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Movimentos congelados na escultura de Odani

ODANI, Motohiko nasceu em Kyoto em 1972, estudou escultura na Universidade de  Música e Artes de Tóquio. Desde que se formou, teve pelo menos sete grandes exposições em seu nome.
As esculturas abaixo fazem parte da exposição  "Phantom Limb". Apesar de minha pesquisa, não tenho idéia nenhuma de como elas foram criadas, em seu meio é simplesmente listada como "mixed media".

O que chama atenção em sua obra é a capacidade de paralisar o movimento em suas figuras humanas.

Os outros trabalhos lembram formas vertebrais com grande movimento, sem dúvida, sua melhor qualidade.

Esculturas de Sombras

Tim Noble e Sue Webster, são artistas britânicos que realizam um trabalho nem um pouco comum. Com pilhas de lixo, aparentemente montadas aleatoriamente, criam verdadeiras esculturas de sombras. Elas surgem através de uma luz projetada nas pilhas de lixo. O que parecia não ter forma se revela num contorno preciso... O resultado é incrível!!! De uma forma irreverente e cômica, os dois se colocam em muitas cenas nada convencionais. Um trabalho repleto de ousadia e bom humor. Ambos trabalham em Londres e já fazem parte das exposições de Arte Contemporânea da Royal Academy.

Tim Noble and Sue Webster’s work can be divided into the ‘Light Works’ and the ‘Shadow Works’, though Webster does not see them as completely separate. She says:

“We kept them both going side by side. There are two sides to the work; the shiny side and the dark side. That kind of reflects the two personalities within us.”

The influence of music on their art, particularly punk rock, has been of great importance to them since they began their earliest collaborations: Says Noble:

“I think anything that’s a bit of a rocket up the arse, anything that kicks against the routine, against the mundane things that close down your mind, is a refreshing and good thing. Punk did that very successfully . . . it offered a direct and instant means of producing products or things.”

Adds Webster:

“When we make a piece of work we're constantly looking for something that will take our breath away because if it does that to us we've pushed it as far as it will go. We like to look at every different way of making it, it can be very simple or very complicated, but we don't feel satisfied until we've both given it a good going over.”

Sir Norman Rosenthal, the former Exhibitions Secretary of the Royal Academy, writes:

“At the most immediate and most important level, [Tim] Noble and [Sue] Webster’s work symbolizes a pair of artists clearly besotted and totally in love with each other, artists who are only interested in picturing themselves: sometimes surrounded by detritus; other times by pastiches of contemporary neon advertising. An antiaesthetic of vulgarity rules on the surface of their work.”

Heather Jansch

A Arte não pode estar separada do coração. Nunca produziremos algo completamente NOSSO sem que nele esteja gravada a nossa paixão...

Estou falando tudo isso por causa de Heather Jansch!!!Essa artista foi estudar no famoso Goldsmiths College em Londres e um ano depois foi convidada a deixar o curso pois seu trabalho, de estilo figurativo em desenho e pintura estavam fora de moda. Insegura e sem desenvolver um trabalho próprio, ela não desistiu de seus sonhos e  por força do destino, a generosidade de outros, sorte e determinação encontrou um caminho para sua arte tão autentica! 

Povo! Desde criança as paixões de Heather foram desenhos e cavalos... O que sempre sonhou era estar num local arborizado, com água corrente cristalina com cavalos pastando ao seu redor...

Vejam o que ela fez!!!

                              

 

Isso não é encantador!?!

O estilo figurativo dela criou a anatomia precisa nas esculturas, naturalidade nos movimentos e perfeita integração entre objeto e meio.

Um trabalho MARAVILHOSO...

Art can not be separated from the heart. OUR never produce something completely stuck without it is our passion ...

for herself:

From the beginning my twin passions were drawing and horses.  My hero was Leonardo da Vinci. I dreamed of becoming an international equestrian artist living in wooded foothills with clear flowing water at my doorstep and horses grazing all around.

I hated the confines of school and was a disruptive student except during blissful art classes. I took A level art two years early and failed all my O levels except English language but miraculously that got me to Walthamstow College to study visual art. There, drawing was regarded as the first essential. I was enthralled and excelled. I went on to the now famous Goldsmiths College in London where sadly, at the time, figurative work was unfashionable. There was a life room, and models too, but no tutors ventured near. They liked and encouraged (typically) 6ft square green canvases with triangles and circles in bold clashing colours and sculptures using planks and blocks of polystyrene.

At the end of the first year I was asked to leave the course. I was told that I did not have the stuff that painters were made from and, if lucky, I might scrape a place somewhere to do graphics. My confidence was shattered. I was not interested in graphics. I liked the country, painting and constructing things from what lay around.

But that was then, and I went on to achieve my dream by virtue of fate, the generosity of others, luck and determination. I went my own way, not always wisely and not always to accolade from the establishment. I began with painting equestrian commissions and my accuracy easily commanded high prices. Ultimately however I found it restricting, I sorely felt the lack of a degree. I was lost and without a style of my own.

I sought advice from Arthur Giadelli, an artist of international standing with a well-deserved reputation for also being a gifted teacher. He told me to go and look at a hedge and draw not what I saw but draw what made a thorn a thorn. And never stop working with horses but find a way to make them mine. I am forever in his debt.

I knew that to exhibit prematurely would be unwise; I had to wait until I had unequivocably found what I was seeking. So I continued with commissioned work while also experimenting. Then out of the blue it came in on the tide. Driftwood. It was like a thunderbolt and I was finally ready to show my work to the world. It was driftwood horses.

The rest is history and for a fuller account you will have to wait for my autobiography. If you can't wait for that try my first book Heather Jansch's Diary a life in the year of... an artists diary, you can buy it online from this site.

CoolKids-Alice in the wonderland theme

Lindos os móveis criados pela CoolKids para o tema Alice no país das maravilhas!

fonte: http://www.coolkidsfurniture.com