We all like when art means having fun, don’t we? How about then if you could skateboard on a sculpture and even better glow-in-the-dark skate park? Yes you would or at least you would support the concept.
The concept is out there in fact and in France precisely. Korean artist Koo Jeong-A has come up with a solution. The structure is called Otro, and is made from green phosphorescent concrete (how cool is that) so it gives off a radioactive glare at night. It is composed of different bowls, a cradle and three tunnels. See pictures below.
Koo Jeong-A invites anyone to share the physical and sensorial experience of her sculpture/skatepark. With OTRO, Koo Jeong-A tries out the fragile visibility of the artwork, its discrete appearance that tests our perception, obliging you to discover with patience the artwork’s essence. So if you are on holiday in France near Limoges, make a stop for Otro, you’ll like it.
Time has come for the Chasinghosts duo to celebrate their time snapping street art wonders in London. Indeed they are are launching the first edition of the Chasing Ghosts Photo book.
The book contains 40 pages with 150 full colour photo’s dedicated purely to the streets of London. This edition is limited to only 50 copies, each signed and numbered.
The launch party will take place on Tuesday the 29th of March 6pm to 9pm and hosted by the LAVA Gallery:
Artists REMED and OKUDA have flooded the streets of Southbank in London with colours and passion for the second consecutive year.
After the success of the previous editions of Streets of Colour, this creative union between the two artists and Campo Viejo continues bearing fruits and they have surprised us again with an unusual art action: this time Remed and Okuda have worked inside of a cube of methacrylate of 40 cubic metres (2.4409e+6in³) next to the Thames river in Southbank, offering to the thousands of pedestrians who have been there during the four days that have lasted the action, the unique experience of watching the artists painting in front of the public and not turning their backs as it is the usual when painting a wall.
The transparency of the methacrylate has allowed us to be privileged witness of the creative process of these two vibrant artists of international renown, that as well as a year ago in London, and in other experiences in Logronio, Madrid and Brussels have offered us a stimulating show with lights, colours and passion as protagonists.
Introducing a brand new series of paintings, Children of a Lesser God furthers the artist’s exploration into notions of control and release as well as the fundamental need for survival, love and liberty. Vaughn’s new works manifest these concepts through bleak, dystopian cityscapes that he juxtaposes with child-like imagery and untouched scenes of nature.
Gradations of oil paint are slowly built up layer by layer with brilliantly hued subjects taking centre stage within a muted urban backdrop of dreamy pastels. Wild animals run freely through the urban setting and masked children void of inhibitions heroically feature within downtrodden neighborhoods. Such imagery embodies the limits of humankind’s ability to outright conquer the exterior world as well as completely repress inner desires. Vaughn says, “These compulsory wild impulses propel both the feral and the tame throughout our lives, causing beautiful and sometimes savage moments.”
Children of a Lesser God invites the audience to project their own thoughts about personal existence irrespective of location. Through the contrast of minutely detailed wildlife and child superheroes against diaphanous cityscapes, Vaughn’s body of work in provides a eerily familiar setting which somehow both comforts and inspires his audience with visionary designs of freedom.
We have already featured Clemens Behr‘s cardboards installations and are again very happy to do so. This time, the playground is in Paris and the collaboration is with French painter Romain Froquet.
The fruit of this partnership are two eye-catching 3D installations enhanced by Froquet’s neat and intricate abstract paintings which can be seen below. The video of this collaborative work has also been included below.
Below are two of the new work from the South African artist Faith 47. We particularly like “As Above So Below” piece which shows a tree and its roots floating on the wall. A great feeling of elevation!
Team Robbo and his crew still seem bitter and have painted over another one of Banksy’s pieces in Camden. This guerilla started when Banksy painted over one of Robbo’s historical throwups – see earlier post here. Team Robbo went back to Regent Street Canal and modified the piece which now seems to imply that Banksy is fishing for ‘street cred’.
One thing to notice in all this is the two different approaches – Banksy paints over while Team Robbo ‘alter’ to suit their means. This is probably the only interesting and entertaining aspect of that whole story because to be honest, there is no need for such non-respect.
“Lacan revises and enriches the myth of Narcissus, so passionately in love with his image that he plunges into the water and is drowned.”[1]
Maurice Merleau-Ponty
Bathroom, (c)2011 Hayley Harrison
The mirror holds peril. Revealing truths unwanted or enticing the loss of the self to an objectified world. The creation of our self-identity begins with how we respond to our image in the mirror in infancy. We either recognize the ‘other’ and begin the process of socialization or we retreat to find the maternal object and become locked in the death wish.[2] Psychoanalytical theory is of course more complex and involved than that simple description. But the significance in the simplified description is the relationship of self to object. We begin to understand we are an object which occupies space, distinct from others or we seek the comfort and reassurance of objects to satisfy our longing, beginning to see everything as an object available to satisfy us.
In Kleinian theory, the ‘internal object’ is “a mental and emotional image of an external object that has been taken inside the self. The character of the internal object is coloured by aspects of the self that have been projected into it. A complex interaction continues throughout life between the world of internalised figures and objects and in the real world…the state of the internal object is considered to be of prime importance to the development and mental health of the individual.”[3]
Her, (c)2011 Hayley Harrison
We are bound to objects as a means to understand the world, ourselves and the complex relationships we have throughout life. Any kind of exploration of self and identity must perforce include a discussion of objects. This ‘Me’ of Mine has delved into several aspects of this ‘object relationship’, through the work of Kate Murdoch and memory association with personal identity development, Annabel Dover and the complex personal codes and emotions imposed on objects, Cathy Lomax and objects which represent self-image and emotional states and now with the work of Hayley Harrison and her use of objects as an expression of an inner self:
“I think we have to be in the ‘right’ place both internally and externally and that’s when a conversation occurs. For me self-recognition through the external is experienced in its ‘purest’ form when we are here, now, rather than through our pasts or futures. We can be taken off guard by something, something perhaps poetic that throws us into the present. Whatever that something is, we just have to come into relationship with it. When we experience one of these rare conversations between the internal and external I believe we come back to ourselves, much like Jacques Lacan’s famous discourse with the sardine can. Ultimately within these moments we are looking into a mirror.”
We all like when art means having fun, don’t we? How about then if you could skateboard on a sculpture and even better glow-in-the-dark skate park? Yes you would or at least you would support the concept.
