Brazilian-photographer Vitor Schietti uses fireworks to create images of illuminated trees and dancing patterns in his series “Impermanent Sculptures.” To produce the images, the artist sets off fireworks at twilight. When the light is just right, Schietti uses a long exposure camera. The effect is semi-painterly and always captivating. The method comes from the artist’s interest in the moment of change or transformation, as well as the sociological question of how microscopic elements reflect the greater, macroscopic world. To this effect, the trees ablaze represent dual destruction and illumination. Though people and governments take climate change under serious consideration, we continue to destroy our shared environment. The burning tree is an all-too common phenomena in an age of extreme weather and drought, but it is also an ancient symbol shared across cultures. Captured in a photograph by Schiette, the burning tree inspires ominous feelings of both awe and doom.
Throughout history, the woods have served as a place for many fairy tale stories and legends. When the characters of Stephen Sondheim’s Into the Woods ventured into a dark wood, they went to fulfill their dreams and fantasies. What they were faced with instead was a place where nothing is what it seems and the truths of their realities. 25 artists were invited to explore just what is it about woods that are so compelling in Haven Gallery’s upcoming exhibition, “Into the Woods”: Adam Oehlers, Robert Kraiza, Mahlimae, Lara Dann, Marc Scheff, Anka Lavriv, Hannah Yata, Jean-Pierre Arboleda, Mab Graves, Brin Levinson, Gustavo Rimada, Poppy Lawman, Thomas Dodd, Chris Mars, Shane Pierce, William Basso, Nicole Palapoli, Rain, Paul Romano, Scott Radke, Christina Ridgeway, Joseph Weinreb, Brian Mashburn, Allen WIlliams and Vince Natale.
On October 14th, French artists 100TAUR and Hisham Echafaki will debut new works in their two-person exhibition, “Lusus Naturae” in London. Borrowing their title from a Latin phrase that describes any creature or specimen that defies classification, the exhibit will include a series of paintings, drawings and three-dimensional works that depict “freaks of nature”. Their works feature fantastical hybrid creatures alongside some of the world’s most bizarre members of fauna. Both 100TAUR’s portrayals of mythical monsters in their dark world and Echafaki’s intricate, pattern-filled works explore the human fascination with oddities or monstrosities along with our fragile relation with the nature.
Randy Hage caught our attention earlier this year for his stunning mixed-media miniatures of New York, which he then photographs. You may find yourself giving his work a second and third take, even after discovering its true size, with most pieces measuring at 1/12th scale. Working primarily in wood, plastic, resin and metal, Hage draws upon the disciplines of his formative years as a prop maker in the TV/Film industry. What began as an experiment in miniaturizing local structures, particularly cast iron buildings, has turned into what he calls a “documentary project.” He will exhibit his latest series in his exhibition “Facade”, opening at Flower Pepper Gallery in Los Angeles on October 10th.
The bullfight has always been a ritual of extreme occult significance, heavily loaded with allegory. The primary meaning of the bullfight concerns the triumph of man over our own primal nature. Los Angeles based artist Brian Viveros, featured here, sees the bull and the sexy fighters of his upcoming exhibition “Matador” at Thinkspace Gallery as one and the same. While he thinks of the fight as a cruel tradition, he finds power and inspiration in its symbolism. We recently visited with Viveros at his Dirtyland studio to go behind the scenes of his matador-inspired exhibition, one of his most researched and dynamic bodies of work to date.
Artist duo Muntean / Rosenblum use traditional Christian iconography and Baroque modes of seeing to create mystique around contemporary life. Typically set in landscapes distinctive to the 21st century, such as nuclear plants and graffiti-ed railroad tracks, the paintings appear as documentary film stills or snapshots of our current reality. However, by contorting perspectives in a dramatic Caravaggio-esque manner and devising moments where pain or discomfort appear as main subjects, Muntean / Rosenblum cultivate the same aura of the unknown that is so captivating in paintings centuries old.