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Showing posts with label installation art. Show all posts
Showing posts with label installation art. Show all posts

Thursday, 2 January 2014

prolonged exposure to oxygen....

Wendy Stefansson. Prolonged Exposure to Oxygen, Day 3, 6:18:04 pm.
Copper leaf on sandstone.  2009


Prolonged exposure to oxygen can change things - even people.

The works in this post are photographs of an ephemeral outdoor installation I created on my mother’s beach in Prince Edward Island. I applied copper leaf to parts of the sandstone rocks, following their natural contours; finding their low points, their concavities.

Over the course of three days, I photographed the coppered rocks as they changed with exposure to the elements: tides, wave action, salt, water, wind and air. The copper quickly lost its brilliance, but in place of light there emerged a rainbow of colours. Light disintegrated into colour,
finding perfection in its brokenness.

Time changes things, but it’s all good. It’s all god.



Wendy Stefansson. Prolonged Exposure to Oxygen, Day 3, 6:18:04 pm.
Copper leaf on sandstone. 2009


Wendy Stefansson.  Prolonged Exposure to Oxygen, Day 2, 7:10:39 pm.
Copper leaf on sandstone. 2009


Wendy Stefansson. Prolonged Exposure to Oxygen, Day 3, 6:18:11 pm.
Copper leaf on sandstone. 2009






















Sunday, 9 June 2013

the timelessness of play....

Ann Hamilton. The Event of a Thread. December 2012.

If this is fibre art, then it's fibre art on a colossal scale.

More importantly, Ann Hamilton's The Event of a Thread is a work about play; about the purity of play, the innocence and the ecstasy of that moment of almost-flight that you have when you swing, that moment when your whole body is just hanging by a "thread." When you are almost weightless, flesh and bones reduced to pure joy.

The artist says: 

“I can remember the feeling of swinging,” ... “how hard we would work for those split seconds … when we felt momentarily free of gravity, a little hiccup of suspension when our hands loosened on the chain and our torsos raised off the seat. We were sailing, so inside the motion — time stopped — and then suddenly rushed again toward us. We would line up on the playground and try to touch the sky, alone together.”



Ann Hamilton. The Event of a Thread. 2012







































Reviewer Jason Andrew describes this complex work.

"At its core, the installation features two fields of suspended swings connected via ropes and pulleys to each other and to a massive white curtain that bisects the 55,000-square-foot Wade Thompson Drill Hall. Each swing has its counterpart on the other side and it is the visitor’s momentum on the swing that activates a rolling undulation of the curtain. The resultant movement brought on by one swing is enhanced when another visitor engages the corresponding swing on the opposite side. The movement of the curtain alone is mesmerizing and the beauty is that the curtain remains in a continual state of flux set in motion by the interaction of visitors."

Ann Hamilton. The Event of a Thread. 2012


















Playful viewers laid down on the floor underneath the curtain to watch it move, like you would watch the curtains over your bed billow on a summer afternoon. Like you would lie down on the grass to watch the clouds. Like you would look for pictures in the stars.

It reminds me of a time when I laid down on the cold hard pavers inside one of the courtyards at the Louvre and looked at the stars as I listened to a lone violinist play. (Music resonating off of stone, time in conversation with the timeless.)

The timelessness of play.



See http://hyperallergic.com/61982/a-playground-for-the-soul-lost-in-ann-hamiltons-world/ for a more complete description and an eloquent explanation of The Event of a Thread.






Sunday, 2 June 2013

levity....


Ken Unsworth. Suspended Stone Circle. Stone. 1971-74


















Stones suspended in space
like the earth,
like the moon,
each achieving levity through the gravity of another.


Ken Unsworth. Suspended Stone Circle.

Jeahyo Lee. Suspended Stones. 2006.


Saturday, 1 June 2013

out of the fire....

Henrique Oliveira. Dead Fire (detail). Burned plywood. 2012


















Out of the fire the wood escapes, scorched but not consumed. Coiling and twisting like a nest of massive snakes, of blind basilisks. Rejecting its fate. Rebellious.


Henrique Oliveira. Dead Fire.

Henrique Oliveira. Dead Fire (detail).










































While a few years earlier, a fireplace leaks a dark puddle (blue sky reflecting on the surface of the deep). Flames quenched.

Out of the fire, water.


Kate MccGwire. Slick. Mixed media with magpie feathers. 2010






















See more about Kate MccGwire in the following posts: holy waters; collecting as art practice; and the luminescence of the night sky.







Sunday, 19 May 2013

exterior decorating

Laura Vickerson. Upholstered Roots. Chateau Mathieu, France. 2009


















The fabric of domestic life escapes its usual confines and subverts the natural disorder of things....


Laura Vickerson. Upholstered Root. Chateau Mathieu, France. 2009



















See more of Laura Vickerson's work in the following posts: holy waters; and rose petals.







Friday, 17 May 2013

delicacy

Valèria Nascimento. Hanging Cups (detail). porcelain.







































porcelain thin as paper

like petals,
like cells,
organic and multiple

as insubstantial as light
as fragile and as translucent as skin

as pregnant as words yet to be spoken

forged in fire
out of the earth,
weightless as air
and fluid as water

patterns of growth and unfolding 
as eternal as the elements,
as fleeting as flight

2013-05-15


Valèria Nascimento. Cones. Porcelain



Rebecca Hutchinson. Natural Inclinations.
Paper clay, handmade paper, organic materials.

Rebecca Hutchinson. Woven Collection.
Paper clay, handmade paper, organic materials.

Mia E Göransson from the New Nature series. Porcelain.

Laura McNamara. Cell Forms. Porcelain



























Sunday, 10 February 2013

singed











































You approach a volcanic pile of wood assembled for the night’s fire works. A work of fire.

The pyre is lit. The blaze begins; ravenously licking, crackling, snapping. 

As the initial energy is spent, you notice it: a lightless figure in the midst of the light. A black hole within the sun. Its pull is magnetic; gravitational. The shadow of a man, the darkness that fuels the fire. Charred, but not yet consumed. A human sacrifice, slowly smouldering.

For weeks, neither you nor the others who were there can think of anything else. Singed, none of you can make anything that does not contain fire. This fire.


In May 2007, visual artist Peter von Tiesenhausen hosted the artists and
mentors of Prairie North Creative Residency at his home in
Demmit, Alberta. After dinner and a tour of his land, on which
much of his most important work was completed and remains,
he lit a bonfire. Out of the fire emerged a figure, in the
tradition of his Watchers series. A self-portrait, burning
as if in effigy. Or perhaps rising from the flames like a phoenix.
Photos by Wendy Stefansson.

























To see more of Peter von Tiesenhausen's work, go to http://www.tiesenhausen.net. Or click on any of the following links to posts on this blog: burning man; a book of days; or approaches.