The work of Brooklyn-based Aaron Li-Hill, who also goes by Li-Hill, is instantly recognizable for his dynamic portrayals of animals and figures, where his subjects appear suspended in motion, drawn frame-by-frame. Featured here on our blog, Li-Hill describes his art as a frenetic “storm of imagery and density”, where beauty surfaces from various styles, inspired by his background in graffiti and cultural experiences. The artist just unveiled a new installation, in collaboration with the nonprofit JustKids, at the iconic Friedman-Mincer historic building in Fort Smith, Arkansas.
The work of Australian artist Ian Strange is a mix of installation, photography, sculpture, and architecture. In these site-specific works, Strange will use an entire house as a canvas, filming his efforts to further explore concepts like “home” or “suburbia.” A recent pop-up exhibition of “Suburban” at New York’s Standard Practice Gallery featured large-scale photographs and video that documented his so-called “interventions.”
Nicki Crock is a conceptual artist currently working in Columbus, Ohio, but her head is in the clouds. Her installation series “Dream House” transforms space into an ethereal, geometric floating dreamscape made out of white paper. “A dream house is something to aspire to and long for,” she says. “What better form could a daydream take shape in, than with something that we, as humans, already use to fulfill our imaginations: clouds.”
Prune Nourry is a French, New York based multi-disciplinary artist who draws her inspiration from bioethics. Through her performances, artworks, and exhibition design, Nourry brings attention to issues that arise from our fast growing scientific discoveries. Her latest work, titled “Anima”, is an immersive installation that explores the concept of soul and “the divide between Man and Animal”, a collaboration between art, magic, and anthropology.
Rio de Janeiro native Ernesto Neto is often quoted as saying, “I am sculpture and think as sculpture.” Neto’s been exhibiting internationally since the 1990s, and the artist’s latest biomorphic work is a natural evolution of that oft-cited quote, tailored to the spaces each piece inhabits. From a distance, these new, vibrant installations appear as though they grew inside these walls organically. But Neto’s work isn’t meant to be enjoyed from afar.
When French designer Emmanuelle Moureaux first arrived in Tokyo, she became fully fascinated by the colors overflowing on the street. She found that the city’s overwhelming number of store signs, flying electrical cables, and flashes of blue sky framed by various volumes of buildings created three dimensional “layers”. The flood of various colors that pervade the city streets are mirrored in her design installations, which build up a complex depth and intensity of space. These experiences of colors and layers are in the inspiration of Moureaux’s latest project, “bunshi” (meaning “ramification”), which means to divide or spread out into branches- a rainbow-colored suspended forest made on 20,000 pieces of paper shaped like twigs in 100 shades of color.