Young places emphasis on the craft of creation, making objects that are a hybridization of art and architecture. His works are a bastion of turn-of-the-century craftsmanship and are an eloquent protest of the inert, alienating qualities inherent in mass production. Prizing the ability to translate ideas into physical form, Young continually strives to articulate the qualities and capabilities of his materials. More than anything else, these aspects lead him to the appearance, functionality—and indeed, the life—of each work.
Dustin Yellin artworks are based on an accumulative process of painting on multiple layers of resin or glass, creating three-dimensional forms. Utilizing discarded found objects he has explored how we move within a mental environment of shifting depths–redolent of Deleuze’s A Thousand Plateaus.
Common subjects in his artworks are biological imagery. While historic artists like Leopold Blaschka and Ernst Haeckel have used their techniques to represent real biological forms, Dustin Yellin’s artworks exist as permutations of natural life and form. His paintings use a method of representing three-dimensional forms that is reminiscent of both lenticular images and rapid prototyping. The technique approximates a static volumetric display and is autostereoscopic, as his artworks appear three dimensional without the use of special glasses or viewing equipment.
Yellin is currently researching and developing three-dimensional photography and photo-collage portraiture. He has invented a pixel based rapid prototyping machine (as opposed to a voxel based machine) in order to introduce a digital trajectory into his mark making practice.
I am fascinated in monolithic icons of antiquity, such as the enormous heads erected by the Olmec, who lived in what is now San Lorenzo. These icons make me question what it means that our contemporary culture has so few. By placing the cast toys within the contemporary American landscape as ruins and monoliths, they become archeological evidence of a society with questionably little substance to leave behind.
The most recent works involve imagery of inhabited ruins. These post apocalyptic scenes depict a patching together of and making the most of what is left, finding solace and perhaps even joy within the aftermath.
Inspired by the evolving interpretation of ideas, my work investigates how information is translated, transformed and conveyed across time and space. The complex process of interpretation through which civilizations and individuals alike make sense of information, is deeply rooted in a contextual belief structure. The changing of such structures greatly impacts the resulting understanding of ideas and information. My work presents the viewer with information that has been translated through an unfamiliar lens of visual display. The disconnect that arises between different presentations of identical information highlights the need for a historical and contextual investigation in order to make sense of the world we live in.
Two main interests have occupied my thinking as an artist: space and narrative. In looking to Cezanne, Cubism, and traditional Chinese landscape painting, I sought to break from a single point-of-view and began using a grid in which subtle shifts occurred from one scene to another. I drew upon personal memories and events to create fictionalized scenarios situated in domestic architecture and the suburban landscape. Over time, these images lost their linear, geometric structure, and what emerged was a synthesis of various landscapes, architecture, objects, interiors, and weather.
Bending and folding the plane of the paper allows me to investigate the ways in which the virtual images locate themselves within these real spaces. Just as buildings are positioned within the landscape, I allow images to find their way into the folded and bended terrain of the paper. My drawings create a purposefully disjointed narrative, fusing historical catastrophes with domestic interiors, postmodern architecture, and other-worldly landscapes. Moreover, with the juxtaposition of tiny forms to expansive spaces, they can only be experienced in a temporal manner. Like an unfolding in time, the result is an almost cinematic experience wherein one image or sequence yields to another.
My aim in drawing is to depict a psychological topography—one in which views proliferate and multiply, stretching and unfolding onto the surface of carefully constructed paper, or, in counterpoint, folding back in on themselves. Through the careful blending of charcoal with delicate erasure, vignettes of diverse images and spaces are interwoven with each other, and the drawing seemingly emerges out of the paper. With this, voids of untouched paper are established and act as a presence that weaves in and around the image.
I make paintings, usually medium to large, with oil paint, and occasional other materials. Over time, I have developed a personal visual language that I use to communicate and to evoke. My paintings occupy the role of vessel for ideas and emotions: akin to keeping a diary. They are memorials to events and losses, they are markers of what I have thought and dreamed of.
The idea of a personal language is dear to me and informs my evolution and direction as a painter. I am also interested in the idea of a memorial, or a physical space that serves as a marker or vessel for emotions often nuanced and complex. The idea of the stand-in or placeholder is relevant to my use of painting as a surrogate for my own complex emotions.
I seek in my work to occupy the grey area between “representation” and “abstraction”– or rather, to carve out a place that is neither. I am interested in making paintings that do not illustrate ideas but rather embody them, an idea I describe as “being-ness.”
My future goals are simply to continue.
Kate Raudenbush is a sculptor and photographer who creates art as social dialogue. Mixing visual symbolism cross-culturally within human history and mythology, geometry and architecture, her art finds inspiration within the micro and macro viewpoints of our natural and manufactured worlds. She utilizes welded and laser-cut metal, acrylic, wood, mirror, sound and light to shape her designs into climbable, enveloping environments and sacred spaces that are given more meaning with each visitor’s participation. In this way, the artwork is not just an object to behold, but an experience to be lived.
Her work references and weaves together such diverse sources as sacred geometry, Hindu creation myth, Native American art, water, time, consciousness, Mayan architecture, d.n.a., computer circuitry, Buddhist symbolism, environmental sustainability, meditation, and self-empowerment. Her work’s motivating force is an endeavor to create Art that both questions and informs, includes and elevates, fostering an awareness of our environment and social issues that resonate the evolving conscience of our culture in physical form.
I am fascinated by materials and the processes of making art. Each material has a unique identity – a smell, a feel, and a touch – and response to motive and action. I work in relationship with materials by allowing them to inform me on how to use them in representing my lived experience. I do this work because it makes me profoundly happy.
The paintings maintain evidence of their beginnings throughout the process of their creation, and physically manifest my interest in the vitality of memory and presence. I slowly develop pools and veils of color, and then work, excavate and rework the surface to create an atmospheric pictorial space, that can expose my own emotional state, and provide an avenue for connection with a greater emotional field.
Integrated Visions Productions is a multimedia design lab with a focus on creating content for 3D projection mapping. With a background in the fine arts and a ground-up command of current and evolving technology, IVP creates custom content for cutting edge multiple-screen projection and LED display systems for global brands and high profile events.
Born 1984 in Ploiesti, Romania
Grew up in NYC
Worked in various architecture studios
Has been involved in many group and solo shows
Co-founder and curator of Gestarc Gallery
Founding member of ‘The Objectionists’–a multidisciplinary design collective
Lives and works in Brooklyn, NY
I construct abstract wood sculptures, which emphasize materiality and an engagement between the viewer, the site, and the work. Seen as three-dimensional line drawings in space, the installations collaborate with unique found architecture to construct a new and unexpected space made by joining long thin lengths of wood together. I make thin boards using traditional woodworking techniques, soak the wood in water and then use a free form bending method to bend the long pieces into abstract shapes. Once the wood has dried I am able to finish it and join them together into different configurations, including small and large sculptures, which contrast with the geometric rooms that we build and live in. The viewer becomes aware of the whole volume of a room with my work because of the way it travels around the floors, walls and ceiling. Social and public art is the main interest that I am focusing on now, trying to get art into unused spaces in original and un-expecting ways, filling voids in interiors that otherwise go un-noticed.
In my cyanotypes, matter is translated into degrees of opacity and translucency, which are the two-dimensional counterparts to thick and thin. As a process, light is the active ingredient and waiting is the passive ingredient. Ultimately, the cyanotypes document the gesture of placing physical matter on paper. The immediacy of this process serves as a counterpoint to the more deliberate and labor-intensive task of building sculptural forms, whose invisible dimensions are revealed in the after images of their companion cyanotypes. Fingerprints, DNA strands, and microscopic cultures contain information that has the power to describe form. Such is the case with the cyanotypes and their relationship to their forms of origin. Of on-going concern is my interest in seeing how much meaning and imagery I can extract from one idea or process. In producing generations of images from one source I am able to extend the life of that source and, in a sense, recycle it.
“An early form of photography, cyanotypes are typically characterized by a white image with a blue middletone. precisely the tonal relationship that structures Hill’s sculptures and drawings. By incorporating a form historically used for botanical studies. such as those that fill Anna Atkins’ 19th-century album, Hill suggests that her work might also have an empirical origin. In the prints, it looks as if Hill’s familiar forms have been x-rayed to reveal the axial skeleton of some organism, or the molecular structure of a particular substance.”
–Ingrid Schaffner, ARTFORUM
Shani Frymer was born and raised in New York City in the Soho art community. She was influenced from a very young age by the creative people in her neighborhood. She photographs elements of culture that she finds evocative or unique. Shani has shown at the Skinny, happenings curated by Gallery 91, and independent art shows she curates with colleagues in lofts in Soho.
“I only went out for a walk and finally concluded to stay out till sundown, for going out, I found, was really going in.”
I believe there is no better way to understand nature than to recreate it. My art is a humble attempt at studying the rules which govern us and those that go unnoticed within our everyday routines. The result is a modular language, like a Food-Web, intertwining personal imagery and universal laws. I use nature as a metaphor to better understand our complex realities and introspectively ourselves. My subject matter ranges from the explosive growth of transnational corporations and their effects on coral growth, to subvertising, to an intimate encounter in the wild with a struggling fox.
Through a self-invented process, I suspend, encase, and permanently preserve animal blood, salvaged from slaughterhouses, in plexiglass and UV resin. This technique is designed to retain the blood’s natural colors and textures and to expose its finite details.
When lit, the works become more translucent, cast shadows, and project a glow onto the wall behind them. This effect reveals multiple layers of organic material floating in clear resin and makes the works appear as if they are illuminated from the inside.
For the blood-lit environments, I use overhead projectors to shine and enlarge patterns from translucent blood panels into spaces. The color photographs document models covered in blood light. The blood light abstracts their bodies and appears as new layers of skin, epidermal diseases, tattoos, and natural birthmarks. The materials and luminosity in this new body of work relate to themes of corporeality, mortality, spirituality, and science—regenerating the blood as sublime.