet insistently resisting the stamp of the finite.
Her practice is dominated by a meandering, sensuous line which carries
through into the fluid way in which her films are made and suggests a
condition of flux. When the line is filled to form a plane and to
become a receptacle, it is still kept open, to collect snow or rain
water, as in, for example, In Their Order of Appearance, 2010,
made for the Sculpture Center in New York. Egan often works with very
crude materials such as cardboard, plaster and concrete, and her
sculptures are painted with carefully mixed, very matt colours. The
rawness and openness of the sentiment or idea that triggered the work is
embodied by these carefully manipulated materials. Egan does not wish
to tell stories or make grand gestures but to find appropriate forms to
engender psychological states and memories.'
ARTIST - Ellis Gallagher
What i find interesting about Ellis Gallagher's work is that he uses existing objects to create new experience of the space they're in. He uses colour and light to change the experience of the everyday.
Ocular Echoism: The Autonomy of Ellis Gallagher
'Ellis Gallagher’s shadow chalk drawings traverse pre-conceived
perceptions of street art’s brevity by manipulating the impact of the
ever-changing city landscape, transforming it into a sublime stand
still. His graffiti writing roots have evolved into an outlet that
speaks and interacts with its viewers by engaging in an ongoing, lucid
conversation between the artist and city residents. Aesthetically, chalk
as a medium behaves perfectly to accomplish Ellis Gallagher’s mission
to transpose the mundane into something magical. It’s temporal, opaque,
and transcendental, removing the viewer from his or her own personal
reality and subjecting them to question something else all together, A
renewal of their surroundings that are experienced every day.
Existing only as a reflection of his environment, Ellis Gallagher’s work spatially considers the everyday object and the study of transitory light and color. In daytime, He aims to perfectly enclose projected shadows, capturing their essence in a chalk outline. The constant battle between the art and the fleeting sunlight sanctions these drawings as being more rare, more beautiful. However, beneath the static glow of the city’s street light, Ellis Gallagher can transcend the cityscape into his own playground of glowing, vivacious shadows.' - http://www.artcat.com/exhibits/9920
Existing only as a reflection of his environment, Ellis Gallagher’s work spatially considers the everyday object and the study of transitory light and color. In daytime, He aims to perfectly enclose projected shadows, capturing their essence in a chalk outline. The constant battle between the art and the fleeting sunlight sanctions these drawings as being more rare, more beautiful. However, beneath the static glow of the city’s street light, Ellis Gallagher can transcend the cityscape into his own playground of glowing, vivacious shadows.' - http://www.artcat.com/exhibits/9920
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