Posts tagged Conceptual art

“The language that I have cultivated throughout my artistic trajectory comes from a multiplicity of signs, icons, micrographies, calligrams or benigrams without a code, unrepeated and unrepeatable, that coexist, articulate and manifest themselves in a manner that is always unique, always reinvented, and that in the end forms a micro-theater or calligraphic representation of the great micro-theatre of the world.” [read the rest here; also a video of the exhibition] Parallel Benet Rossell Exhibition by Teresa Grandas, co-curator (2010)

“The language that I have cultivated throughout my artistic trajectory comes from a multiplicity of signs, icons, micrographies, calligrams or benigrams without a code, unrepeated and unrepeatable, that coexist, articulate and manifest themselves in a manner that is always unique, always reinvented, and that in the end forms a micro-theater or calligraphic representation of the great micro-theatre of the world.”

[read the rest here; also a video of the exhibition]

Parallel Benet Rossell Exhibition by Teresa Grandas, co-curator (2010)

“While our society faces a growing fragmentation and specialization that seems at times to alienate us all, we have also started to view our world as a series of integrated, even entangled networks. One way we can begin to understand this contradictory state is as a matrix of field phenomena - repetitive patterns of texture, growth, turbulence, sound, light, etc., within a given system or space.”

— Douglas Garofalo, architect [more here; her statement]

Anne Wilson, Topologies, 2002

“In an attempt to understand our need to quantify our transactions or output, our need to order, to record, I employ standard ledger paper—a material used, economically, for this very purpose. Growing up, I knew this paper only as my father’s work paper.” [+] Jill Sylvia, Balance Sheets Series: Yellow Book, Hand-Cut Ledger Paper (2008) [also, an interview / working process here]

“In an attempt to understand our need to quantify our transactions or output, our need to order, to record, I employ standard ledger paper—a material used, economically, for this very purpose. Growing up, I knew this paper only as my father’s work paper.” [+]

Jill Sylvia, Balance Sheets Series: Yellow Book, Hand-Cut Ledger Paper (2008)

[also, an interview / working process here]

“My aim is to translate culture into objects; I want to build a bridge between the orient and the occident. […] I want to emphasize the ongoing importance of cultural melting pots.” — Siba Sahabi The series of paper vessels takes inspiration from characteristic black Etruscan ceramics and is hand-crafted from black wallpaper used for its strength and resistance to light. The ‘bucchero’ series comprises nine pieces including carafes, goblets and cups. [via designboom] Siba Sahabi, Bucchero Series, Paper porcelain (photo by Karin Nussbaumer)

“My aim is to translate culture into objects; I want to build a bridge between the orient and the occident. […] I want to emphasize the ongoing importance of cultural melting pots.” — Siba Sahabi

The series of paper vessels takes inspiration from characteristic black Etruscan ceramics and is hand-crafted from black wallpaper used for its strength and resistance to light. The ‘bucchero’ series comprises nine pieces including carafes, goblets and cups. [via designboom]

Siba Sahabi, Bucchero Series, Paper porcelain (photo by Karin Nussbaumer)

“Since 1999 I collated scraps of paper, diary notes and typed word document all pertaining to this one idea I was trying to express through a story. […] By cutting out the words from my previous drafts I created clouds of text that I could use as the ‘typeface’ for my final draft. It is a book in which you have both the story and it’s history presented on the same page.” — Sam Winston [source and rest of the series can be viewed here] Sam Winston, Orphan Book Work (1999), digital printing on Tosa Washi paper

“Since 1999 I collated scraps of paper, diary notes and typed word document all pertaining to this one idea I was trying to express through a story. […] By cutting out the words from my previous drafts I created clouds of text that I could use as the ‘typeface’ for my final draft. It is a book in which you have both the story and it’s history presented on the same page.” — Sam Winston

[source and rest of the series can be viewed here]

Sam Winston, Orphan Book Work (1999), digital printing on Tosa Washi paper

Brooke Schmidt, Vagabond Songs (Book Sculpture), 2010 [vintage book, cardinal feather, seed parachute, acrylic paint, gold leaf, glass]

Brooke Schmidt, Vagabond Songs (Book Sculpture), 2010

[vintage book, cardinal feather, seed parachute, acrylic paint, gold leaf, glass]