installation

Posts tagged
with installation



Art

In ‘Turn Off the Plastic Tap,’ Three Tons of Waste Pour From a Spigot Floating 30 Feet Above Ground

March 10, 2022

Grace Ebert

All images © Benjamin Von Wong, shared with permission

Last week, representatives from 175 nations formally agreed to curb plastic pollution in a momentous move. Plastic has become an increasingly urgent part of the climate crisis, and recent estimates approximate that the total amount of the material produced throughout history exceeds the combined weight of all animals on land and sea. Each year, we collectively generate 300 million tons more waste from single-use containers and similar products, a staggering number in comparison to the 9 percent we’ve recycled and a testament to the harsh reality that the planet is engulfed with plastic.

To coincide with the United Nations Environment Assembly meeting, photographer and artist Benjamin Von Wong (previously) erected a towering, 30-foot installation outside U.N. headquarters in Kenya. With the help of the Human Needs Project, an NGO providing basic services to slums around the world, Vong Wong collaborated with more than 100 residents of the large, poverty-stricken region of Nairobi known as Kibera. Together, they gathered, sanitized, and strung up three tons of water bottles, condiment containers, and other unwanted items that were then suspended from the oversized silver spigot.

Although it shows a minuscule portion of the waste produced worldwide, the resulting installation, titled “Turn Off the Plastic Tap,” is a powerful indictment of consumerism and the lack of environmental protections. “Too much of the plastic conversation revolves around recycling and cleanups, but those only deal with the consequences, and not the root cause,” Von Wong writes. “The real solution and opportunity is getting plastic production back under control by making sure we turn off the plastic tap.”

Watch the video below and check out Von Wong’s Instagram to see how the massive spout was constructed—thanks to a Web 3.0 community called the Degenerate Trash Pandas, which funded the installation, an additional $100,000 was raised for charity, as well—and find more of his projects concerned with plastic waste, like this installation of 168,000 straws, on his site.

 

Photo by Atieno Muyuyi

Photo by Atieno Muyuyi

Photo by Ziggy

Photo by Atieno Muyuyi

Photo by Ziggy

 

 



Art

Through Bronze Mushrooms and Gilded Cicadas, Xiaojing Yan Links Chinese Legend and Nature

March 2, 2022

Grace Ebert

“Tiger’s Embrace” (2021), painted wood. All images © Xiaojing Yan, shared with permission

The wide, reddish-brown fungi known as lingzhi, or reishi, has long been revered as the mushroom of immortality, said to grant eternal life to anyone who consumes one of its spores. This ancient belief founds some Chinese legends and is also a mainstay of Xiaojing Yan’s practice. Based in Toronto, the artist has created a body of work that’s broad in medium and subject matter, ranging from small sculptures installed in circular formations to bulbous paper lanterns with rotating parts. Each piece, though, hearkens back to Yan’s experience as a first-generation Chinese-Canadian and her interest in the way the formidable power of nature continually intersects with culture, art, and lore.

Displayed in precise patterns, both Yan’s 2014 work “Lingzhi” and 2020 installation “Fairy Ring” are comprised of bronze mushrooms finished with a turquoise patina. The texture is enhanced, the artist shares, to mimic concentric tree rings and prompt questions of aging and time. “I arranged them onto the wall in the way that bracket mushrooms would grow in steps in nature,” she writes.Against the white wall, these hoary objects appear to float in space. Bronze is often associated with monuments, images of power, or eternity and creates tension with lingzhi’s delicate nature and mythology.” In conjunction with immortalizing the fungi in alloy, Yan also uses the actual spongy spores in other pieces, including in coating busts and sculptures with the fleshy growths.

 

Detail of “Fairy Ring” (2020), bronze with patina

Similarly focused on symbols from nature, Yan’s more animalistic works involve gilded cicada exoskeletons suspended as a winding staircase and an animated series of cocoon-like sculptures that twirl in a circular motion. “Tiger’s Embrace,” a recently carved wooden sculpture, nests alternating depictions of the cat and a human figure in diminishing forms. Commissioned by the Royal Ontario Museum where it’s on display through January 2023, the piece celebrates the Year of the Tiger and is the first in a series of all twelve signs in the Chinese zodiac. The hybrid work, which blurs the distinction between people and animals, “is also based on the Chinese custom of dressing children in tiger hats for good luck and protection,” she says. “The warrior’s lion skin hat turning into a cute baby’s tiger hat can’t stop me from pondering over self-transformation and adaptation.”

Yan has exhibitions slated for Paris, Shenzhen, Shanghai, and Nevada in the coming months, and she is currently working on a project supported by the Canada Council for the Arts. Explore a larger portfolio of folklore-infused pieces on her site and Instagram.

 

Detail of “Song of the Cicada” (2017), cicadae exuviate, filament, gold paint, 7.2 x 9 x 13.5 feet

“Song of the Cicada” (2017), cicadae exuviate, filament, gold paint, 7.2 x 9 x 13.5 feet

“Tiger’s Embrace” (2021), painted wood

“Fairy Ring” (2020), bronze with patina

“In The Shells” (2019), paper, reed, uv coating

“Lingzhi” (2014), cast bronze

 

 



Art

Ethereal Paper Sculptures and Large-Scale Installations by Ayumi Shibata Play With Light and Shadow

February 18, 2022

Anna Marks

A photograph of Ayumi Shibata's white paper sculptures showcasing a miniature urban landscape with large trees

All images © Ayumi Shibata, shared with permission

Japan-based artist Ayumi Shibata (previously) designs intricate landscapes using layers upon layers of white paper. Some of her sculptures are miniature, whereas others are immersive installations, and all are brought to life with the play of light and shadow, which create “movement” throughout her pieces. The works feature architectural domes, cave-like forests, and swirling suns hovering over tree-filled cities. These picturesque places aren’t based on a particular location but what the artist “hopes and believes the future of the planet could look like”.

Shibata’s ethereal landscapes envision a world in which humans and natural forms coexist, and she describes her pieces as having a “Yin and Yang” element. Paper represents Yin, the material, and the ways the works emit shadows correlates to Yang, the invisible world. “The light represents spirit and life, how the sun rises and breathes life into the world,” she explains. “I believe my pieces are a place to observe the material world and the visible one.”

The physical elements have a deeper meaning for the artist, as well: In Japanese, Kami means god or spirit but also paper, a sacred material in the Shinto religion. “Invisible ‘Kami’ spirits dwell in various objects and events, places, as well as in our houses and in our bodies,” she says. “I use my technique to express my thankfulness to the Kami spirits for having been born in this life. Each piece of paper I cut is a prayer.”

 

A photograph of Ayumi Shibata's white paper sculptures

Shibata began constructing these sculptures when living in New York. She would visit a church to meditate and escape the noise of the city, and it was when she observed light illuminating stained glass that she was reminded of her love of working with paper. The artist explains:

The city was full of noise. Everything, people, time goes so fast and moves rapidly, and I needed a quiet space to go back to myself. One day, I opened my eyes after meditation and saw colorful light flooding the floor through the stained glass. It was breathtakingly beautiful. It reminded me of a memory from childhood where I used to cut black paper and stick colored cellophane behind it to make a ‘paper’ stained glass piece. I got the tools on my way home and tried it that night. From that moment, I continued to cut paper.

Currently, Shibata is working on an installation called “Inochino-uta, Poetry of Life,” for an exhibition later this year. The large-scale project is made out of 108 pieces of paper connected by strings and suspended from the ceiling. To view more of the artist’s work, visit her Instagram or website.

 

A photograph of Ayumi Shibata's white paper sculptures

A photograph of Ayumi Shibata's white paper sculptures showcasing a little boat sailing upon waves

A close up photograph of Ayumi Shibata's white paper sculptures showing dome-like architectural forms and tunnels

A photograph of Ayumi Shibata's white paper sculptures showcasing a swirling sun hovering over a city with lots of trees

A photograph of Ayumi Shibata's white paper sculptures

A photograph of Ayumi Shibata's white paper sculptures

 

 



Art

Colorful Pods and Rings Made from Recycled Paper Dangle from Yuko Nishikawa’s Whimsical Mobiles

February 8, 2022

Grace Ebert

All images © Yuko Nishikawa, shared with permission

In Yuko Nishikawa’s dappled fields of color, dozens of small pods and curved rings in pale blues, greens, and pastel hues hang in dreamlike suspensions. The Brooklyn-based artist (previously) is known for her delicate mobiles made with recycled paper that she hand-dyes and shapes into wide, sloping bowls or flat hoops. Once dried, she attaches the individual pieces to thin metal armature and hangs the fanciful composition from the ceiling.

Nishikawa’s most recent mobiles augment the paper works with clear glass lenses that catch and refract the light, adding another dimension of color to the whimsical displays. “Looking up, clusters of mobiles against the black painted ceiling was like looking up the stars,” she writes of her recent solo exhibition at Kishka Gallery & Library.

At the moment, Nishikawa is involved in multiple projects, including a display at Main Window Dumbo opening in March and an installation at The Brooklyn Home Company this spring. In addition to her paper pieces, she also creates ceramic works, which will be on view at Friends Artspace in Washington, D.C., through summer. She has dozens of new mobiles available in her shop, and you can keep up with her multi-faceted practice on Instagram.

 

 

 



Art

Trees Burst from 100 Elementary Desks in Hugh Hayden’s Installation Addressing the Disparities of Public Education

February 4, 2022

Grace Ebert

“Brier Patch” at Madison Square Park (2022). Image courtesy of the artist and Madison Square Park Conservancy, by Yasunori Matsui

Four lawns in New York’s Madison Square Park are now sites of a sprawling and insightful public installation by artist Hugh Hayden. On view through April 24, “Brier Patch” is comprised of 100 small wraparound desks arranged in neat grids evocative of an elementary classroom. Each cedar sculpture is distinct with barren, bark-covered branches bursting from their seats or tabletops, creating a snarled explosion of limbs and twigs that’s impossible to permeate.

Similar to his thorny dining sets in material and aesthetic, the metaphorical works speak to the inequities of education and cite the inherent barriers to achievement. The installation’s name references the tangled mass of prickly vegetation, an environment that’s only hospitable to some. It also draws on the stories of the trickster Br’er Rabbit, a folklore tradition that originated in West and Southern Africa before being repackaged as Joel Chandler Harris’s Uncle Remus stories. In those tales, the rabbit outwits his foes and finds refuge in the largely inaccessible thicket.

In addition to “Brier Patch,” Hayden’s Boogey Men, a solo show responding to cultural issues and a harsh political environment, is on view through April 17 in Miami. Explore more of the Dallas-born artist’s works on his website and Instagram.

 

“Brier Patch” at Madison Square Park (2022). Image courtesy of the artist and Madison Square Park Conservancy, by Yasunori Matsui

“Brier Patch” at Madison Square Park (2022). Image courtesy of the artist and Madison Square Park Conservancy, by Yasunori Matsui

“Brier Patch” at Madison Square Park (2022). Image courtesy of the artist and Madison Square Park Conservancy, by Yasunori Matsui

“Brier Patch” at Madison Square Park (2022). Image courtesy of the artist and Madison Square Park Conservancy, by Yasunori Matsui

Hayden creating “Brier Patch “at Showman Fabricators (2021). Image courtesy of the artist and Madison Square Park Conservancy, by Yasunori Matsui

Hayden installing “Brier Patch” (2022). Image courtesy of the artist and Madison Square Park Conservancy, by Rashmi Gill

 

 



Art Craft

Knit Coral Suits and Vibrant Marine Creatures Spring From Mulyana’s Whimsical Yarn-Based Ecosystems

January 26, 2022

Grace Ebert

All images © Mulyana, courtesy of Sapar Contemporary, shared with permission

In Mulyana’s Fragile Ecologies, two figures cloaked in coral and algae tower over beds of fiber-based sea creatures. The Indonesian artist continues his playful and eccentric approach to marine life conservation in his solo show on view through March 4 at Sapar Contemporary, which brings some of his life-sized costumes and an array of woolen specimens to the gallery. Each piece is knit or crocheted with recycled, brightly colored yarn, which the artist fashions into sprawling ecosystems and immersive installations that dangle from the ceiling.

Mulyana puts a fantastic twist on the natural lifeforms, especially when crafting his signature Mogus character: most recently, the reimagined octopus is outfitted with a mustache in leopard print, innumerable eyes all over its body, and polka-dotted horns. Lighthearted in presentation, the works are rooted in more urgent issues like the effects of the climate crisis, isolation, and how we collectively configure identities that are always evolving. A statement about Fragile Ecologies says:

On a macro level, Mulyana’s profound concern for the eroding environment and our collective lack of care for the natural world parallels the importance of self-care on a micro level. His message encourages a holistic path to self-preservation amidst a chaotic and uncertain post-pandemic world. While Mulyana does not overtly reference gender and sexuality in his intricate installations, the diversity of his colorful environments and spectacular costumes allude to the fluidity of human identity.

For more of Mulyana’s underwater knits and costumes, head to his site and Instagram.

 

A person wearing a knit costume evoking sea creatures by artist Mulyana.

 

 

A Colossal

Highlight

Artist Cat Enamel Pins