In the words of the artist Laurent Chéhère:
The “Flying Houses” are inspired by a poetic vision of old Paris, by Jules Vernes, Albert Robida, Moebius, Hayao Miyazaki, Albert Lamorisse, Wim Wenders, Federico Fellini, Marcel Carné, Jean Cocteau and a lot of others references. These buildings are also inspired by poor and cosmopolitan neighborhood of Paris where lives Laurent Chéhère. Through a tragic and melancholic report, they testify poetically and subtly of an alarming contemporary reality by revealing meanders and concerns of a class impoverished by the society, in particular the Gypsies and the immigrants. The author isolates these buildings of their urban context and releases them from the anonymity of the street to tell the life, the dreams and the hopes of these inhabitants.
Technically, it’s a photomontage. After a sketch, he photographs hundreds of elements : roof, windows, gutter, fireplace, characters, antennas, graffitiand sky, then assembles everything with a digital retouch software on his computer. In gallery, the images are shown in large format and let the curious observer to discover details and hiden references of these accurate reconstructions by proposing a double reading, one by far and one closely. The artist uses this distance to propose a different point of view and alert against preconceived ideas and prejudices. All the ingredients are there, the comedy, the drama, the poetry, the darkness, the onirism, the laughter and the tears… everything becomes entangled. The author gives some keys, but these flying houses remain open to the interpretation, it’s finally the observer who will make his own way.
See more of Laurent Chéhère work here!
In the words of the artist Domenico Franco:
The successful series LEGO outside LEGOLAND urged me to continue my research focused on the objectivity of the photographic sign, thus undermining the tangible concreteness of the exterior world. I titled “City Playground” an ongoing ironic project where over-sized toys are placed in the city (till now the city of Rome) making surrealistic scenarios.
In this second chapter the Fisher-Price family farm plays the leading role: I received it when I was 3 and it was the first time that I touched a complete scaled “architecture”. The aged and heavy playworn iconic toy becomes a landmark to fill empty spaces or to highlight forgotten or shabby places making the people think about spontaneous transformation of the contemporary city, reinventing each time, as graffiti do, the urban space.
See more of his work here.
In the words of the artist Kathleen Vance:
With the series entitled “Traveling Landscapes”, vignettes of nature are encapsulated within steamer trunks and train cases aged through travel. Displaced elements indicative of natural landscapes are presented in partially opened cases, as to not fully expose the delicateness of what is contained within. Streams and rivers activate the scenes as they course through the landscapes contained within the cases. The illusion of life and growth, illuminated within, reflects the desire to capture a part of nature untouched by humans. Used as a mediation device between the lush pastoral scenes contained within and the harsh actuality of their physical surroundings, the trunks and cases elicit visions of travel, preciousness and possession.
Materials that are commonly defined as natural and artificial are combined in the creation of these works, isolating aspects that are indicative of the ‘natural’ (while sometimes are considered unnatural). The landscapes created are transformative in their illusion of a nature scene; they are contained in traveling cases to magnify the displacement of a seemingly natural landscape in an unusual framework. These pieces extenuate the desire for ‘untouched’ natural environments, and the claim and proprietorship that are placed on plots of land, which carries over to water rights.
In the words of the artist Terry Leness:
My work is all about sunlight, the play of light on objects, the varying degrees of contrast between light and shadow, and deep, saturated color. Long shadows cast by buildings, window reflections, and pockets of darkness under eaves and in doorways all capture my attention.
I am exploring more, however, than merely the play of light and shadow on architectural form. I am drawn most often to older commercial buildings, early to mid 20th century bungalows squatting amidst tired or overgrown landscaping, dilapidated outbuildings and, everywhere, careworn campers, tottering on blocks, abandoned in fields or parked on the side of the road. Each building, each camper, every eccentric landscaping scheme has a story to ponder.
In the words of the artist Laurence Jones:
My paintings incorporate elements of both fiction and reality, and are brought to fruition through a varied means of production. I draw from a pool of collected images that are then digitally edited, and serve as a starting point for a process-based practice.
The paintings lend themselves to a simulation of reality, presenting a hyperreal aesthetic that is heightened by the screen-like finish of the work. Perspectival planes are shifted, flattened or extended, warping the notion of depth within the image, presenting a simultaneous distancing and magnification that offers multiple readings of the work. Although the aesthetic of the work suggests a digitally mediated experience of the urban environment, broken and dripped paint ground the work in a more traditional notion of materiality.
The scenes deal with the nature of the postmodern gaze, and how this is affected by fabricated spaces.
The creation of models and sets, which serve as reference material add a further layer of meaning to the work. Some elements are scanned in and collaged directly from film sets, a part of my practice that serves to enforce the overall aesthetic of the fabricated image, in turn borrowing from the tropes of staged photographic history.
See more of Laurence Jones work here.
Tippet Rise Art CenterTippet Rise Art Center is located in Fishtail, Montana, against the backdrop of the Beartooth Mountains, roughly midway between Billings and Bozeman and north of Yellowstone National Park. Set on a 10,260-acre working sheep and cattle ranch, Tippet Rise hosts classical chamber music and recitals and exhibits large-scale, outdoor sculptures. Tippet Rise celebrates the concept that art, music, architecture, and nature are inextricably linked in the human experience, each making the others more powerful.
Read more about the Tippet Rise Art Center here.
The Shiseido Gallery will hold an exhibition of a new installation by Tokujin Yoshioka. This installation will show light that fills the room with infinite color, giving visitors an opportunity to experience this mysterious light. Philosopher of nature, Newton, passed light through a transparent, polyhedral prism, showing that, in light, there exists a multitudinous number of colors. We feel that we can learn more about color through nature. Through the prism, we see beautiful rainbow beams of light emitting from spectral light.
Yoshioka is well-renowned both in Japan and around the world as one of the creative people who influence the world through works created from experimental technologies and unhindered ideas in a wide range of fields such as design, art, and architecture. Until now, Tokujin Yoshioka has focused on the relationship between nature and human beings, specifically pursuing research about the sensation that light brings. With this, he expresses his creations through unique techniques that reflect this research.