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Art

Countless Paper Seeds Comprise the Fluctuating Landscapes in Ilhwa Kim's Sculptural Works

February 24, 2021

Grace Ebert

“Space Sample 36” (2020), 164 x 132 x 15 centimeters. All images © Ilhwa Kim, shared with permission

In Ilhwa Kim’s sculptural landscapes, innumerable paper seeds form precise rows, indented pockets of densely packed folds, and multi-color valleys that wind through the feet-wide works. The South Korean artist arranges individual units of the rolled material in a staggered manner, meaning that the color, shadow, and texture of the final pieces shift with each viewing. “I am probably a sculptor of senses. I have been very curious how my senses are being organized when I perceive a thing or a location. The order, priority, and the way of being assembled together surprise me. How the senses reunited keeps evolving from initial contact to temporary goodbye,” she says, noting that change and perception play a central role in her practice.

Each composition begins with blank, white paper that Kim dyes and rolls into tight tubes that can be sliced only with heavy machinery. She forgoes gluing any of the seeds prior until the entire piece is complete. “This working process gives big freedom to make meaningful changes even when very close to the final stage,” the artist shares. “That is how a child plays, as well.” The comprehensive process transforms the original material into durable units that resemble the organic lifeform and ultimately grow into larger sculptures.

Based in Seoul, Kim has a solo show slated for September 2021 at HOFA Gallery in London, and you can see a larger collection of her works, including shots of pieces-in-progress, on Instagram. (via Cross Connect Magazine)

 

Detail of “Space Station Sample” (2016), 192 x 334 x 12 centimeters

“Space Station Sample” (2016), 192 x 334 x 12 centimeters

Detail of “Space Sample 36” (2020), 164 x 132 x 15 centimeters

“Seed Universe 108” (2019), 184 x 152 x 15 centimeters. Image via HOFA

“White Portrait” (2019), 184 x 152 x 15 centimeters

“Space Sample 30” (2019), 119 x 186 x 15 centimeters

“Seed School 3” (2019), 114 x 234 x 13 centimeters

Left: “Seed School 7” (2020), 114  x 234 x 13 centimeters. Right: “Seed universe 83” (2018), 184 x 132 x 15 centimeters

Detail of “Space Station 5” (2019), 192 x 224 x 15 centimeters

“Space Sample 45” (2020), 184 x 152 15 centimeters

 

 



Art

A Massive Seven-Volume Collection Chronicles the Pioneering Legacy of Abstract Artist Hilma af Klint

February 22, 2021

Grace Ebert

All images © Bokförlaget Stolpe, shared with permission

Following a wildly successful retrospective at the Guggenheim in 2018, Hilma af Klint (1862–1944) has firmly secured her place as a groundbreaking figure in abstract art. In recent years, her colorful, spiritually-minded body of work has reshaped art historical timelines, supplanting male artists like Vasily KandinskyPiet MondrianPaul Klee, and Josef Albers, who have long been regarded as the pioneers of the 20th-century movement.

Throughout her lifetime, the prolific Swedish artist created more than 1,600 works, an impressive output now collected in Hilma AF Klint: The Complete Catalogue Raisonné: Volumes I-VII. Published by Bokförlaget Stolpe, the seven-volume series is organized both chronologically and by theme, beginning with the spiritual sketches af Klint made in conjunction with The Five, a group of women who attended séances in hopes of obtaining messages from the dead. These clairvoyant experiences impacted much of her work, which the books explore in her most famous series, The Paintings for the Temple, in addition to her geometric studies, watercolor pieces, and more occasional portraits and landscapes.

“What makes her art interesting is that the works are highly interconnected. A catalogue raisonné is necessary in order to see the different cycles, motifs, and symbols that recur in a fascinating way,” said Daniel Birnbaum, who co-edited the volumes with Kurt Almqvist. Each book is around 200 pages with hundreds of illustraitons.

The first three volumes are available now on Bookshop, where you also can pre-order the entire collection, and the remaining four are slated for release later this year. You also might enjoy Beyond the Visible, a 2020 documentary exploring af Klint’s iconic legacy. (via Artnet)

 

 

 



Art

Bold Brushstrokes Energize Abstract, Pixelated Landscapes by Artist Jason Anderson

January 4, 2021

Grace Ebert

“Uprising” (2020). All images © Jason Anderson, shared with permission

Jason Anderson visualizes city skylines, swooping highway exchanges, and a range of urban landscapes through prismatic, impasto strokes of oil paint. The U.K.-based artist begins each painting with a black-and-white sketch before turning to the linen canvas and translating the lively works. In recent months, he’s incorporated more curved lines and saturated tones alongside the pastels he’s used previously, resulting in abstract scenes of horizons and city centers rendered through a mosaic of color.

“I relish the often frantic nature of mixing and arranging the paint in thick impressionistic daubs and submitting to a process that creates its own detail and form,” the artist says in a statement. “This forces me to be bold and decisive; it also produces a kaleidoscope of shape and tone (reminiscent of stained-glass) which portrays the ever-present movement and energy found in nature.”

Although all of Anderson’s works are currently sold out, you can follow updates on his commissions and new pieces on his site and view his finished paintings and sketches on Instagram.

 

“Terminus” (2019)

“Sheer” (2020)

“Mistral” (2020)

“Centrifuge” (2020)

“Plaid” (2020)

“Pulse” (2020)

“Branch” (2020)

“Hearth” (2020)

 

 



Animation

We: A Shape-Shifting Animation Explores Connection and Constraint

October 13, 2020

Grace Ebert

In Rita Louro and Martina Stiftinger’s “We,” abstract forms undergo a series of transformations that evince both their malleable properties and inflexibility. Two-toned liquids gush into bulbous pools, fabric strips tether a diverse array of solid shapes in a single unit, and a rock-like substance cracks and crumbles into disparate pieces. While the amorphous forms are different in texture, hue, and structure, they overlap and join together in new configurations.

Louro and Stiftinger describe the animation as a visual essay that explores connection through “a metaphorical study of interpersonal relationships and social constraints” and evokes personal experience. Set to serene audio by Los Angeles-based sound designer Ambrose Yu, “We” takes a captivating and calming approach to examining the current cultural moment.

To dive further into Lisbon-based Louro’s projects, head to Instagram, Vimeo, and Behance. Follow Stiftinger, who works and lives between the United Kingdom and Austria, on Vimeo and Behance.

 

 

 



Art

A Prismatic Installation with Giant, Abstract Forms Sweeps Across a Berlin Museum

September 1, 2020

Grace Ebert

“It Wasn’t Us“ (2020), Hamburger Bahnhof – Museum für Gegenwart. All images © Katharina Grosse, VG Bild-Kunst, Bonn 202o. Photos by Jens Ziehe

Katharina Grosse’s latest installation transcends the boundaries of the Hamburger Bahnhof – Museum für Gegenwart as it erupts into a sprawling kaleidoscope. From varicolored surges inside to the vast paintings on the ground and nearby outdoor walls, “It Wasn’t Us” is an expansive artwork on the site of a former railway building. As visitors walk throughout the work, the abstract forms swell in various directions, creating a new visual at each angle. “I painted my way out of the building,” Grosse (previously) said about the site-specific project.

“It Wasn’t Us” will be on view at the Berlin museum until October 1, 2021, and if you can’t experience it in person, watch the immersive video and interview with the artist below. To dive further into Grosse’s work, purchase a copy of her forthcoming monograph or check out her Instagram. (via designboom)

 

 

 



Art Documentary History

A New Hilma af Klint Documentary Explores the Abstract Artist's Historical Legacy

April 15, 2020

Grace Ebert

All images courtesy of Kino Lorber

An effort to rewrite art historical timelines predominately shaped around men, a new documentary spotlights inventive Swedish artist Hilma af Klint (1862–1944). Beyond the Visible: Hilma af Klint considers her colorful, abstract artworks that predate those of widely recognized male artists, like Vasily KandinskyKazimir MalevichPiet Mondrian, Paul Klee, and Josef Albers. Directed by Halina Dyrschka, the corrective documentary follows the Guggenheim’s 2018 retrospective of the artist’s spiritual work that since has secured af Klint’s position as a pioneer of 20th-century art.

Dyrschka discovered the revolutionary artist’s work in 2013, quickly realizing that “here was a woman who consequently followed her own path in life that led to a unique oeuvre. A strong character and despite all restrictions Hilma af Klint explored the possibilities that go beyond the visible.” In addition to art history’s tendency to ignore women, the artist’s groundbreaking projects have been absent from historical discourse in part because she asked that her work not be shown until 20 years after her death.

Having interviewed af Klint’s relatives, historians, artists, and critics for the documentary, the German director is hoping to offer a comprehensive and amended version of af Klint’s legacy that transcends her bold paintings. Her “oeuvre goes even beyond art because she was looking for the whole picture of life,” Dyrschka said. “And with that she comes close to the one question: What are we doing here?”

Beyond the Visible will be available for streaming starting April 17. (via Artnet)

“Altarpiece No. 1” (1915), Altarpieces: Group X

“The Dove No. 2” (1914-1915), from Group IX

 

 

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Sailing Ship Kite