Since returning from my artist residency in Auvillar, France, I have had my nose to the grindstone, preparing fortyworks for a show in Paris next May with Carre d’artistes gallery. This is a departure for me in terms of technique, commercial output, and most difficult for me, sticking to a unified theme.
The gallery only shows square formats and specifies four different sizes their artists have to adhere to. The largest is 19″ square. I am working on wood in mixed media – photo transfer, collage and paint, and experimenting with resin coating. I am going for a French-inspired, contemporary look, with an eye to fuse art/fashion/social media imagery with a cheeky narrative.
It’s very fiddly work but I am enjoying it when not panicking about the deadline. My studio is strewn with magazines, old stamp albums and all manner of source materials. More details about the exhibition as I get closer to the date.
Contemporary art chafes against constraint of any shape or form. This manifests itself in many ways, from seeking out unexpected and alternative venues for exhibiting art, to experimenting with new media and materials that until recently were not part of the artistic lexicon. Light is one of those relatively new mediums that has been harnessed and embraced as a legitimate art form, successfully championed (see above) by the minimalist artist Dan Flavin (1933-1996), James Turell and Icelandic artist Olafur Eliasson to mention a few.
On a recent visit to The Philips Collection in D.C. I was introduced to the dazzling works of Bernardi Roig, an artist from Palma de Mallorca whose installations combine the power of light with figurative sculpture.
Several of Roig’s works were spread throughout the museum – inside and out. The image of a life sized figure dragging a long train of light like penance was startling. There was something absurd and meaningless about this activity yet one felt that the figure was committed to this journey and accepted his fate. I responded deeply to the work despite the ‘artspeak’ text provided by the museum: “Roig’s work addresses existential dualities of blinding and illumination, absence and presence, memory and temporality as well as entrapment and liberation.” Sometimes it’s best to just look at the art and let it speak for itself.
Another artist who works in a most extraordinary new medium is German-born artist Wolfgang Laib. His medium of choice is beeswax. The Philips Collection commissioned him to create a permanent installation within the museum. The result is a small chamber, not much larger than a closet, that is totally covered in burnished beeswax.
For this particular work, the artist was inspired by Rothko and I see the connection in the subtle play of color tones created by the wax. Entering the space one is assaulted by a heady aroma of honey warmed by a single light bulb. I don’t know if I was imagining it, but I thought I could even hear the murmur of the hive….
(f you’re fascinated by the way artists can use beeswax, check out another up-and-coming artist who works in the same medium – Jessica Sanders.)
According to one influential art critic, “Go big or go home” was the underlying theme at this year’s FIAC – the French International Fair of Contemporary Art, celebrating its 40th year in Paris. Anxious to re-establish its relevancy, FIAC seems to be making a comeback on the global art map. Judging by the oversized artworks on display, I wouldn’t be surprised if this year’s FIAC showstoppers could be seen from space.
Chinese artist Ai Weiwei’s Iron Tree (above) is a good example of FIAC’s supersized sculptures. Weiwei is by far one of my favorite contemporary artists. He likes to think big – very very big.
However, while talking to a talented fellow ceramicist today, I was dismayed by his blanket statement about there being no point in his trying to get into galleries because “they just want big”. I take issue with that. Artists these days have to be wary of falling into the trap of thinking that ‘bigger is always better’.
One successful artist who has followed his passion for the other end of the size spectrum is Thomas Doyle who, in his own words, sculpts in “1:43 scale and smaller” (see image below):
Publications such as Newsweek and the Wall Street Journal laud Doyle’s illustrious international career based on his tiny worlds. I was naturally very excited to have him select one of my 4″ high figurines (see below) for the upcoming Small Worldsexhibition opening December 7th at the Target Gallery in the Torpedo Factory, Alexandria.
Likewise, my tiny 5″ x 5″ portrait entitled Le Parisien (below) just won second place in the small format section of the Mortimore Prize for Realism in Australia.
Thinking on a gargantuan scale often means that the artists cannot possibly produce the works by themselves. They need to hire a team of assistants to create their masterpieces. I personally would miss making things with my own hands – after all, that’s what drew me to art in the first place.
So for those of us artists who often enjoy creating on a small scale, and for those art appreciators who like to experience artwork of an intimate size, let it be known that we are notgoing home!
Last night was the opening reception of Double Vision, at Luke & Eloy Galleryfeaturing fourteen multi-disciplinary artists including myself! You can pan the various works in the exhibition, including my ceramic book and video (still image on left) thanks to gallerist/curator Brigitte Martin. Just take note that the sound of maddening laughter is the audio part of an artwork, not a member of the public laughing at the art! This show underscores the multidisciplinary direction taken by many contemporary artists today. I myself found a richer, more expressive palette when I stopped trying to box myself into a particular artistic category. CHECK OUT THE REVIEW IN THE PITTSBURGH TRIBUNE !http://pittsburghlive.com/x/pittsburghtrib/ae/s_617770.html