Artist John Foster with his work at “IRIDESCENCE”. Photo by Chop Em Down Films.
The number of events cashing in on Miami Art Week was extensive and impossible to list, but one that stood out was Sarah Potter and Hannah Stouffer’s prismatic “IRIDESCENCE” exhibit. The show took place in the 3rd floor Gallery at the Shore Club South Beach, where a friendly mermaid in the lobby pointed you to a futuristic installation featuring international artists including Justin Lovato, Adam Friedman, Lala Abaddon, Francesco Locastro, Gustavo Torres (KidMoGraph), David Cook (Bonethrower), Ultramajic, Jose Di Gregorio, Jonny Alexander, and Hilary White. Their works are representative of what the curators call the ‘New Futurism’ genre, a style of work that expresses interest in math and science, as it applies to the artists’ visions of nature and fantasies about other-worlds. The exhibition offered several Op-art inspired paintings by Justin Lovato, Adam Friedman, who also designed a massive sculptural space for SCOPE Miami Beach (covered here), and Jonny Alexander, who we found collaborating on the “IRIDESCENCE” mural with artist Aaron Glasson (covered here) in Wynwood. We were also introduced to the psychological photography project by Radiant Human, a project that captures your mood through a specially-designed lomography camera inside of a structure that looks like a lunar outpost. Though the event ended with the rest of Miami Art Week, you can still find the “IRIDESCENCE” mural at the Electric Pickle in Wynwood, which will remain there indefinitely. Take a look at more images from the exhibition below.
Kidmograph
Hilary White
Justin Lovato
David Cook (Bonethrower)
Anne Vieux
Gicamo Carmagnola
Clara Luzian
Adam Friedman
Adam Friedman (detail)
Jose Di Gregorio
Jose Di Gregorio
Jose Di Gregorio
Radiant Human
Radiant Human
Jonny Alexander
Jonny Alexander
Jonny Alexander
“IRIDESCENCE” mural by Jonny Alexander and Aaron Glasson. Photo by Sarah Potter.
“IRIDESCENCE” mural by Jonny Alexander and Aaron Glasson. Photo by Enriqueta Arias.
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