Spilling Twilight | Kate Shaw

26 February, 2010

Ecology (2009) / Acrylic and resin on board, 50cm x 76cm

EXHIBITION Spilling Twilight
ARTIST Kate Shaw
LOCATION Ryan Renshaw Gallery, 137 Warry Street, Fortitude Valley, QLD Australia
DURATION 24 February – 13 March, 2010

At first glance, artist Kate Shaw is dabbling with a subject painted by artists throughout art history.    But Shaw’s landscapes, although recognizable as such, are not mere pictorial representations of polar ice caps and interior Australia. Her spectacularly hallucinogenic paintings remind us of the threat of global warming and environmental degradation. In this sense her subject matter is highly relevant and immediately compelling.  The paintings walk a fine line, teetering between pictorial illusion and abstraction, and are a sumptuous mix of contradictions – beautiful yet foreboding, intoxicating yet apocalyptic.

The physical properties of Shaw’s poured paint echo the fluidity of our ever-changing natural landscape. This deft manipulation of paint is the secret to Shaw’s success.  Her densely marbled surfaces set against softly air-brushed skies are often encased in high gloss resin and provide an extraordinary sense of depth.  She has been described as an alchemist of paint – pouring, spraying, cutting and collaging elements to create her dramatically saturated experiments in colour, tone and texture.

Kate Shaw has exhibited widely including in New York, Los Angeles, Paris, Beijing, Tokyo, Melbourne and Sydney where her shows have often sold out. The recipient of several prestigious art prizes, Shaw was highly commended in the 2007 ABN AMRO Art Award and was a finalist in the Fisher’s Ghost Award, Metro5 Art Award, Robert Jacks Drawing Prize, and Darabin Latrobe Art Award.  She has completed an artist residency at 24hr Art in Darwin and has recently been awarded the Flux residency in New York.

Recession of the Simulacra (2009) / Acrylic and resin on board, 3 panels, 183cm x 76cm

Inner Island (2009) / Acrylic and resin on board, 3 panels,  270cm x 120cm

Subodh Gupta / Only one tiffin, 2008. / Stainless steel, stainless steel utensils, fabric / Image courtesy the PinchukArtCentre. 2010 © artist.

EXHIBITION ‘Faith Matters’ (Parallel Solo Exhibition alongside Serhiy Bratkov’s ‘Ukraine’)
ARTIST Subodh Gupta
LOCATION PinchukArtCentre, Kyiv, Ukraine
DURATION 23 January 2010 – 21 March 2010

A collection of recent work by renowned Indian artist Subodh Gupta is on display at the PinchukArtCentre in Kyiv, Ukraine.

Gupta’s work, including Line of Control (1)–a towering structure made from household utensils and reminiscent of a nuclear explosion, also features at the current Asia Pacific Triennial of Contemporary Art in Brisbane, Australia.

Artemio, Colt Frac-Tiles, 2010, ceramic. / A LAND project: VIA/Stage 1. Photo courtesy of Emily Young.

LOCATION Various locations around Los Angeles, USA
ORGANISERS Los Angeles Nomadic Division (LAND)
CURATOR Shamim M. Momin
ARTISTS, DATES Gonzalo Lebrija (January 26th – March 9th), Artemio (January 28th – 31st), José León Cerrillo (January 30th – March 28th), Moris (January 30th – April 30th)

Los Angeles Nomadic Division (LAND), has announced its first endeavor, Via, a series of temporary public projects in and around Los Angeles. LAND is a non-profit public art organization committed to commissioning site- and situation-specific projects with national and international artists. For this exhibition, LAND Director Shamim M. Momin is selecting and commissioning new work by several acclaimed Mexican artists. Reflective of the artists’ cutting-edge projects in Mexico and Europe, each commission will have a unique and distinct relationship to both the artist’s individual practice and the dynamic site of the Los Angeles location – historically, culturally, functionally, or otherwise.

The first four of these projects will debut in January 2010, concurrent with Art Los Angeles Contemporary (ALAC) and acting as anchor points to the fair’s VIP programming. January is also the official Los Angeles Arts Month, which, along with other important citywide art and cultural programming, presents LAND as a highlight. These projects will be followed by the staggered launch of new commissions throughout the year, which, structurally, will further emphasize the conceptual basis of Via (as in ‘by way of’), by spreading it not only across space, but time as well. Opening in concert with the civic and institutional programming already planned around the Mexican bicentennial, Via will serve LAND’s mission to function as a contemporary, public constellation linking disparate spaces, activities and artists.

Artemio, Colt Frac-Tiles, 2010, ceramic. / A LAND project: VIA/Stage 1. Photo courtesy of Emily Young.

Moris, Mi casa es tu casa, 2010, vinyl, ink, and paper. / A LAND project: VIA/Stage 1. Photo courtesy of Emily Young.

Moris, Mi casa es tu casa, 2010, vinyl, ink, and paper. / A LAND project: VIA/Stage 1. Photo courtesy of Emily Young.

LEFT: José León Cerrillo, Double Agents, 2009, iron, mirror, enameled wood. /  Courtesy of Proyectos Monclova.
RIGHT: R.M. Schindler’s Fitzpatrick-Leland House / Photo courtesy of Emily Young.

Gonzalo Lebrija, The Distance Between You and Me, 2009, video. / A LAND project: VIA/Stage 1

PROJECT Wooden Textiles
ARTIST Elisa Strozyk
LOCATION Berlin, Germany
PHOTOGRAPHY Sebastian Neeb

Elisa Strozyk’s Wooden Textiles subvert the viewers perceptions of the visual and tactile properties of material, by creating a wooden surface that can be manipulated by touch. Strozyk’s practice reflects a rigorous engagement with the contemporary issues of experiential and sustainable design.

Artist’s statement:

“From the perspective of a textile designer, I am researching ways to provide wood with textile properties in testing methods to make wood flexible and soft, or interweave textile elements. The outcome is a material that is half wood-half textile, between hard and soft, challenging what can be expected from a material or category. It looks and smells familiar but feels strange, as it is able to move and form in unexpected ways.

The processes to design a flexible wooden surface are its deconstruction into pieces, which are then attached to a textile base. I am using different textiles like silk, Lycra or micro fibre as backings. Depending on the weight and stiffness each surface shows a different behaviour. Lycra for example is very fluid and turns the wooden textile into a highly flexible surface. The wood is cut by hand or laser cut, and all tiles are stuck by hand to compose a textile-like surface. I am working with veneer wood leftovers from wood workshops.

The flexibility of the wooden textile is dependant on the geometric shape of the tiles and on the size of the gaps between them. Starting from the parquet floor and its traditional herringbone pattern, different geometric shapes were tested on their behaviour. Rectangle shapes create a textile that is able to roll and fold crosswise and lengthwise. However hexagons and other polygon shapes block each other and cause inflexibility. Obviously the triangle shape allows the best ability to move, while the isosceles triangle is the most versatile. A pattern of uneven triangles in various sizes performs a more unpredictable movement.

“Wooden Textiles” is an approach to responsible thinking concerning lifecycles of products. In the future we will have to deal with more waste and less resources. Therefore it is fundamental to be aware about lifecycles of objects. For me that means to use material that is able to grow old beautifully. Another way to save resources is working with reused or recycled objects and material waste. Also it is crucial to aim for a closer relationship between subject and object. This can be achieved through more flexibility and changeability, the possibility of growth or surprising elements.”


New media artist Justin Lui

11 February, 2010

PROJECT Animate Field
LOCATION UCLA Design | Media Arts, MFA Thesis Project
ARTIST Justin Lui
YEAR 2009

Justin Lui creates artworks that interact with the viewers body. His MFA Thesis Project, Animate Field, uses optical fibre filaments which illuminate as the visitor moves through them.

Read more:
We make money not art | Interview with Justin Lui

Experiencing the Void’ / digital print, 48.3 x 33 cm / Artwork © Julien de Smedt Architects (JDS)

EXHIBITION Contemplating the Void : Interventions in the Guggenheim Museum
LOCATION Guggenheim Museum, New York
PROJECT Experiencing the Void
DESIGN JDS Architects
DURATION February 12–April 28, 2010

One of two hundred high-profile international artists and designers invited to submit concepts for intervention into the Guggenheim Museum, Julien de Smedt Architects proposal fills the multi-storey void with spiraling trampoline netting. This and other concept renders, which throw practicality to the wind in favour of stimulating imagination, the  will be on display at the Guggenheim from this Friday.

Read more:

Guggenheim Museum | Contemplating the Void

designboom | JDS architects: experiencing the void