Michael Murphy’s solo show, LOOK, recently opened at gallery nine5 in New York. His artworks span a wide variety of media including multi-layered 3D sculptures, sound installations, and paintings with materials including nails, shadows, water, and sandblasted bullet-proof glass. Some of my favorite pieces are shown above, and you can see more in the show’s catalogue. Better yet, stop by gallery nine5 through October 6. (thnx, irina!)
First: watch the video. Twenty-five year old, Toronto-based artist Amy Shackleton paints these lusciously drippy paintings without use of a brush or fingers, instead she relies on good old gravity (and occasionally string as a guide) to move the paint slowly across the canvas in delicately controlled pours. The video above captures the somewhat tedious yet brilliant process in detail, as a 30-hour painting session condensed into two minutes. I find this so unbelievably amazing and beautiful. See more of her work here, and you’ll have a chance to see it in person at Art Toronto 2011 in October. (via gizmodo)
Update: See the colorful ovals pasted to the metal rafters above the bridge? They’re actually part of an ongoing art project called Baji Lives by artist Peter Brock. Thanks to both Hrag and Peter himself for bringing this to my attention!
Korean artist Gwon Osang (previously) unveiled three new sculptures last week as part of the 2011 Artists with Arario exhibition in Seoul. Osang makes a sort of joking mockery of sculpture by overlaying life-sized mannequins with detailed photographs of the original subjects. The results are both strangely realistic and quite bizarre.
Cayce Zavaglia creates these impossibly layered embroidered portraits using methods more akin to delicate brush strokes with perfectly mixed paint than your mother’s cross-stitch. Via her website:
Initially, working with an established range of wool colors proved frustrating. Unlike painting, I was unable to mix the colors by hand. Progressively, I created a system of sewing the threads in a sequence that would ultimately give the allusion of a certain color or tone. The direction in which the threads were sewn had to mimic the way lines are layered in a drawing to give the allusion of depth, volume, and form. Over time the stitches have become tighter and more complex but ultimately more evocative of flesh, hair, and cloth.