Breathtakingly colorful textures pop out when viewers first witness Dylan Gebbia-Richards’s large-scale paintings which appear to escape from their canvas. His rugged works mirror the structure of natural forms such as molten rock or coral. “I see my works as their own landscapes,” Gebbia-Richards tells Colossal. “I allow chance, the driving force behind all natural phenomena, to sculpt the structures of my paintings.”
Gebbia-Richards gains his inspiration from the vastness of the natural world and his artworks explore aesthetics that merge between the microscopic and macroscopic. “I find the enormity of the natural world awe-inspiring,” he esplains. “Landscapes which are immense seem intimate simultaneously; counter-intuitively these large spaces create the feeling of an embrace.”
While Gebbia-Richards’ paintings vary in size, all are built to engulf the viewer. “Sometimes this is very literal like in my room-sized installations which encompass those inside,” he says. “But even with my smaller pieces, I’m looking for the work to expand outwards, attempting to generate the feeling of a place which is much larger.” Like observing a mountain range, the scale of his paintings inspire and delight, while his use of a bold color palette adds a hint of magic to each creation.
The artist’s works appear as if they have been created through a volcanic eruption. To imitate this process, he constructs his paintings by using colored pigment and droplets of melted wax. “I initially found dripping and splattering melting wax very satisfying,” says Gebbia-Richards. “I was interested in the qualities of the marks the melted wax produced, specifically the chaotic patterns of the splatters which sprung from the drip’s impact with the paper I was melting over.”
His paintings emerge by separating the dripping marks from their splatter. It is these random interactions between the various pigments, drip gestures, and the splatter which creates Gebbia-Richards’s layered textures that are signature to his practice. You can see one of the Colorado artist’s paintings at Looking For U at Unit London which runs until August 26, 2018. To view more of his work visit his website and Instagram.
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After setting up shop in a London corner store and NYC-style bodega, Lucy Sparrow (previously) has grown her unusual art showing/selling technique into a full-blown ’80s-style supermarket. Taking up 2,800 square feet of the Standard Hotel in Downtown LA, the British artist’s fifth large-scale installation is quite literally stuffed with replicas of everyday products, each handmade from felt. The shelves are packed with different ramen and instant noodle soups, Reese’s Puffs, Frosted Flakes and other popular cereals, three different brands of peanut butter along with Smucker’s grape or strawberry jelly, a whole range of favorite snacks, chips, pasta or rice, and all the essential personal hygiene products.
In 2014 Sparrow successfully used Kickstarter to fund her first major project in London called The Corner Shop, which offered 4,000 hand-sewn felt products. Three years later she hopped across the pond to open 8 ‘Til Late, a bodega located in Manhattan at The Standard, High Line with 9,000 items that sold out a couple of days before the official closing date. Challenged by the demand for her plush groceries, the artist locked herself inside her Felt Cave studio for a year and produced her largest and most elaborate project to date — Sparrow Mart.
The retro shop has all the familiar selections of American comforts, including a videotape rental section with ’80s classics like Footloose, Dirty Dancing, and Short Circuit. She also has fresh hand-sewn seafood on ice, sushi, fruits and vegetables, a variety of meat cuts and other animal products, popular snacks, canned goods, cereals, candies, sodas, liquor and cleaning products. Each item is meticulously cloned from felt, a material that evokes childhood and play. The fact that the store offers 27 different types of sushi (each produced in 300 pieces), plus chopsticks, wasabi, pickled ginger, and even soy sauce packed inside iconic plastic fish containers, says a great deal about the amount of detail and determination that went into creating this overwhelming installation. Working alone until very recently, the artist ended up hiring four full-time assistants in her studio and outsourcing fifteen professionals to complete this immersive project.
Offering a felt ATM in between the isles, an exclusive gallery section in the back, and ending with three felt checkout stations, each of the 31,000 products on view is available for purchase with prices ranging from $5 for bubblegum to $73 for a kimchi Michelada. Sparrow Mart is open through the end of August 2018 from 11am-9pm (closed Mondays). The installation is accompanied with Sparrow To Go, a 24/7 restaurant in the lobby of the hotel, offering dishes inspired by the items in Sparrow Mart and prepared by the hotel’s executive chef Julio Palma. After this, the artist is considering creating a similar installation in Chicago, Dallas, Melbourne, or somewhere in Asia, like Hong Kong or Tokyo. You can see more from Sparrow on Instagram.
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A series of benches that surround the Mitsubishi Pencil headquarters in Tokyo give step-by-step instructions for how the brand’s pencils are made. The concrete and wood furniture dot the perimeter, adding a creative touch to the public space just beyond the company’s walls. (via Spoon & Tamago)
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British sculptor Alex Chinneck has a history of manipulating facades—previously slumping the brick face of an apartment in Margate and completely upending a building in London. Chinneck’s newest monumental manipulation is a condemned office building in Kent, England. The 1960s structure seems to unzip from its middle with a XXXL zipper, revealing the ruin of the forgotten interior. Two folded segments near the top act like a collar, giving the entire installation the appearance of a retro polo shirt. Catch the soon-to-be-demolished intervention while you can: Open to the Public opened August 2 at Brundrett House, Tannery Lane, Ashfield, TN23 1PN. (via It’s Nice That and Dezeen)
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Site-specific installation artist Karin van der Molen creates connections between the natural and man-made through chair-based works that flow from the windows of aging villas. In her 2015 piece Flux the Dutch artist created one of her installations at the Le Rayolet in the botanical garden Domaine du Rayol. The wooden chairs meld into a stream of organized logs that connect the work to the surrounding gardens. The piece seems to go from solid to fluid, forming a bridge that she explains “makes us aware of the cross-over between culture and nature.” Molen produces a similar effect in A Wave of Nostalgia which she installed at the Museum Lolland-Falster in Pederstrup, Denmark in 2014. You can view a wider range of her installations on her website. (via WOMENSART)
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Colorful Installations of Spray Paint and Mesh Form Connections Between the Analog and Digital Worlds
Hanover and Berlin-based art duo Quintessenz recently completed a large-scale installation for the newly funded Paxos Contemporary Art Project, which is currently taking place on the island of Paxos in the Adriatic sea. Although designed to be appreciated and enjoyed in person, the images of their intervention created inside of a 400-year-old ruin are quickly becoming viral due to the work’s strong contrast against the historic setting.
With roots in both graffiti and chromatics, Thomas Granseuer and Tomislav Topic of Quintessenz combine aspects of spray paint, textiles, installation, and the digital image in their work. Their large site-specific works and facade murals often uses shape as the main inspiration, while also borrowing aesthetic elements found on location.
The duo transform spaces into frameworks for presenting their abstract creations and challenging the spectator’s perception. These ideas are present in their recent installation Flickering Lights, which was was created for Fashion Week Berlin back in January 2018, and Pardis Perdus installed in Les Baux-de-Provence, France in 2017. In both of those installations, and their latest piece in Paxos, the artists use dyed or spray painted fabric in a range of layers as a way to interact with light conditions and points of view. The one-ton construction Flickering Lights was suspended in a large hall of Panorama Berlin from over 32,000 square feet of fabric and dyed with over 200 gallons of paint.
Similar to the Paradis Perdus piece, their latest intervention in Greece used the architectural structure to emphasize the effect of their creation. Like digital abstract images somehow transferring into the real world, both these pieces employ color shades and different size layers to create depth and perspective illusion. Appearing bigger and smaller depending on the observer’s movement, they leave room for individual experiences of these interfaces between analog and digital worlds. Although exceptionally photogenic, the artists’ idea is to enjoy these works in person. “We hope that the visitors of our work leave their mobile phone cameras in their pockets for a moment and simply enjoy the light and the translation of the wind in the material,” Quintessenz explains.
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The Rockaway Peninsula in Queens, New York has a reputation for being a popular destination for those seeking respite from the oppressive heat and congestion of the city during the summer months. Those venturing out to parks and beaches between now and Labor Day (September 3) will have the opportunity to experience a site specific installation of Narcissus Garden by Yayoi Kusama (previously), presented by MoMA PS1 as a part of the Rockaway! 2018 free public art festival.
The installation is situated inside of an old train garage at Fort Tilden and is comprised of 1,500 mirrored stainless steel spheres. The spheres reflect the graffiti-covered walls and rusted beams of the dilapidated building, so while the viewer is walking among the shiny garden, they are also seeing the destruction that Hurricane Sandy caused to the structure and to the region back in 2012. Rockaway! 2018 is the third iteration of a festival said to be a “celebration” of the recovery efforts that have taken place over the years, but the state of the building chosen for Kusama’s installation shows that things are still not back to normal after the devastating natural disaster.
Narcissus Garden was first presented in 1966 as a part of an unofficial performance at the 33rd Venice Biennial. The silver spheres were then made of plastic, and Kusama stood among her garden with a sign that read “Your Narcissism for Sale.” “What was most important about Narcissus Garden at Venice was my action of selling the mirror balls on the site, as if I were selling hot dogs or ice cream cones,” Kusama once said in an interview. The spheres were sold for $2 each.
The current installation is not for sale, but it is free and open to the public Friday through Sunday and on Labor Day from noon to 6pm. (via Hyperallergic)
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