When stopping to consider these masterful ceramic objects by artist by Matthew Chambers, a flood of familiar images came to mind as I tried to understand what I was looking at. The aperture of a camera, the protective shell of a curled up armadillo, ocean waves, bowls of pasta, or portals to other dimensions; all valid reactions to these hand-built ceramic vessels and sculptures that contain dozens of thin concentric layers.
For the last 8 years Chambers has been working from a 215 square foot studio in Newport on the Isle of Wight where he creates each piece without the aid of sketches or designs, preferring to experiment as he works. Each “layer” is an individual section thrown on a potter’s wheel which he then assembles with other layers to make a solid sculpture. How something so precisely geometric can be formed from clay by hand is nothing short of astounding.
You can safely file this video titled Regular Division from artist Joe Hamilton under I don’t know what it is but I like it. One way to explain it would be a collaged cinematic journey through ornate botanical gardens … augmented with famous oil paintings. Or something? Intrigued, I reached out to Hamilton and he shares a bit via email:
Regular Division is a collaged video loop that was shot and digitally composed on location in Europe, Asia and the Middle East as part of a new series of works looking at landscape. The series responds to the impact of the digital technologies on our representation of landscape and the effect of this on our relationship with landscape.
Regular Division, the first in this series of works, features a spiral of intermingled scenes filmed from inside a number of green houses and domes. An artificial paradise of foliage under a canopy of gridded glass. The video also features high resolution images of brush strokes taken from classical oil paintings bridging a connection to the traditional medium that has played such an important role in the representation of landscape in the past.
For a photographer living in a major city filled with iconic architecture, museums, and myriad tourist destinations, the struggle to capture an authentic image is great. This was the exact situation photographer Michael Wolf found himself in after moving to Paris from Hong Kong in 2008. Surrounded in a city filled with sights that could easily be interpreted as cliché, Wolf pointed his camera away from the recognizable landmarks and instead focused on the dense rooftops surrounding the city. Packed with stout chimneys, tv antennas, graffiti, and numerous geometric forms, these shots present a strange abstracted view of a usually recognizable place.
Artist Samantha Keely Smith paints abstract oceanic landscapes that are at once menancing and serene, a clash of light and color that she refers to as “internal landscapes.” Using oil paint, enamel, and shellac, Smith uses an additive and subtractive process by partially destroying her progress several times before completion. This cyclical process, much like the timeless crash of ocean tides against the shore, adds an additional level of texture to her work. She shares in a 2013 interview with NeverLazy Magazine:
My images are not at all real places or even inspired by real places. They are emotional and psychological places. Internal landscapes, if you will. The tidal pull and power of the ocean makes sense to me in terms of expressing these things, and I think that is why some of the work has a feel of water about it. My work speaks of things that are timeless, and I think that for most of us the ocean represents something timeless.
Currently based in New York, Smith generally doesn’t work with galleries but instead interacts directly with collectors. You can see more recent work on Tumblr and Facebook. (via My Modern Met, Incomplete)
While Dutch artist Joris Kuipers spent years studying traditional painting and fine art techniques at both the Arnhem Academy and the Frank Mohr Institute in Groningen, his installations fly in the face of anything traditional. While borrowing from ideas rooted in expressionism as far as the application of paint and use of color, the artist constructs large-scale installations that spiral and twist off the walls, blurring the lines between painting and sculpture.
Two of his most recent works shown here were installed at Galerie Jaap Sleper in Utrecht and Het Plafond in Rotterdam. The artworks are made from suspended and raised components of depron foam coated with acrylic paint, appearing like a storm of whirling clouds or maybe flowers. I really hope he continues in this direction. (via saatchi online)
Self-taught artist Lou Ros began his career by tagging walls and buildings with friends at the age of 17. Now 26, he’s exhibiting his paintings worldwide with no less than seven upcoming group and solo exhibitions in Miami, New York, Paris and elsewhere. Some of the pieces above are from his Faces series, many of which were shown at an exhibition earlier this spring at Tache Gallery. (via art fixx)
I admit, I don’t know the story behind this one. It popped up on suplove (warning, music) a few hours ago and is entitled simply “Blitzstein Exhibit” and is dated 1994 on the bottom. Edvard Munch approved.
Update: Via email Nathan Bowers says: “The Blitzstein Exhibit is on Fairfax in L.A. Across the street from Canter’s Deli. The piece you linked is in the storefront window. I can’t tell if the place is a gallery or a studio because I’ve never seen anyone inside and none of the pieces have seemed to move since at least 1996. Mysterious!” It looks like this is a piece by Harry Blitzstein, and here he is jumping rope on a trampoline. Thanks Nathan!