So...spray paint? I love it.

To illustrate more the look and feel of what I hope to achieve, I’ve gathered some images from one of my favorite artists: Audrey Kawasaki.

Yume No Ato

Oil on Wood 14.5x11
Four Dreams - Compound Gallery
2006

OctoGirls

Oil on wood 24x15
Venus - Roq La Rue
2006

If only I could get thin sheets of wood to make a translucent surface (although I’ll probably attempt to create a translucent wood-grain material). I would really like to play with the juxtaposition of textures, and duality in imagery.  I think that’s what I love the most about Kawasaki’s work – it’s hyper-sexualized and incorporates understated colors. There’s plenty of subtle detail and an almost eerie quality to most of her work. It’s great. I love it.

So...searching through Kawasaki's website, looking for further inspiration, I found another artist based out of NYC, Stella Im Hultberg. Born in Korea, then raised in Hong Kong, and later California, this artist was a product designer before breaking into the art. 

[This is where I would have posted photos, 

but due the inability to retrieve those images

this will stand in.]

I’m basically expanding on my spray painted heart piece from our “translations” installation. It’ll just be bigger.

Cited:

A U D R E Y * K a W a S a K I. Web. 09 Apr. 2011. <http://www.audrey-kawasaki.com/>.

Stella Im Hultberg. Web. 20 Apr. 2011. <http://www.stellaimhultberg.com/>.

Shadow art!

So in the time past our installation, I’ve been thinking practically about adding elements of lighting to my next piece for this class. This brought me to the idea of shadow, and playing with double m

Kumi Yamashita (born in Japan, 1968) uses shadows to portray various images in her sculptures.

Fred Eerdekens (born in Belgium, 1951) sculpture also uses shadows to convey imagery.

Tralalala

1999. Artificial trees, light projector
200 x 162 x 180 cm

I hate words

2005. PVC, light projector
70 x 70 x 65 cm

I think that what caught my attention from these artists is their simple message and understanding in working with negative space in order to establish the overall look of their pieces.

Having successfully incorporated lighting elements into my installation pieces, I discovered in the process how I would like it to work with the unpainted surfaces in the plexi-sheeting I hope to use for my upcoming sculpture. It’ll be a challenge, but I think the outcome will be pretty great if I can concretize my ideas.

Cited:

-  Kumi Yamashita. 09 Apr. 1993. Web. 09 Apr. 2011. <http://kumiyamashita.com/>.

- Fred Eerdekens. Web. 09 Apr. 2011. <http://www.fred-eerdekens.be/>.