Dimitris Polychroniadis is an architect and award winning stage designer that lives and works in Athens, Greece. He has worked for a number of years in private architectural practices, obtaining a wide range of experience in design and construction. He has attended the Scenography workshop classes at the Athens School of Fine Arts during the academic season 2001 - 2002. As a stage designer he has worked for productions of the Greek National Theatre, The Greek National Opera, Athens & Epidaurus Festival, Michael Cacoyannis Foundation, Thechnis and Thission Theatres, in collaboration with renowned Greek directors. During 2011 he started to make mixed media sculptures that strongly originate from his architectural and theatrical backround. He has participated in a number of goup shows and his first solo exhibition took place at Metamorfosis Gallery, Thessaloniki, Greece, April-May, 2013.
Could the deconstructive forces of a crisis motivate self awareness, both individually and collectively? My need to comment on the dramatic events that have unravelled in Greece during the past four years, was the starting point for this body of work. Cross-fertilisation between different disciplines is key. Originating from a backround of architecture and stage designing for theatre, models and maquettes have allways been a familiar language.
Weaving together elements of apparent heterogeneity, I make theatrical scenarios that are played out by figurines, in the form of mixed media diorama sculptures. Post-apocalyptic landscapes are dominated by brightly coloured billboards, while superheroes of art history fuse with superheroes of contemporary pop culture. My work focuses on broken promises and hope. Political, social, and technological utopias, humorously merge with commonplaces from the world of advertising, popular music and religion.
The blatancy of the message that acts as focal point to these sculptures, is enhanced by the use of text and colour. Found objects, often play an important part as a surreal link to the real world, underlining the smallness of the figurines. Souvenir miniatures of the Parthenon, postcards, electrical appliances, fake fruits and flowers, are all remnants of a consumerist past and an omen for an uncertain history of the future.
This work really plays on your sense of scale, especially at first glance, but the deliberately rough edges of the cardboard and exposed stage remind us that these are three dimensional models depicting darkly lit and desolate landscapes.Iâ€™m 36 years old and I live in Pontedera, a small town near Pisa and Florence. I have a degree in computer science and I studied computer science and mathematics at the University of Pisa. Recently I studied photography at the center of contemporary photography Fondazione Studio Marangoni in Florence. But what about the post-production techniques are self-taught. For some time I have dedicated myself to the landscape, but then I realized that was not for me, i wanted to create something that did not exist.
My style is a mix between photography and digital graphics. I make much use of photoshop. Of course, my studies have helped me to fully understand this tool. I have a good familiarity with the computer tools, then learn how to use photoshop it was not very difficult. I like to experiment with different techniques. The result is very interesting.
I like to imagine things that do not exist. I'm a big fan of science fiction and fantasy. The many books I have read certainly have influence on my style. I am passionate about contemporary art. I read lots of books and magazines. I love artists like Sharrie Lavine, Barbara Kruger and Richard Prince. An artist that I really like is Maggie Taylor. The way of working of these and other artists definitely has influenced my work.
Imaginary towns stems from the desire to create desolate, surreal landscapes.
We're loving the colour and texture of these indulgent and edible looking sculptures. Like individual personalities, the dollops of soft and satisfying shapes beg to be poked and pinched, it's hard to even imagine these to be solid, unmalleable objects.Originally from Wisconsin, John Oliver Lewis currently lives and works in San Diego, CA. He earned a BFA from the University of Wisconsin- Eau Claire and an MFA from the University of North Texas, School of Visual Arts.
Lewisâ€™ work was selected for inclusion in the Museum of Contemporary Art San Diego's exhibition Here Not There: San Diego Art Now and the exhibition Uberyummy at the Robert and Frances Fullerton Museum of Art at Cal State San Bernardino. Lewisâ€™ sculptures, drawings and installations have also been exhibited nationally at venues such as the American Museum of Ceramic Art, as well as the Amarillo Museum of Art. His ceramic sculpture is featured in 500 Ceramic Sculptures by Lark Books.
'My current body of work employs the disciplines of painting, drawing and ceramics to create sculptures and installations that generate an erratic sense of purpose. These flights of imagination are supported by the inspection of architecture, natural land formations and vehicles of travel, as well as cartoons, caricature, knick-knacks, and candy. The resulting individuals are often arranged into groupings and â€œgangsâ€ based on observed formal and narrative relationships. Occasionally, these â€œgangsâ€ and the resulting relationships between the pieces may shift and change, thereby causing the creation of new groupings and arrangements.
The importance of whimsy and playfulness in the work is further present in the process. Each form is hand-built through an intuitive assemblage of various shapes, textures and components. Once the forms are fired, the tradition of ceramics is confronted and challenged by replacing the customary glazes with acrylic paint on the surfaces. The application of brightly colored acrylic paint on fired clay illustrates interest in maintaining the illusion of the malleability and softness of the material in its original state.'
Forlane 6 Studio
So excited to receive this submission of such a unique, intriguing and perfectly executed collection of work. Photographs of underwater installations that succeed in bringing out the beauty of artificial materials through movement and colour, giving them a highly natural quality, promoting awareness of society's environmental issues.In response to our time of alarming climate change, the work presents a deliberate immersion of the objects that compose our daily surroundings. The certainty that in a near future, global issues will bring disastrous consequences on the environment creates a disturbing atmosphere. However the mass production rate of artificial materials seems unstoppable. It overflows well beyond land frontiers and the seas surface, as it penetrates the depth of a distant and foreign space.
The Studioâ€™s intent is to investigate phenomenon imposed by the underwater space through the medium of sculptures and installations. When submerged, the objects seem to metamorphose and become organic creatures. Their role in space is no longer fixed and static. Buoyancy and currents influence the formal characteristics of the objects because their behavior is dictated by an element other than the one they were conceived for. While engaging with a time and movement different than the one on land, they become part of this foreign world. This weightless and slow aesthetic contradicts the usual way objects are consumed and disposed of in an inconsiderate speed.
The work is inspired by the conceptual time sculpture of Roman Signer as well as the poetic photography of Susanna Majuri. Our practice encompasses different medium such as photography, sculpture and installation.
Wonderfully satisfying collection of objects consisting of painstakingly crafted elements of carved stone and wood, confidently accompanied by contrasting, mundane, found items and vibrant colours.Henrik Soerensen was born in Ã…lbÃ¦k, Denmark in 1985. After a year as an exchange student on the Umatilla Indian Reservation, Henrik studied at the Culinary Institute of Denmark. He moved to Oregon in 2007 and began his studies at Eastern Oregon University and will raduate with a degree in art in spring 2013.
My sculptural installations include the use of found objects combined with painstakingly crafted elements in ambiguous compositions. The crafted object becomes both drawing and repulsive to me as I go through the processes of making. This often results in an act of defiance of my initial process of woodworking or rock carving. Paint, insulation foam or found objects become elements of this defiance while adding formally to the piece via basic elements of design. In addition I think of the immediate and intuitive application of paint and spray-foam as a playful and freedom filled action that contrasts the lengthy and calculated process of crafting an object.
Caroline Jane Harris explores the intricacies of nature through a labour intensive paper-cutting technique. She responds to visual phenomena in nature; the endless geometric patterns found in all levels of existence. Using tree formations as her starting point, Harris creates an idealised aesthetic of nature, through the symmetrical rendering of digitally printed photographs, which are then hand-cut and layered. The process is solo and obsessive, requiring concentration, repetition and discipline. The meditative quality of the work is reflected in Harrisâ€™ interest in artistic and devotional practices of Eastern Cultures. The hand allows for subtle distortions and an emphasis on detail and wonderment. Once layered, the two dimensional paper-cuts have an inherent sense of depth creating three-dimensional drawings, preserved between glass. Harrisâ€™s white plains of paper become infinite and abstract â€“ as if viewed through a telescope or under a microscope. Harris explores the dichotomy in science and art, traditional processes and contemporary practices. Since graduating from Fine Art Printmaking at the University of Brighton, Caroline has been awarded residencies in London and Spain. She has participated in several group shows in the UK and internationally, most recently in Art Stage Singapore and India Art Fair. In 2012 she was awarded the Judgeâ€™s Choice for the British Women Artists Competition and was shortlisted as one of 8 for the Aesthetica Art Prize 2012.
Alanna Lawley constructs temporary, site-specific representational environments that are influenced by the spatial and architectural relationships prevalent in domestic spaces. Using both construction and photography processes, she explores how fragmented spaces can generate experiences of disassociation, anxiety and isolation; emotions that deny the viewer the freedom to ever fully orientate themselves in a specific time or place.
Lawley graduated with a BA in Fine Art from Chelsea College of Art and Design in 2005. Through her international practice she has exhibited work in the UK, Germany and the US, and is currently based in Berlin.
All of me, 10,000 Lux for you
2013, Site-specific, full Spectrum (anti S.A.D) light box with UV for Vitamin D synthesis
HomeBase Project, 18th-20th January 2013, Thulestrasse 54, Berlin
All of me, 10,000 Lux for you plays with full spectrum lighting used in the treatment of Seasonal Affective Disorder (S.A.D) or Winterdepression. Through the construction Lawley attempts to reverse the increase in Melatonin and reduction in Serotonin production processes that can cause depression in the winter months due to lack of light.
Exploring the contradiction of an architecture designed to provide assistance, Lawley plays with the balance of curing the disorder and causing insomnia due to over-stimulation. The site-specific construction plays with mediated and shifting experiences of repulsion, seduction and denial of access, fostering an ultimate feeling of uncertainty.
Vacant, not empty, 2012
2012, site specific photographic construction
August 3 - 12, 2012, Supermarkt, Brunnenstrasse 64, Berlin
I graduated from the Academie Julian in Paris in 1959 and later moved from France to the UK where I now permanently reside. Traveling throughout Europe, the Americas and India have provided opportunities to expand my practice, researching and studying painting, sculpture, dance, music and textiles. My work has been exhibited in the UK and is represented in museums abroad and in private collections. I am also the founder of the Lotus Foundation, a charity set up to explore experimentation in arts practice.
Like Mario Merz, I envision the role of the contemporary artist is that of a nomad who resists stylistic uniformity and mediates between nature and culture. My work reflects an on-going exploration into the essence of nature and mysticism, represented through drawings, hand-made books that become objects and sculpture made out of a wide range of foraged and found materials including wood, rope, bone, china and stone, disparate materials that have already existed in another form weaving an invisible thread from the ancestors of the past to the present.
These sculptures are called Assemblages and are an offering to the nature of things, auspicious omens operating beyond our structures of awareness, interlocking objects that connect the past with the present, movement with transition, softness and hardness. The found objects hold layers of multiple histories, stories from the ancestors that extend forward as well as backward. Intertwined within the work is the Japanese concept of Wabi Sabi, an aesthetic centred on the acceptance of transience, where beauty is seen as imperfect, impermanent and incomplete.
For me the Assemblages are always in motion, open-ended with the possibility of continuance in their various shapes and form. At the point where the materials from the past meet the present a temporary resting place is carved out offering up opportunities to expand the viewerâ€™s awareness of the notion of time, and space. In making the assemblages I am not creating solutions for the chaos and the flux that we exist in but rather suggest moments for pause, for reflection and re-evaluation in which the work becomes a shared experience, where the possibility of contemplation and silence is possible.
Helle Mardahl (born 1976) based in Copenhagen.
Helle's artistic universe is about the constant development of human needs and instincts, expressions and dreams. Her work confronts man's increasing demand for status symbols in a world where material possessions are confused with love, social status and attention.
Helle's work involves painting, 3d collages, photography print and sculpture.
She is educated in fashion design from Central Saint Martins, London, graduating in 2001.
'As a paper engineer my work is rooted in print media, book arts and commercial design. Beginning with an initial fold, a single action causes a transfer of energy to subsequent folds, which ultimately manifest in drawings and three dimensional forms.'
Linsey Bell (born London, 1981) graduated from Middlesex University in 2004 where she studied jewellery under Caroline Broadhead and Pierre Degen. Since graduating in 2004 Bell has exhibited both nationally and internationally. Her work varies in media and scale, from jewellery to sculptural object and installation. She is based in London, where she lives and works.Based on ideas of shamanistic ritual and modern relics of communication, the Artist has created an Instrument of regression and communion with the spirits of the Ether.Using components of old aerials and encrusted with thousands of bells, the piece retains the structure of a modern receiver, but barnacled and forgotten as if lost on the bottom of the sea. This modern relic and the shimmering sound it makes echo back to shaman's rattles as primitive tools of communication. Retrieving messages and signals from the ether.Vibrations of space conjure a rustle of bells from the Instrument, which was attached to the arches below railway tracks in the recent 'PLAYGROUND' Exhibition. Sounds produced by the piece as a result of the vibrations of trains overhead, allowed the piece to be played by the architecture of the space itself. The sound emitted by the Instrument is designed to remind the visitor of all that we have forgotten to see and hear.
The Art Of Salmagundi
Christina A West
Forlane 6 Studio