Jen Grant collects garbage, and with it, sculpts political commentary in public spaces. The projects are pleasing, sometimes by virtue of their materials (a hammock made of jewelry!), sometimes by virtue of their inventiveness (chairs turned into steps up and over a fence), and sometimes by virtue of their environment (a swing hanging from the Botanic Gardens bridge), but always by virtue of their politics, expressing notions about freedom, waste and capitalism.
Learned of her at Wooster Collective. See her work, read her ideas:
Graeme needs to change the name of his website, as it excludes all of his work but the animation (the name excludes work, not the site – the site is fairly comprehensive). The animation was the first work of his that I saw, which would be the case for most people I would think, access to YouTube being much greater than access to galleries presenting his installations. Monkey and Deer, excerpted above, completely mesmerized me with its slow, quiet expressiveness emerging from a gorgeous and intricate model set.
I did not know that it was but one part of a larger body of work incorporating sculpture and robotics, inspired by the tiny Saskatchewan village of Woodrow, where Patterson’s grandfather had lived. Graeme actually moved to the town from his home in Halifax, Nova Scotia, and created the work over three years.
I’ve meant to post about Patterson for some time, and his recent rocketride of profile known as the Sobey Art Award has been a constant reminder. His selection as a finalist for the award blasted away a good chunk of my cynicism about such things.
“How can an invitation to step onto a painting of a magic carpet, or throw a coin on to a painting of a wishing well create dialog about the social function of painting?”
This opens up a deep crevasse in my mind, separating my logical inclination to dismiss this idea as unrealistic, from my YAY FUN. I think this can be resolved by a simple (and familiar) self-admonishment: do not overthink, Sasu.
No, instead, just continue to gaze with pleasure upon her lovely works online, and hope for an opportunity to experience them sometime offline.
“Fabrics are the protagonists in the dazzlingly refined visual crescendo that is Forever.” Forever is the amount of time I have not known about Tord Boontje. Time I will never get back. This is one of those websites that feels like real time and space instead of the grifting most of the internet is. Magical creations photographed magically, presented through a magic interface (mui?). Under a magic moniker (already re-named my dogs Tord and Boontje).
The Filmmuseum is a museum of cinematography in Amsterdam. In 2011 they moved to a new facility, and their announcement of this news was appropriately cinematographic. Dutch sand sculptors The Sand-Factory created a replica of the new digs, and Britain’s Theo Watson, currently based in Amsterdam, designed a projection for the sculpture.
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