I am thrilled to share with you the work of Japanese artist Akiko Ikeuchi. Born in Tokyo in 1964, Akiko received a doctorate in painting from the Tokyo National University of Fine Arts and Music. For over two decades she has been hanging her delicately crafted string sculptures in galleries around Japan, Korea, and New York. The installations are constructed from extremely delicate silk threads, and despite the chaotic appearance of the knotted webs Akiko plans each work as an architect would plan a building with precision blueprints that involve a complex internal framework. The resulting works evoke powerful forces of nature: tornadoes, whirlpools, and perhaps even galaxies themselves.
This paper installation of Mt. Hood by Marisa Green and Peter Bogart was on display at Portland Paper City last month, held at Disjecta Gallery. Beautiful. And they didn’t even have to put a bird on it. See also Jed Heuer’s Paper Pendleton from the same show. Photos by Laura Jennings.
Two light and sound installations in one day? Yes, friends. These two mesmerizing water-filled glass bottle mandalas were built by Mexican artist Ivan Puig. Robotic arms in the center of each mandala rotate and hit each bottle in succession to create a cyclical series of echoing notes. If you read a lot of art blogs you’ve probably tun into Puig’s submerged VW sedan sculpture.
Sewing Machine Orchestra is a sound and light performance by Canadian artist Martin Messier. The eight 1940-1950s Singer sewing machines are interlinked with a micro-controller system without need for human interaction. I found myself wishing the video was a minute or two longer, but impressive nonetheless.
Update: Found a longer clip on YouTube that includes an interview (in French) with the artist:
(click for detail)
Brooklyn-based artist Meg Hitchock dissects religious texts such as the Bible, Koran, and Torah and uses the individual letters to create maddeningly complex, interwoven collages of typography. Via her artist statement:
In my series Mantras & Meditations, I examine and deconstruct the word of God as interpreted through the world religions. I select passages from holy books and cut the letters from one passage to form the text of another. For example, I may cut up a passage from the Old Testament of the Bible and reassemble it as a passage from the Bhagavad Gita, or I may use type from the Torah to recreate an ancient Tantric text. A continuous line of text forms the words and sentences in a run-on manner, without spaces or punctuation, creating a visual mantra of devotion.
In her most recent work at Famous Accountants Hitchcock spent 135 hours transcribing (gluing tens of thousands of letters, ahem) the entire Book of Revelation, the last book of the Christian New Testament, but with text cut out from an English translation of the Koran. And if 135 hours seems like a lot, she began cutting the individual letters for the installation almost six months before its opening. The text ran across gallery walls and floors like an endless rope of words. See video of that piece as well as a brief interview here:
From Here to Ear (v. 13) is the thirteenth iteration of an installation by French artist Céleste Boursier-Mougenot at the Queensland Gallery of Modern Art. Primarily a sensory experience, the exhibit is meant to engage both visually and audibly as 40 finches hop delicately through a dense matrix created from hundreds of metal hangers causing vibrations and clinks that mix with the birds natural songs. Boursier-Mougenot made the rounds on several blogs last year for his audio work with finches and electric guitars. The exhibit is up through April 26. (via lost in e minor)
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