Sage Vaughn at Lazarides

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.

Where – Lazarides (Rathbone place, London)

When – 5th May till 4th June 2011

Architecture by Filip Dujardin

Architecture is often looked over isn’t it? But when you come across architects such as the belgian artist and architectural photographer Filip Dujardin, you have to share a bit of love and make you aware of his works.

He just had a show at Highlight Gallery in San Francisco and we hear that the works focused on “fictional buildings that Dujardin has created using a digital collaging technique from photographs of real buildings around Ghent, Belgium.”

One will classify these as “absurd“, as the “René Magritte and Raoul Servais” of architecture.

What do you reckon?

Filip Dujardin | Art-Pie Filip Dujardin | Art-Pie Filip Dujardin | Art-Pie Filip Dujardin | Art-Pie

First seen on Slamxhype

Soundsculpture by Daniel Franke & Cedric Kiefer using Kinect

When I first watched this video of Daniel Franke & Cedric Kiefer’s soundsculpture project, I was fascinated and watched it again several times.

Not for me to try to breakdown to you how this is done as it is quite complex. I’ll invite you to read the complete explanation from Creative Applications Network. In short,  you are looking at a moving sand sculpture from the recorded motion data of a real person.

London Art fair – in its 23rd year but still going strong, part2

Here is the second set of selected works from this year’s London Art fair which for the sixth year includes Art Projects, now a major part of London Art Fair.. 31 Galleries feature emerging artists and new work.

Established as one of the most exciting sections of the Fair, it features solo shows, curated group displays and large-scale installations with galleries from across the world. Pryle Behrman has worked on Art Projects as curator since its inauguration in 2005. Continue reading London Art fair – in its 23rd year but still going strong, part2

Wonderful World, solo show by Gérard Rancinan

Gerard RancinanWhere: Londonewcastle Project Space
When: 7-24 June 2012

Thursday evening I managed to drop by the Londonewcastle space to see first hand the Rancinan show presented by The Future Tense. I  had known about the exhibition for some time and was really keen to visit. I was not disappointed.

Opening from The Future Tense

“Gérard Rancinan is one of the world’s leading contemporary fine art photographers. For the past 7 years, Rancinan, along with writer Caroline Gaudriault, have been developing the ‘Trilogy of the Moderns’ – a revolution in three acts. Pitched somewhere between comedy and tragedy, this vivid photographic tableau and accompanying texts paint a picture of a confused humanity, blindly groping in the darkness, obsessed with fame and guided only by an absolute desire for generalised happiness.”

Gerard Rancinan

Walking through the show I envisioned myself watching the film Donnie Darko and playing out scenes from which include the infamous bunny head. In addition the irony was that I was humming “Mad World” the corresponding score to the film. Batmanesq and cartoon imagery which although perhaps has been included within other contemporary art, I do not feel this is in any way reproduced. It feels new, yet old, fresh yet re-worn and very much engaging.

Gerard Rancinan

The narrative which accompanies the show, actually does not waffle or meander through meaningless meanings, it provides a commentary, which I find sits well with me. This is the first time for many months where the ideals which are being conveyed actually mean something to me. References to a society documenting its own history via social mediums are made and the act of me writing these very words endorse this. In addition the term ‘non places’ and ‘non people’ have been used which when used in conjunction with the virtual Twitter & Facebook world actually have a relevant description of contemporary society.

Gerard Rancinan

The works themselves are comparable to hyper realistic painting, coupled with well staged and well shot content arranged in such a way that just works. The sheer size of the works give an air of importance to them whilst drawing you in to the content. Another perfect fit to the show is that the final piece of work for the series was actually shot in real time at the exhibition using real people attending the show. This for me bridged the gap between aesthetic and interactive art in a way which I hope everyone can appreciate.

Ed Bartlett of The Future Tense said to me that “to fully appreciate the show you must come back” and he is right.The show runs until 24 June 2012. For more information visit: http://londonewcastle.com/arts-programme/events/2012-06-07/wonderful-world

Emma Stibbon at Room

Emma Stibbon’s work in this exhibition looks at history and collapsed empires. The shadow of classical antiquity cast on Western civilization ominously stretches into present times – the city is a symbol of both memory and amnesia.

Her focus looks at simultaneous periods of time, mainly sites of ancient Rome, and how Imperialist and republican architecture was later appropriated to lend credibility to new regimes. She is interested in the dialogue between two pasts; that of Ancient Rome and Mussolini’s Fascist plans for the city and in places that can be read as a palimpsest, a layering of historical traces.Rome as a site of overlaying ideologies – the ultimate collapsed empire leading one to reflect on human endeavour,
vanity, frailty, time and impermanency.

Where
31 Waterson Street | London E2 8HT | www.roomartspace.co.uk
When
10 November – 17 December (Wednesday – Saturday 12- 6pm)

Emma Stibbon at Room
Bench 44.5 x 63cm Ink on paper

Robert Brandenburg at Gallery 1988

In “Pooh… and Other Sh*t,” Robert Brandenburg brings “hijacked” art to Gallery 1988 in Venice Beach, CA.

As a self-taught artist from Ohio, Brandenburg brings an expansive perspective to viewers. Born in 1954, he paints contemporary works that offer a light repose from the mundane.

His versatile style allows him to incorporate renderings into a variety of works on a variety of mediums. Less art than humor, he creates an entertaining interlude and encourages viewers to recreate everyday scenes in a less than ordinary manner.

Renamed The Bird, Brandenburg alters a metal sign from 1956 used to advertise the Ford Thunderbird. In the original a couple speeds away in the automobile, waving to onlookers. In the re-mastered version, the passenger extends her middle finger to the people standing by. From metal to cardboard, In Mammy Cakes Brandenburg alters a Hostess Cupcake box from a chocolate frosted vanilla cupcake to a white mouthed image mirroring minstrel shows that ran in America from the 1830’s into the mid-1900’s. During these often severely racist performances, white men painted themselves in black face.

To compliment his images, Brandenburg includes brief bios and explanations into the life of his creations. One of his works, Hannah Lecter, features a young girl on a greeting card. Originally, she was eating a tasty piece of chocolate but Brandenburg coated the original snack with a dripping red acrylic paint to make it appear as if she indulges in human flesh.  The title and corresponding story names her as Hannibal Lecter’s love child. He also alters several Norman Rockwell paintings depicting the ‘ideal’ family life of 1940’s America including one from Rockwell’s “Four Freedom” series entitled Freedom from Want. Brandenburg redubs it Freedom from Stress and replaces the original turkey with a glass pipe, beers, and whiskey explaining, “experience suggests that the happy family is going to need a little more than turkey to keep things running smoothly for the rest of the day.”

Brandenburg brings a fresh look to “normal” images by incorporating himself into a variety of mediums at his new solo exhibition. By redesigning iconic images, he urges society to reexamine omnipresent sights that do not always reflect truth.

“Pooh… and Other Sh*t” hijacked art by Robert Brandenburg at Gallery 1988 Venice
Dates: January 7 – 28, 2011
Hours: Wed – Sun: 11AM – 6PM

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